Creating Advanced Stylized 3D Characters Using Blender & Substance Painter

1. Introduction Trailer: Name is Marcus Emilio. I'm a freelance character artist working in the game industry, and I will be your instructor in this course. In this course, you will learn how to make an advanced stylist character, starting from a simple sphere as a way to finish character. This course will cover many topics, but the main ones are as follows. Creating a prepar character phase, creating the character body along with anatomy tips, creating cloths and armor elements inside ZRush, poly modeling in CRs, creating optimized ree topology for games, creating efficient UVs, basic rigging for posing. Creating high quality textures, doing the final rendering and composition. This course shows the full process on how to make a trey slag character completely in real time. The only times we use time lapses is during extremely repetitive processes. As for the programs that we're going to use, we're going to use sibls to make the high poly model, blender to do dietpology jobs, and rigging, substance bender for ditexturing, photoshop to fix baking issues, and Verbose TolbgFive for the rendering. We're going to start by looking at a reference, and then going to zeros and from a sphere, we will make the blackout of the face and the body and then refine everything inside SIRs. Once the high body is done, we will export everything to Blender to start doing the topology and Ubis. After that, we use Susan Spinter to do all the textures, along with MarmosaeTolba five to do the composition and rendering. These schools will have a total of 55 hours of video content, showcasing the entire process of creating this character. At the end, I feel confident that you will know how to make your own three character models. Although this course is mostly in real time, there are a couple of band apses for super repetitive processes. Also, all the source file for the content we create will be included. Now, this course is started more towards intermediate artists who already have a basic understanding of the progress mentioned. If you are an absolute beginner, I do recommend you to watch first introduction courses, especially on Cirsbnder and Substance Painter. This course will also come with auto generated subtitles in English, Chinese, and Spanish. I hope that you will enjoy this course and that will be useful for you. 2. 01 Creating The Head: So let's start the head. All right. The first thing that we're going to do is to make some sort of a jaw. Let's make a jaw, a jaw shape. Now, we're going to mask here beneath our head, Make like knee a neck shape like this. Let refine a bit more the shapes. Now here, there is a plain change in the back of our head. We have a plain change here. Like you can see in this image. Let me see here, you can see there is a plane change here, and let's make this head shape. All right. So let's start making All right. Like this. Make the plain change. On the front view, let's see how this looks. The narrower here. On the top view, the head looks like a neck with the narrower pad folding to the front to the face. Well, let's make that egg shape like this. Alright. Now I'm going to define more the jaw and add a ear because they are really important to define the proportions adjust the perspective. All right. The ears are super important to define the proportions of the face. I always like to put them at the beginning of the process. All right. Continue refining a bit more. Let's make a bit more narrower the neck. Alright. From all angles, this looks. All right. Now, the eyes, where are the eyes? The eyes are going to be in the middle of the head with the transpose line, we're going to measure from the top to the shin. And in the middle of this line will be the eyes. Alright, like this. This is the eye socket. Let's let me use the age bonish to just define some plan changes here. Now, I want to carve a bit more here because the face is not it's not flat. The face is not flat like this. The face has a curve. It's not flat. A curve like that, yeah. Now, from the eyes the heir to the jaw, I'm going to carve like this. Going to carve like this to make some sort of a muscular shape. Refine a bit more the ears. Right? Let's tweak this part a bit more to make some sort of of a nose. A bit nervous the face. Let's make a bit pointing the shin 'cause she's a female. All right. A bit pointing. I think that's good. A bit mac rab the neck. All right. Now, let's make the nose. Where are the nose? The nose will be in the middle of this distance will be the bottom of the nose. Around here is the nose. Let's make some volume to represent that. All right. Sort of nose. Like this. Carve a bit more in the eye sockets. Alright, let's make some mouth volume because here will be the mouth when we crank up the resolution. Alright. Perfect. Alright, let's make some bony landmarks that I really like to put at the beginning, help me with the anatomy of the head. Let's make some temporal bone here. Temporal bone. Let's fine the forehead, at some frontal eminence. Let's put it a bit. I think I put it too much. I see she she has a really big big brain, so let's make it less big. Alright. I see the concept. I'm not looking too much to the concept right now because we are at the beginning stages of this model of this head. I'm going to look more at the concept later when we going to polish our face. Right. Right. Now, I will feel again this gap with the temporal muscle here. Let's make a bit of a corner here in the eyes. Alright. A bit more volume here, maybe. All right. Let me push this a bit deep. Maybe with a bit of an angle, the years. Let's pf a bit more here to eliminate that were volume there. Let's refined to more the school shape. Let me carve here a little bit just to mark the trapecus muscle and a little bit of the neck muscle that has a really long name that I don't want to pronounce now. Alright, I think the neck is a bit long. Let's we're finding a bit more here, the nose. That save is always important to save. If you don't save, then so many times that zebras have saved me from the crashes. Alright, now, I'm going to I'm going to crank up the resolution of our model. I'm going to select the 56 resolution of Dynamesh and let's dynamesh. Now, I'm going to make the nasal label fat pad fill this gap that we have make here. The Nat fat pad goes around here and ends around here. Let's fill this a bit more. All right. With the age porridge, refine the shape a bit. Now with the age porridge, I'm going to make some planes on the nose like this. Alright. Let's find a bit more than nose. Let's fill the eye sockets with some eye volume to represent where the eyes will be. And as you can see, just with this volume, the face start to look like a face. Add a bit of this fat pad that we have on the top of our eyes. Alright. Now I'm going to mask a bit here, and then I will carve like this. And the hi just to mark some sort of a cheek bone. Alright let's see if our ear is in the same height as our nose. You can see it's a bit higher. Let's make it a bit lower. Maybe longer also. Let's carve here in the ears. Start making anatomy of the ears. I'm not going to define it too much in this resolution. All right. It may make a bit narrower, the neck, a bit too much, I think. All right. Perfect. Let's define more here. It's a bit smooth. Reduce the frontal lamins. We perchin Define bit more displaying changes here. Alright. I think that in our concept, the eyes are a bit a bit bigger. But we can deal with that later. Just make all the face features now and then we are going to tweak them to make it look more like the concept. Right. See if I can make it a bit bigger. I'm going to use the Gizmo. Let's select this option here, local symmetry and make it a bit bigger. Now, I'm going to carve here just to define more the I anatomy. More here. Now, it starting to look like she has the eyes closed. Let's see, from this ankle to see how this is looking. I think she looks a bit walid with not too much fail. Make a bit cheeks. This thing she was looking. Bc she doesn't look that thing. H. Also, you have to know the ears are in the middle of this distance are in the middle of this distance. As you can see, my ears are a bit to the back. So I have fixed it now. In the females, the jaw angle is around 100 145 around that angle. In the males are 90 degree angle. Because she's a female, I would make it a bit wider angle like this. And also, this part, the ja corner will be on the same height as the mouth. I think this here is a bit too much. Alright. Let's make the face a bit smaller. To refine more over shape of our head. Let me make this just to make a bit more evident the nasal label fat pad and this f pad just to separate those. These fat pad, this nasal y fat pad. And here will be the cheekbone. I will define a bit more planes just with the dumb standard like this. I fu with it all right. Now, I will crank up the solution even more. I will put it in the 128 around that number 128. All right. And let's make it. Let's define more the nose shapes. The nose shape. We make this plane a bit more evident and make with the He polish, a bit floter here. I really like to have really strong plain changes, plain change here. I how is looking on the front. You see, I have some reference of the style. So references are also mine. Like this style also have a reference. I using various references to achieve some sort of personal style that I really like mixing it with the concept style. I define a bit more the neck muscle, a bit of the throat. It's moody more defining more the ear shape. I will make my clay buildup. I will make it that don't affect the back part. Just clicking back face mask just to find more these shapes here. Make this part of this that look like a Y. Et's make more her, I think.'s a bit more here. Right? A bit around there. That's perfect. Now let's see if I can continue refining more the ice. Let me see. It's looking weird now, I know. You're looking a bit weird, but this will look good, eventually. Just trust me, trust the process. This will look good. The only thing that you have to do is trust the process. Find more plains and let's make the mouth. Oh, I make the mouth pimple. I will first carve with a damp standard the corners of the mouth and where are the corners of the mouth. I always or always know usually I put them in the middle of our eyes. Maybe they can be a bit a bit inner like this, like in the corner of our eyes. We put, that a bit of a wall mold. We carve the corners. Then I will join those two corners with line with carve like this in the corners carbon now with the clay buildup. We define more the lower lip. Let's see from the bottom view what this looks. Make rounder. Let's make this temple here. You find even more than one lap. Now with the damp standard, I'm going to define the upper lip. Like this, and with the Move brush, I will give it more shape. Shape like this. Let's fill this gap that was looking a bit weird. Alright. Let's make the thing here that we all have on our heads. Alright, now let's define the lower lip. We find the lower lip like this. And now we have to know that the lower lip is not is not like this. Please don't make it like this. The upper lip will be always more forward than the lower lip. Alright. Now you can see, it's kind of mold. We have to continue tweak it to make it look nicer. Let's make this pin shape that we all have on our mouth, connecting these two shapes here. Car a bit more. Let me see my references that I have. Se a bit All right. Continue. Always watch your references. They are always important. All right. Find a bit more the mouth Let's make it. Corners a bit. Let's find this plane here with edge polish and a bit of the damned standard. Make it from the far. Oh, it's looking a bit weird, but this will look good eventually. Just trust me. Trust the process, please. Make more of this. Let's mark again, the lane changes. Alright. I can see let's make the chin a bit narrower. Now looking on to the bottom view. Make it thinner than this os see no from here, let's make this let's pronouns. This eyebrow bridge here. A bit less pronose. We make the nose a bit thinner also. I see how this looks from these ankles? Define one this again. All right. Are you cleaner at this, Mark? Alright. Let's continue this model. It's looking a bit weird. I know that this will look good. Something like that you have to know that even on professional, the first minutes of our school scooped will be a bit tedious. The things that we will not look always nice at the beginning, but with the time, the things will look nice. Bit thinner here. Maybe the eyes a bit lower or not, maybe not a bit whiter. Maybe a Mt a bit more the head. Let's see, the concept and reference a proper way to make this a biter chicks et's see how she looks. We define more display here. Maybe not that strong. Let's make this less white. Move that part a bit. The safe. Make the neck muscle a bit more inner like this. Alright, I think that our head's spooning bit better now. Alright. Now I will make the ice. A paint, and then sphere. Here we have another subtle in this tab here, in the tool menu that you can access there here in the top bar of fibs. You can find it here. If you don't have this bar, just click here and then click this icon. Now, here, let's click in Subto and then select this sphere subtle the Gizmo. Just make a bit more model. Also another thing that I really like to make to make the model real life size intent matters. I always like to put this in ten like this. Now, if we select our transpose line these units that you can see here, now they are equal to centimeters. Now, the real life eyes from the real human are around 2.5 centimeters. But since his stylized, they will be bigger. Let's make it 2.5 centimeters. At the beginning, if we need we can make it bigger. That's not a big deal. Let's see. That's crazy. There will be placed here around here. Yeah. And let's mirror it to the other part that user mirror and weld. This case, it doesn't work because we have this local symmetry active that's from active dat and press again mirror and weld. Alright. Let's active again this option. I think they are more for our head. Let's make up it pig. And let's start making our ice. Alright, let's wrap the eyelids around our eyeballs 'cause that's the way that the eyes are made. Our eyelids are wrapped around the eyeball. Right. Alright, let's open her eyes. How we are going to make that. Just we're going to draw with the dump standard, the eye shape like this. On the top, we have three plane changes. The first code like this, then like that. And finishing with this. All right. Let's make it a bit more like a cut cut shape like this, maybe. Looking well I know this will look good. Please trust me. Don't lose the fate of me. Don't lose it, please. Let's carve with the dam standard, the ice. Right. Let's make this better. Same with that we throw with the mouth at the lower the lower lip cannot go like that crossing getting forward than the upper lip. The same thing happens to the eyes. The upper lip will be more forward than the lower lower eyelid. All right. It's looking weird. I know. Just trust me. Let's make it a bit more like that. The eyes at the beginning always are h bit of trouble because they always look weird. My baby a bit more like that. A is more here. We find more this round round shapes. Or like this. I think that it's turning a bit better, maybe. Let's make this part here, a bit of this fat pad of the lower eyelid. All right. Me define a bit more again the separation. Here, I always like to have this a bit define at least at the beginning. This just help me with the overall pace. Me place correctly the fat pads. I will smooth it again. Alright. Alright, let's see. Home is based on the cost. Let's make a bit of this fold that we have on top of our eyes like this. This fold is really important to make the lights. The eyes could look Now, it's starting to look better now. All right. I think this is turning good. Make a Weller this fat pot here. Perfect. Let's see how this looks with a bit of iris. I'm just masking it, and then I will inverse the mask just clicking with control outside the object like this. And then with the inside brush, this one here or this one inflate where is going to find it now, but with the inside brush, we're going to inflate a bit more to make this cornea shape. And then just for the provisional eyes, I'm going to just fill with a bit of a gray color like this. And then I will put with me a bit more. And then I will put this boy plastic material that you can find here in the material tap here, where you here, you can find it. Now with the plastic material selected here in the matadl channel, we're going to click there and then fill up yet. That way, our mesh will have the material that we have selected. Now, let's go back to our previous material. All right. Now it's looking more alive. That way we can work better with the chaps cause we can see it a bit on context with the eyes. Let's carve a bit more here. Let's carve more here the nose. Let's make the nose a bit concave. This avid thinner, maybe not a thin, but something like this. With the ag polish, let's continue refining some fs. Ma to see how she looks death. Let's continue finding more these shapes. More and more the shapes. It's safe. I think that she can have a bit of of modern nose. Let's see, the nose wings more not that much. Find more than nostrils. I fine again no shape. Let me see my references. B. Alright, let's make it. I always suggest you to always look at your references. They are always good stuff to have on your other monitor or on the side. That's with H push the five more displaying under the DG here, the five more, Dy. Alright. Something we're finding here a bit less pronounced, no. Right. I think it's looking really nice. Is looking. I think that's really good. Alright. Let's make the ears a bit less pronounced. 'cause she before she was looking more maybe like a monkey. Let's make this part of the ear, this why part, a bit pronounced a bit more like this. P will be under the other part. The ear's a bit complex, a bit of a complex area. Let me see if I can show you some sort of what I mean? All right, let's see how the ear works. As you can see, our ears has a bit of a Y shape. So you can see a bit of a Y shape that comes here. Then we have this pump here in this part. And we have another pump here. And this part goes all the way through here under this why shape like that, as you can see, that's the same thing I'm trying to do in the school, trying to find those shapes to make them as you can see, we have the pump. We have the pump here and the other pump here. All right. I also saw that we have a bit of a weird mouth shape. Let's try to fix that. Make it more appealing, at least for me. I think there's something weird in my wound. A. Let's continue making this mouth. A little more appealing, I think. Alright, let's see the concept, how is looking. Alright. Let's continue finding the mouth. From the pinon let's see how it is looking. Let's make this a bit more pronounced. Maybe. Let's find more the Mo pinbll here. Let's see how it is looking in different angles. Let's build this a bit more. Is looking well in this part. Alright. Okay. Perfect. Birth g. Let's see what is looking from the far bill. Mm. Let's I think there's a lot of things that we can improve. A bit wider than the nose, man. Let's put nouns here. A bit smarter. The shin a more sharp. Don't say like that. Let's mask the eyes and bring down the eyebrow. A bit like that. Bit like this. And we will have a bit more unnatural look for our face. All right. If I mow the planes, nose. It's looking a bit weird. But we can it's super weird. Alright. All right. Mm. Ticking. There's a lot of clicking and iterations on my scolding process. I just look from the far from the closed view and top bottom and all that thing. Also, I would practice that I like to do is just to let rest the model at least for a few minutes, like five, 10 minutes, and then go back to it. And when we look back our model, we can see a lot of issues that we haven't seen before because our eyes tend to because our eyes tend to get used to how the model is looking. And if we leave the model rest and our eyes rest away from the model, we will have a fresh view of model, and that way we can spot things that are weird. That's what happened with me later. I just let rest for a few minutes this. And now we are making the stuff. All right. Let me smooth this out a bit. This more. Always to have in mind that the eyelid thickness has to be constant through the way here and also the lower lip or lip, lower pallet. Win let's see how thats look. This inverted view Alright. Is looking good. We have to still make the eyebrows and the hair just to have a full context of how our face is looking. Also, when we do some sibs to our face, will continue tweaking it to make it to her best version possible. Alright. All right, what do we have on the mouth? Let's see. A bit of anatomy of the mouth. Here, as you can see in this reference, we have some bumps like this one in the middle. And the bump on the lower lip is divided into like this, as you can see, we have a bit of a ridge, as you can see here. The bump goes through this, and then there is a bridge here. In the upper lip, we have three pumps, two on the side, and one in the middle. As you can see here, this one, and here is the other two bumps on the lower lip. And here will be the other two bumps here. Alright, as you can see, I already have made some of them. Some people don't have the pumps here a bit to pronounce. I also don't like to pronounce them too much, but let's pronounce it a bit. Make the overall shape of our mouth er. To get it weird, I need more resolution to continue. Refining this face. Alright, before we crank up the resolution, I'm going to make some eyebrows. How we are going to make the eyebrows. Is. We just going to mask some basic eyebrow shape like this. And then in the subtle palette, the subtle tab, we're going to press extract. But before pressing extract, I always like to make the thickness zero. Now, our extraction will have just one phase. As you can see here, there's nothing here and it's just one phase. Now I'm going to inflate and then I'm going to press the mesh with the body count of 0.1. Right. Then I will do some polish by features, maybe, or polish, normal polish and with more the shakes. In the concept, the eyebrows doesn't appear too much. So let's make from ourselves, let's improvise some eyebrows form or shape. Let see with the pinch brush, I'm going to pinch this part. All right. Now, I'm going to make the eyebrows darker. Let's use the same color as we use for the IDs. Well, let's always have in mind that if you use this material channel, the thing that will be applied when we tres fill up jet will be the material. So we have to change back to the RGB to apply the color like this. Now we have our applied. I think that it can be a bit darker like this. Now with the a brow, we have a bit more of context of what is happening. You have a bit more of a dog pressure. Let's make it less aggressive. Like this. Continue refining stuff. All right. Let's make the use a bit less refining this log. A more the nose shape. I think that we have a point that we can rank up the solution. Let's say first. And going to crank up your solution king maybe 200 up to 24. I think that this will be nice. Find more the shapes of the mouth that we just see earlier. The two dimples, the impulse, the pumps here, the pump on the front on the middle of our upper lip and the other two bumps here. It's smoothed a bit to make it less visible. Let's feel. It's part a bit more. It's looking a bit wed. It's for me. Go to feel it. Looking a bit weird. Alright. I think he's looking nice. Let's continue working. L make transition a bit sharper. I find more this sin boll here. We're finding more the no shape. Let's find it. All right with the He bodies and just flattening the part. Let's smut it. Must. Let's refer more ear shape. The y parts. Y E. Okay. This. Alright, I think it's looking nice. We can also put a bit of eyelashes to see her with eyelash for women that's really important to have. Let's see, let's use this IMM curve. I always like to select this one, this white strap. And then with a big cursor size, we going to make a strap that goes under the upper lip. Upper eyelid, Let's make it. And now we are going to use split mask point just to separate the eyelashes from the head because now they are merge that's separate it. All right, let's make the eyelashes dark. And let's improve the shape. I'm going to use the pinch brush to make this part thinner, a bit of a mix of pinch moose brush. Now a bit of inflate Make thicker from this part. I don't like it to be thinner in thick parts. Right. This little mode here is the transpart mode that you can find here. That's just is for you to be able to see through models that are in your way. Let's find more. You can see it's looking a lot better now. Okay. A lot better. Let's keep continuing requiring the eye shapes. I need a bit more carving more here inside. Inside the eye Right. Let's see. Perfect. A bit more definition here. In the back of our ear, too. Bit more definition. One more bit of this precious muscle. All right. Now I think the ears are a bit lower on our nose. Yeah, as you can see, that makes the ears less big. They are too big. Make this way. Nice. A bit smaller the ears like these. Perfect. Perfect. All right. Alright, I think we are in a good place. We leave for now the head we continue making the blockout of our body. And then we're going to keep refining more the head, adding a blockout of the hair to see now full context how the faith will look. And you in the next video, 3. 01 Creating The Body Blockout Part1: Right guy. So let's continue with the blockout of the body. The first thing that we're going to do is to measure the proportions that she has. So let's see it comes it. It's a measure with the head, the proportion that she has. So here I have a rapid version of the image that you can create just clicking in this image to duplicating C, contrib. Now we are going to go image selection crop image. So here you can wrap your image until the head is just visible. Then click Enter. So let's measure. So 12 Uh, O. Five, six, seven and 7.5 heads she has. But for the 5.5, we're going to use this. So you can see here how all the places of the body goes along with the proportions. Well let's start making it. We're going to append a plane a plane then with the transparent mode, you are clicking this option with the go transparency, the option below the transparent. We're going to match the height of this plane to the height of the head. So let's put this edge on the top on the top edge of the head and then put the gizmo on that place. And then we're going to make it the length of the head. Now, we're going to put this to the side and we're going to duplicate it. It is one point 0.5 heads here two, three, four, five, six, seven and 7.5. Now for better readability, we are going to make it with auto groups. So each plane has their own polygroup. You can find that option here in polygroup and then ato groups. So now that we have our proportions already established, we are going to append a sphere. Now we're going to make the blockout. So now with our sphere already appended, let me just hide the planes let's make the sphere 1.5 heads like this cause that's around the normal height that thorax has. I let's make it a bit flat in the axis. Maybe a bit small. And now we're going to place it here. All right. So let's make some simplified version of the torax. You can see this has some shapes, and we are going to make it simplified without the ribs and all the stuff. So we're going to carve here to make kind of the mirror to the reference. Now we're going to with a dam standard, make these plane changes. All right. So now we're going to do this and carve even more with the back part. Alright, we have our products. Now we are going to duplicate it. Again, and what is it for the abdomen? Let's it on this part for the pelvis. Move it a bit. Alright. Let's look it this a bit. She's a female. The female has the pelvis wider than the males. Let's make the pelvis a bit wire. Let's make some volume for the ***. Alright. Wrap this just to make some. As shape? All right. I'm just marking with a standard. So landmarks, one landmarks for the pelvis. Like this part. So, let's continue. Make some lumbar muscle bid. Right, let's continue with the blockout. Let's use this primitive brush. I can do this one. Let's With this brush, we can append directly on the model this sphere. And with this, we're going to make the shoulders and this cupula. So let's make some capula and shoulders shape of like this. Right. Looking a bit weird 'cause we miss we still missing some parts that really need to go together for this to look well. Right? Alright, so now let's make the clavicle. The clavicle has end of like this shape that comes like this. Let's make something similar. Alright, we are going to use the curve tooth brush. And then we are going to try to make this shape that I have here. So let's see. Let's refine more this volume here. Make it look a bit right. Right. Let me erase this. Now, we have some sort of holders, a clavicle, atras, an abdomen, but we're still missing the trapeceus muscle that is really important for the neck part to look right. We're going to use this same brush, the curve tube. And from here to the clavicle, like this, we're going to make the tube. Let's accept the curve. And now let's make some trapacous shape. Tapacous comes from here from the head here, and goes with the clavicle like this. And this goes all the way down. I still more solution. Me it look good. But you can kind of see the shape that it has. We are going to refine this later. All right. Let's make some arms shapes. We can use the curve top or we can just duplicate some spheres. Let's duplicate some spheres. But this let's make it. Make it long. Let me use the local symmetry. Make it long of like this. And now the arms the elbow will be around this area here where is an angle change from the pelvis to the ribs. Alright, let's duplicate this. Make the forearm. All right. And now we have some sort of arms. Let's refine tweak this and make a bit better forearm. Right. Make some indications of the muscles that there radio brachialis. So I will try to make kind of this shape that we have here, and I I paint doesn't work. All right, let me use a draw here. All right, we're going to try to make this kind of shape for the forearm with this sort like this and the lower part more like this. You can see the highest point of this outer part is on the highest point in this part is kind of is. So it's more like a diagonal. If you draw a line from this point to this point is a diagonal. Well, let's make something similar here, make it. You can see highest point here. And then the highest point of the arch end of like this with polish I'm going to make it here. All right. Let's tweak the arm. This hooper arm. Stick it. It's more All right. With more this warm use H bodies to make it more flat. Like more the shoulder. I think it's a bit weird. We can make the arm the arms bigger. I think they are too small. We make them the simple not use. We are a wealth. And now let's put this ism here. Mask them. But what? Mask them. As I hate sirs. All right. And now let's make them bigger, some sort like this. Now, you can see the elbow is more aligned with the angle change here. Let me make the arms a bit paint like this. Make some more indication for the muscles. More indication of the muscles like this? Let's carve where the ulna is. Right, this is just some basic indications for the anatomy that will be there. Let's refine this shape more. They are a bit weird right now. Alright, we need to make the chest muscle. How we can make the chest. Let's make another sphere here with sphere brush. Let's make two spheres. Let's make this shape. There will be from the scapula to here and we'll go kind of like this. And that will go under the shoulder and above the bicep like this. Let me raise this. Let me raise this. Let's make it. It we'll go like this. I'm here. Here's the clavicle. The clavicle to under the shoulder. And that's like this. All right. Perfect. I they are big too much. Make it a bit less. We more the shoulders. Um weld, right? All right, so for the muscles of the shoulder. They will go from this part of the clavicle. From the altoid will be from this part of the clavicle to around here. So let's make some indications. Let me f more this shape here. Make some bowling for the triceps. That we can more this part. That we are dealt with. A more shape to the scapula. Alright, let's make now some latissimus sorci that we can make it with the curve brush too. Then we go from here to this part. So it. I work with of soup, but let's make it. It will go like this. Alright. All right, perfect. Make some shape. This is for the back muscle. Let me from the side, wrap this, make more volume here. Because if we see it from the side, it don't go playing like that. Most of the time, this will go more more like this that you can see here, more like this. Let me try. They use the drop brush here. They will go more like this. I'm trying to achieve that shape that like S shape that we have we can eat more like this and we hide the march. We finding more the pelvis bit more of us. Alright. In these scapulas are way too high. Make it lower. We get bit more All right. That's on high. The forearm. Let's continue with the model. A bit looking a bit weird now. I don't sink, make the way thinner. The pelvis a bit maybe not wider. Maybe it can be a bit wider. Here, the shoulders maybe can be more narrower. Alright. These chap. It's Break the torax a bit. Alright. Think the arms, the chip, the the bited part, it's looking a bit weed. Trying to tweak it a bit more like this. Alright. I'm I'm seeing that our body's looking a bit more. Let's see if our proportions are right. They seem and they are not right. Yeah, the body is Really small. Let's make it bigger. Make it bigger sin in this is good enough. A bit more. I think that's good enough. Right. Continue refining the parts. You make some up volume here, up volume. Make more. A crutch. Right. Let's make another sphere to make the polum for the serratus muscle. Make another sphere here. We're going to make a volume here. That's for the serratus. And let's place it here. This serratus muscle is this one that you can see here. I'm making this volume to represent that. Alright. We'll make some bits. Some feet, legs. We're going to use another sphere. We go to place it. Make it longer with white. Maybe like this. Less white. Separated each other with each other. A me off the dynamic out rush. Alright, how are the feet made? I going to try to achieve this that we can see here. These shapes. You can see if we draw a line from here to here, is a diagonal from here to here is also the diagonal. It's important to Well, let's try to make it. The widest part of this femur pad is kind of like this here. Let's make a line from here to here. I mean, is a point here. It's like a line like that. Alright. I think there are 20. Let's make the other part for the the leg. Let me see if my proportions are right. No, they are not. And this is looking really weird right now. Distrust me. I know my anatomy. Wicked. See the knees will be in the sect next round here will be the knees. I try to make this neck good. Let's make another sphere we go in the knee area. Y like this. All right. And that's like this, yeah. It's a bit more. Here. Oops. With a weld. Let's shape these parts more sponge on the pipe with old water than these parts. Hmm. Alright. Looking more like a little leg. Yeah. Make this line here represent the bone that goes there. Wow. Let me draw a line here to represent the muscles that are in the calf, the calf muscles here, in the back. Right, make better the shades of the legs. Alright. Let's see. Same looking a bit weird still. I think the body maybe too thick on the legs. Maybe we can address that later. We do more tricks here. We can more make this volume here. All right. Makes the femoral muscles a bit. Is an indication of them. Now this is looking better. But I think that the legs are too thick for what we have in the concept. Maybe, let's make them a bit thinner. Maybe just doing this. Maybe a make the all like a simple group work better. Maybe we can make a bit longer than leg. Or smaller the body. We make a bit small. The body. That's a bit, not too much. I think that's good. Yeah, that's good. Now, I see that the knees are way down. Let's make a bit make the knee a bit up. All right. Make those shapes. You see, from the side, the leg is not flat. The leg goes more like a ness. You can see that there are so many shape on the body. You can see the legs net. The body here is an N too. There are so many shape in the body. We try to make them right. It puts a bit Ax and legs, bit la. Yeah. Let me now work on the *** muscle. Right. That muscle has, like, some sort of a butterfly shape like this. I only try to achieve that a bit. Not too much 'cause she's a female. The female doesn't have that butterfly shape so defined 'cause they have fat, more fat than the males that tend to soft the shape. Right. Let's define more this. Muscles here. Oh, you can see that we start having some sort of a body. Now, let's make some indications for the bits. Let's make another sphere. Alright, bit longer. The feet will be a half sigh of the calf. End of like this. Yeah, I think that's good. Alright. Make some indication of them. Let me use the click brush here, we are going to press Control Shift, and then we're going to select the click brush of their perspectives and just clip it here. All right. Let's make the fit point more outwards, make it look more natural. I forget the perspective. Now, what are the shape that I'm trying to achieve? I'm trying to achieve some sort of this shape, what the fit. We can make it more stylized like this shape that we have here. But I'm not going to make the fingers now. I'm just going to make the overall shape. All right. So let's try to make them. Take this part of the fit. Inner inner here. It's wider in this part. Maybe more like this. That's powerful bit. I think we need to do another clip. Like this. I think that's good enough. So feet here. All right. I think the legs are way, way long. Make it more like that. How they there. And they are so thick. Yeah. The calf are really thick. So let's make them less thick inflate them with a inflate brush, pressing out. You'll see make that. Then let's just the move brush to make them less thick. They are really thick. Right. More thing. It's more thinner? More the overall shape. Let me see if the feet are the half size. Okay, think now they are too big the fit. Let's make it more molar. Let's something like this. Check if they are the half size of the calf. Just a little bit more here and then think they are good enough. Yeah. But more in these parts to indicate the muscles that we have here. I mean patella All right. More here to indicate more. Find more this walk out here. All right. I think this part is too sin. All right. Alright, perfect. You're from all uncles. All this is looking. It's looking a bit weird. Here. Let's move it. We are going to make it better in the refining stage of the blockout He makes some bad fear. Make it better than me. Maybe it. Alright. Alright. Let's continue refining. Make the shapes better for the leg. I have in mind that for the alve if you see them or from the back, there will be the muscles here will be in the yaga like that. Like this, the highest point will be upwards and the lower point will be inner. All right. Make a line just to indicate the apps. Make them. They indicate more. Benny. 4. 02 Creating The Body Blockout Part2: Alright. You can more the belly. Let's try to make this a bit wider. It's a thinner. You have some medication for the ox Oflx. It is a bit more white. All right. Let me make the fit a bit shorter here match. The proportions. Now, let's make some lookout for the hunts. And they're going to make the fingers now in this stage. But I will make them later. Just a paint a here. Make it. And let's make some general shape for the hunt. I'm just trying to make the general shape it's a general shape. As you can see here, I'm going to make a thumb, and then I'm going to make some general shape here. What I'm going to make a shape like this. So let's try to make it. Let's make the thump. And now let's make the other part. Pave a bit more for the palm. Let me isolate this. All right. All I'm here. I mask please make the other part of the palm. All right. This is a bit too big. Big, not thick. The inch this a bit. We'll do some shape. Just make indication. We're going to refine the hands later. Let's make better. Please longer the fingers. I to find more the shapes. The pattings. All right. All right. Let's see if the hands are the proper size. The hands are around the same size of the face. I think, right. So I think they are good enough. Or else now. Maybe we can make the arms a bit wider like these. The hands, not the arms. All right. Like more twigs to the hand. Let me see the proportions if our proportions are right. Oh, let's see. Let's measure. We have our proportions board here. I come to use the transpose line to check the proportions. You can see the shoulders are a bit higher and the middle part of the second head. Um, like this, our shoulders are right. The elbows will be in a bit lower than the middle part of the third head. Yeah. The belly bottom will be in the bottom part of the third head we have. Here, the crutch will be around the bottom part of the fourth head. And I think we need to make the hands a bit bigger. Maybe. Let's see, the knees, they are around the heath thick. And the other things right. All right. I think we just need to make the hands a bit bigger. I like this. And hearing the forearm, looking a bit weird. I think this part is so thin. Right to make this part a bit more better. Make some elbow shape here. Dgate more. With the elbow here will be. All right, I think that's better. This it something. Change the select Brush. The mask this. Let's make the arms up bit to the side. Let's twig shoulders Bk more these furs. Do it more the scapula. It's art over. I think that this is a bit too too thin. Like more volume for the chest that pep We have to spend time here in the blockout stage because if we don't have a proper blockout later in the next stages, we'll be at head edge running to refine the shapes that wasn't good from the beginning. Or let's try to make everything good from the beginning. And then we are going to go to the next steps like refining, adding more anatomy and that stuff. I'll try to make everything right from now. Right, let me grab the head and put it here to make the neck header. It'll be crap. Clavicles, move a bit upper like that. Let's make neck muscles here. I will go to the center of the claticles sternum that is this part here. A et's smooth it. A bit. Right. Let's see silt. Oh, looking I think it's looking nice. Let me see that coset. Maybe we can make the bs here a bit wider. Maybe? Not too much. Wang, I don't want her to be so muscular. Alright. Let's make the trapecus a bit better. I think I need a really more solution for the trapezius model to like work better. Now, let's make. The pops. We're going to make another sphere for the books. They are like balloon water. You can see here in this part, they are like a balloon filled filled with water. And let's make, like this shape here. And from the bottom on, they would be pointing outwards, as you can see in this reference. But let's try to achieve that. I like a balloon. Let's make the shape that we just saw. Like, like this, let me uncheck the back face mask for the clay buildup brush. Let them standard out from the bottom on. Make them point out This is looking weird, I know. We have to like every angle to make sure that all shades are working nice in all angles. I let me see. It's a bit. Maybe a bit bigger whoop because why not? Bigger? It's better, I think. Alright. I tweak a bit more the vectoral shape. Is a bit closer together. Alright. It's a bit smaller. And it is more out All right. Perfect. So, I think that we are in a good spot for the blockout. In the next video, we are going to continue refining even more this blockout. So see you in the next video. 5. 01 Refining The Body Blockout Part1: Alright, guys, so let's continue the refining of the body. So what we're going to do now is we are going to dynamze it with a low resolution and start refining and tweaking the bones and the forms, making some twigs to the anatomy, making them better. So start. Let's make around 32 with the resolution. Perfect, they say. Now I'm going to smooth. Smooth it a bit to get rid of those sharps shapes that the beginning of the blockout has. So let's start making it. Just moving out and shake making them look more soft because we are making a female. The female doesn't have that sharp transition between the muscles. Like you can see here, you can see that this woman doesn't have those sharp transition between the muscles. And even in this body, you can see that everything is soft. Well, I'm trying to make this with this body. I will try to make this everything soft. So let's let's start smoothing out. All right. A little bit more. All right. Then it starts in the body. I'm going to fill this cap because we don't have that oil there. We have a skin and stuff that goes over there and fill it. Right? The neck area, we are going to make it better when we attach the head with the body. All right. Well, let's start this bit of smoothing. All right. Let's five more tilt. One thing that you need to have in mind is is that we have a little bit of empty space in the shoulder area because the pectoral muscle goes from here and end up under the shoulder. And the altoid muscle of the shoulder start here in the clavicle and goes like that and leave empty space where just the skin and that make some sort of a hole. Try to achieve that let me erase this. Alright. He will leave like some sort of a hole here. Let's make the shoulder a bit. A bit more muscular. It's a bit, not much. He's not a body builder. Right. Let's make a line here for the mark where the spine is. Let's mood them out a bit. Let's make the latissimus psi a little bit. B here. All right. Perfect. So, here in the neck, we have a tendinous area that will not get big even if the muscles are big, that patch will not get big. And here, the only thing that we're going to see is the spine. One of the vertebra will show up here like a make sure to make it. I being a muscular people, that is visible. Alright, let's continue. Et's go now to the knee area. Let's refine this, a little bit here, a little bit more here. Because cheese, we're making a stylized body, let's just make the knee like this. Just simplifying these shapes, and this will look good. All right. And from this part here that there is a bone. We have a muscle that goes from this point to this point like that. And this make kind of a volume at the front. No, it's important to past that. Let me make the leg a bit more thin. All right. Make sure that you're doing muscle on your calf as this dial that points the lower point is inner and let's make this part here. And these body landmarks will be the opposide of wind muscle here. They will be on the opposide direction. The eradonal Like you see here, the muscle goes here, and this part will go like that. Raise this. All right. Let's continue. Let's make the achilles tendon. Yeah. It's important to have it. Make the leg look good. All right. Let's make sort of a line here. In this part will be a muscle that's called sartous muscle. It goes from this point of the pelvis all way down to here is, I think it's the longest muscle that we have in our body. Goes like that. Let's make. Make some boy and then we're going to smooth it out. Philip. Did you see my reference? Oh, we have your reference. Don't you either monitor or on the side? I really recommend you to get your monitors. It's really useful to have two monitors. All right. I'm just trying to make define the femoral muscles a little bit more. Alright. All right. Let's use H polish here. Ooh. Find more the shape of the femoral muscle. Perfect. C more here in this part. Alright, let's make now an indication for the quadrset muffle. I will have. They will go like this ind up like this. There will be one head. In this part will be one head. In this part will be another head, and here will be another head. Let's try to make it. Let's try to make it. I will just draw with the dumb standard brush. Oh, the muscle will go. And then I will just mood I add some volume here here and there. Not much. I don't want to make air to muscular, even we can just smooth it out, and that will even look good. Here we have another muscle as cold like that. Well, this goes from here, this oil to here. Let's make this grease that we have in our bad. But just make it around the middle. Also, the female has a kind of fat deposits below the butt. Let's try to make it. Like that. All right. All right. So let's add a bit little bit more of fat in this area. Make it more soft. I think it's muscular right now. Right. Just make it less. So for the butt muscle, the tus maximus, the shape is like a butterfly that you can see here. It's like kind of a butterfly. Uh that's that muse B. You can see here. It's kind of a butterfly. And so, extration goes like that. Let's try to make it. But in the females, they have a lot more of fat than the males, so that will not be that strong or or hard. If we just make indication of it will be enough. All right. Perfect. Let's make the belly bottom. The belly bottom is around the 6. 02 Refining The Body Blockout Part2: It's around the third head. The bottom of the third head. As you can see, it's around there. It's really useful to have in proportions placed like this. I really like to do that in every model I do. Right. Let's make the two dimples that we have here in the back, make some sort of a hard shape and then smooth it out. These points are really, really important. A bony landmarks. We continue finding this taking this part like that because we have also a tendinous area that goes over the lumbar muscles. And here will be our lates store side. Tip will be the tendon of the latissimus store below that tendinous area will be the lumbar muscle. It's muted a bit, a bit. Not too much. I adds bit more fat. Because of the erratis muscle that we have here, the Serrato muscle will push the latin strchi and we make kind of a volume here. It's important to have it. Make better the back spread a bit more of the volume of the latsenpfa. It goes under the arm here to the armpit. All right. So let's see which are the muscles that are in our Apula. I think we have around three muscles here. We have the teres mea that goes also under scapula. We have the infraspinatus. That is not too visible on thin people and women, but muscular people. Also also muscular women, it can be noticeable. Though we have also the des minor here, and also we have the real Del toy around here. Well, let's make those volumes a little bit, not make them too noticeable. Let's make the real deltoid. Add mayor o because the infraspinatus will not be that visible here. All right. Let's mode it. Let's make the how the trapecous muffle goes. It goes from here like this. Like this, this kind of the shape that I trying to make. And this litrapsus muscle attach in the front to the clavicle. It will go over here, attaching all these parts, it being to the clavicle. Like this. That's important to have in mind. The trapezan Muslim doesn't only attach with this part. It goes all the way to Eclatical. David, let's continue. Base line here, some sort of a penchon. Let's make kind of the volume here, but not that much. Let's get it out. Let even think. I stress the mirror well because I want to have a middle line to look better those middle forms that are in the middle line. All right. Right. Perfect. It's carve a little bit more in the crest here in the pops. Perfect. I think it's looking good. It's something. 7. 03 Refining The Body Blockout Part3: Let's continue with the with the muscle on the arms, how they go and how they connect. Let's see. All the deltoid goes. A deltoid will goes like this kind of. Here, we have our middle deltoid. Yeah, we have our real deltoid and then our front deltoid here. And we have our trapeus trape triceps muscle here. We make it better right around here. Our bicep. And in this part, we will have the brachialis muscle between the bicep and the tricep. And then from this part here, we'll go the brachioradialis muscle like this. Then we have our tensor muscle of the arms. So let's try to make them. Raise this. All right. Let's try to make that profile view of arm like this. This is the pteradialis. It will we have our deltoids. Like this, here we have our middle front and we are deltoid. But it just a Alright, he will be our brachialis. Just a bit and make little bit better than the planes. The planes of the bis Lake this window. W shape there? The bicep will go under the pectoral muscle like this. So the muscle the bicep will not go under the shoulder. It will go under the pectoral muscle. Remember that? Very important. Alright, let's feel this more. A little bit not too much. Just we have fat skin and all that stuff that we cover a little bit there. And right for the shoulders, we have around three plain changes like that I like to do. Alright. Perfect. Alright. Let's make again this. I think that we will need more resolution. We keep scoping well. But I will crank up the resolution later. All right. We have some problems here. What funny stuff there. So, let's make the tricep how the tricep shapes are. They are like these. Like a house that one part is form like this, here, we have one head of the tricep, here we have another head of the tricep. And here in this part, we have the third head of the tricep. At all these part is just tandem. At the triceps goes between the shoulder at the head mayor here we ca the tricep. So let's make it. Maybe some indication because I don't want to make the arm to define. I just want to put the muscle, have the decation but not that fine. Like things, maybe. I third head of the trist we have our our I forgot the name of that bony landmark. All right. Make better the brachioradialis. Perfect. Smooth it a bit. Let's here to separate Isp on Wil Alright. Let me see my reference. How it goes. Perfect. Nobody that bad. Maybe not that Guy. Right here, we have another muscle that's called cones mussen in this part. And then we will have the extensor digitorium here. And then this part will be the extensor naris. And this I think it's called extensor Radialis abs. I actually forgot the name will be around there. We need more solution. But let's put some of the tum and just met it out. I don't see that big problem there. All right. Perfect. We have another bony landmark that is at the point of the ulna that we have here. It's really important to have this bonny landmark here. We all have it. Let's make these bits. Let's define more the shape. Let me see my proportions. Maybe the elbow can be a little bit lower. Bits not much like. I think, a little bit more like that. That's safe. 8. 04 Refining The Body Blockout Part4: All right. I think that we are ready to crank up even more the resolution. We'll just gonna add more bits and more detail to the body. Let's make it up to maybe 64 in a Mnh. Yeah. I'm not working too much here. But let's try make abdominal stuff. Let's see how the abdominal muscle goes. Then see that they are not squares like this. Let me. They are not squares like this, as you can see. They have shape, though it's important to have those shapes to make the abdominal muscle look natural. And also, we have some asymmetrical stuff in our abdominals. So if you are making a realistic stuff, it's really important to make asymmetry on your abdominal muscles. You can see how they go. All right. I'm trying to make more visible the hip cape here. Perfect. Go down here. This is the obliques. The oblique M over here. Let's put some volume here. That could watch. There's a little bit of volume. If female has a bit of wet down there, there's a little bit. M it. More. Right. So let's start making traps. Tapatios not us. I'm really confused with etrapen's name. It's a rat's muscle here. Is atuss kind of like finger like fingers that goes like that. It's better. We'll have a ram full of this that's visible. It will continue under the latissimus dorsi, but will only have more visible. Don't let strike, put the volume and just smooth it out just a little make the other oblite muscle that goes between those shapes that we have mat. The eratus muscle will go like this. And then we have oblique muscle that would go between these two points, the abdominal part. So that's why I'm trying to make. Let me erase this. Let me put this muscles here and right. Let's not make the grip cage opening dear to Y. All right. Mod it out a little bit more deep these parts. Alright. In the mid of smoothing, 9. 05 Refining The Body Blockout Part5: And I'm sure well, let's make it. So dominal muscles here, six pack. And then these lower parts, I don't want to mark them too much, just a little bit. Not too much. If this line here is called, I think that what's called the Alva line of Of sing. I really forgot it. Alright. Perfect. To make more. These parts let's carve a little bit. Then we are going to smooth. Maybe even put some fat here. You can make the transition there. Batts Eat let's set the shoulder muscles, a less big dirapecus vessel. Let's defy more to plant or it goes. Right. Perfect. Liking the stuff. Let's make and again, the ancon muscle and this grease here. Here is the ulna car little bit of bottom here and there. So. All right. A little bit more. I was muting. It went low. Maybe it is a little bit higher. Alright. Let me see where shoulders. Let me just purify it. Shoulders not the elbows. Sorry. I just confused the names. Really sorry for that. Being seeing they are in a good place. Imes part sear wider. It less this part of the sep. Imes is more like that. Make the abducten muscle pop out more. All right. Make the queens go on the way to her. I put a little bit more of mass. Here in the police area. All right. Perfect. I think we are good to go. All right. All right. It's a bit more flat starts. Let's put some indication of the finger. Just some indications. Off. Where the W to be? Alright. Let you find more this time. A little bit more. Let's see the fit. I think the fit is nice. She have the feet showing up, so we will have to make fingers there. Often, if the character use butts or choose, we will not make the fingers, we just going to make the general bool of the fit, but in this case, she has the fingers showing up, so we have to make the finger of the fit. Right, let's find more. Let's go landmark. Maybe this park not that long. All right. Me indication from where it's gonna be a finger of the heat Alright. Let's feel this part. Make it more soft. Slime more in slime more the belly bottom. All right. Let's make it bit more to find these lines here. He used the pinch brush with alt. Alright. Maybe not that much. Is back a little bit. No it out, not that much. The females often has a bit of fat here. Even if they are thin, they tend to have more fat storage in the area. That's what I'm trying to get All right. You think work with gold? Ben seeing. Alright. Think we are good to go. Like shake. I'm seeing here. I think we are good. Maybe push this idle bit forward. Yeah. So in the next video, we are going to continue finding more this lockout or this body. We're going to start making the hand and the fit. And we see if we can also attach face to the body. So, see you in the next video. 10. 06 Refining The Body Blockout Part6: Alright, guys, so let's start doing the hands. The first thing that we're going to do for the hands is to separate them because we want more resolution and the body to make the hands well, so let's click and split. Bit hidden. And now I'm going to separate fingers part because I don't want it, but I want them to have the reference for for the lengths of the fingers. Let's move after them just in case. So let's bin meas it to a higher resolution, maybe 128 would be nice. Is here W it up. Make kind of shape around here. Because as you can see here, we have kind of a shape like this. This is what I want to get for the palm. Alright. And then this is kind of what I want to get for the palm. Right? Well it's just to define some planes. And now we are going to use a tuxes right? So, let's make the middle finger. The middle the middle finger will be around the same it's the same length as the palm. So let's make it around here, maybe a bit thin, a bit thicker, thin. Yeah. Let's set it. And now let's place it where it belongs. Around here. I think it should be a bit thicker, maybe like this, working nice. Alright. Right now, let's shape it. Make some body landmark for the phalanx B. That making a basic shape. All right. What I want to get here is the placement of where the joints of the fingers are. As you can see the point like this. So I will try to achieve this at the point all the way up, let's try to get it around here, maybe. Yeah. All right. All right. I think that's nice. I think we need to make them bigger, maybe just a bit more. Yeah, let's duplicate it to make the index finger. I will scale it down and use local symmetry foodies. Set it down at it. Alright. Perfect. All that's good for now. Let's duplicate this again to make the ring finger. All right. And now let's duplicate it again form the pinky finger. The pinky finger will be around the lengths of the palans. Uh, will be around here. Forking? That's fork. Oh what? All right, so it will be around here. Pinky finger will be around this will be that phalanx or that joint of the finger. Let me erase this. And let's continue. We still need to shape more the end for this to look right. I just I am placing the fingers Alright. Maybe the pinky finger can be a bit thicker. Maybe not. It's let's remove. Let's remove boiling from the sides from here. Make them better. They think the palm is way too big now. Maybe we can print it bit. Maybe like this. Let's bring down the finger. Now, I think the fingers are really huge. Let me think. Let's see my reference. Scale them a bit down and make the pump a bit larger like this. Smooth it a bit. This pump is good thick or right now. Let's make it better. Make it inner. I still have to scoop alm. Let's remove ckness from this part. A bit more of thickness here also. Making it less thick. Think that like this would be nice let me see in full context. And looking. Maybe we'll still need to do a lot more of work right now. Alright. Let me use fac face mask or the clay BilockR? Maybe put tendon the tendons of the hands, place them for guide Alright, let me start the scope the palm. So what I'm looking for when I'm scoping a palm is this. I divide the palm in three areas, as you can see, I divide the palm in three areas. Is thumb part. This pinky finger or part where is near to the pinky finger. This is the part that is near to the thumb and the third part that is on top of the palm. And then here will be like some sort of a concave concave space, that will have a shape from of a triangle. So that's what I looking for here. Let's try to make it. Maybe we can make this a bit shorter. And let's start with this. I will draw the triangle first, and then I will carve these two volumes and add a bit more here make a volume that is on top. The top side. I shape more this stump it's looking really ugly. Looking really ugly. Jesus Christ. All right. And to make it better. One of the things that is difficult on doing on the human body is the hands. The hands are really not too difficult, but they are difficult to do to get them well. So let's spend a bit of time here because we want beautiful hands. This is not looking good. Alright. I think I will have to pose pose better with fingers. Makes them a bit thinner, maybe like this, I think, or maybe not. Let's see. Maybe it makes them a bit shorter inside. Yeah. I think that's looking better in it? Make them a bit thinner. Not that good. It's a bit. Let's see. Alright, let me save. Alright. Maybe with the inflate brush, we can bring down the thickness, sin, and click. I think that's looking way better now. Yeah, let's see from the far from this angle, this is looking really ugly. H better. Alright. Alright. Are more the joint parts of the thumb. Here, I want to get the thumb part. I want to get like this shape. Like this shape that we have here is like, here we have our thumb. This will be some sort of like this. And then it will go down. I mean that shape that concave shape on the nail. So let's try to get it. I like this. Maybe knock that wrong. Let's make this less thick. Maybe a bit more of landmark of the joint. A bit more of volume, the tip, the finger. Alright. Looking better moot always see your reference. I recommend you that important to watch your reference. Right. Maybe you can do this. I will first go to click out word. Make this less white, maybe and move fingers and place them closer. Like this, maybe. Yeah. Also, you just worried to know the palm here and the knuckle area. The knuckle area will be lower than the foam area. What I mean is this. I mean, if I have a good preference for this. Um let me see. Well, let me try to draw it. I palm here, we have the knuckle area that is this, here is the knuckle. I just can't see where is placed the knuckle and where the fold of the skin begin. But that's what I mean, the knuckle area is lower than the fold of the skin of the finger here. I try to make it. Make it. This, maybe we can isolate this and do this. Is a bit too thick, I think. Try to smooth it. All right. Let me remove a bit of volume in this part and also in this part. That's I recommend you to see all angles to make the hand well this part is looking odd. Let's put the ulna bony landmark. Right. I wasn't scooting in the other area. So let's do this a mirror and weld here. And now we have our symmetry again. Alright. Let's see. Right. Let's make a bit more noticeable the bony landmark of Dona. The una bone, it's the bone that is closer to the pink side of the hand off the pinky finger side of the hand. Alright. Always watch your reference I think that we are in a place that we can we can do another dynamish higher resolution. Maybe 200. Dynam. All right. Let's smooth. It's shapes more removed from shapes. Away think that thumb is really long in this area. Let's bring it closer to the palm. Oh, my God. Where is I'm right here we go. Maybe more close to the palm and maybe more like this. I think this is better. A more higher. Like this. Alright. Mode it out. Remove a bit of the off the booling that was left there. Add a bit more booling. Mood it more. Oh Take it. Water. Let's see. I think we can make it more so dump finger. All right. Let's see from this angle, the hand Let's move this area and make the fold. All right. Maybe I can move to the side a bit like this. Alright. Maybe this I can move it it like this. Alright, maybe make the finger here a bit shorter. All right. Let's see how this is looking in the full context. We are going to put a more relaxed a more relaxed pose for the for the arm. Let me see the size. All right. The hand will be around the same size of the base. I think we can make it a bit big bit more big. I always use the local pose and local symmetry for this. A little bit bigger. A bit better. Alright, I think that's nice for now. Let's make the knuckles here. These two knuckles from the ring finger and the pinky finger will be not that noticeable. The more noticeable ones will be the middle and the index finger. Make the tendons of the fingers. Then we go like this. Let's smooth them. Just to make them barely noticeable. All right. Here we have two tendons. We come from this joint, and one we will go around here and the other one. Let me show you. If I get a good reference, let me see. Alright, I don't get it. Well, one of the tendons will be around here, and the other one will go with the other tendons. But it's molded out this make a bit of a A here, and then smooth it out because they left a bit of empty space around there. Alright. Let's carve more here this part. Let me isolate the hand. We can do this. Do some more shaping. It is the tendon that we have that not all the people have it, but it's good to put it. Like that area look more realistic and more natural. And these ones are the tendon from the flexor one from the flexor muscles. Right? Let's align them with the arm. We need to put a more relaxed pose. But I will make it later. Let's eg. The d of the joint here, those lines. What it a bit maybe not that thick. There also the fingers here. Always watch that jaw that line is aligned with the knuckle, with the joint. We a bit too much, not lose shape and a bit of detail. Let's make things a bit more pointing like this. The same shape that we have here maybe make a bit more subtle in this area to get away from the oxy shape that we have on the tip of our and here. Alright. P a bit more and see who is looking from this side. Alright. Maybe we can wrap some areas to line more with the angles of the head. Move parts another part. Alright. All right. Let's finish this part here. All right. Make this less thick because that doesn't look that good. That's what I'm doing here trying to remove that those volumes do not make that much. All right. Let's make the pinky finger more pointy and less pink. Now we are our hands looking better. Right to shape it more. All right. S, we have a bit of discrepancy here. Make a bit lower that area. Right, I think that's good. All right. Right make more visible the knuckles. Is a bit the smooth. All right. Let's see from four angles. Let's make make more visible the bone here. One that we have in our palm. All right. And now in the two fingers, we have two of these lines like this. And in these other two index the pinky finger, we only have one. Let's make more good at a bit more pf a bit more here. And now let's make the fold that we have in this area of the thumb. We have a fold that comes like this from spear Spear I always like to put it. It makes the hand more natural and a bit more realistic. This is just skin that is folding. It can be like this. One coming from the thump and other one coming from this size. Alright. Alex bit more Yeah. A little bit more in this area. Alright. More south east forth. And let's make the lines of our hand. I will try to make these lines now that we all have. So let's start with the first line, this top one. I'll be around here. The other one will be around here, maybe with some lines going like this. Maybe we can smooth it out a bit. Put it out more sngth of the smooth brush. Alright. Bit more of its fold here. And now let's pose the hand to make it more relax. Let me see if I can find you image for the pose that we are going to make with the hand because it's a relaxed pose for now. Let me I thought I have one here. Uh we will try to make it more like this. So let's try I will use this lasso salt brush. I will hide this one with alt. A let's use the lasso mask and then invert the mask and use the transpose line to move the fingers and mask each joint fold it nicely. Alright. A here maybe. Yeah. One a bit a bit. Now, let's remove or not. Let's remove these ones. Just d it, not let. All right. Let's post this part to the transpose line. I not that much, I just dt. But now, let's update this joint, and then the joint. It's a bit. I like this. Oh. Just aligned, er, the finger. Try that again. Right. I like this. All right. We can also try to make them a bit closer. Let's make this one. Just a bit, not too much. Let's mask it around the joint. Make it more than like this. I think that I bend it too much. Maybe not that much. We can just put a little bit. Just a little bit. I don't want it to bend to bend it too much. A bit more. And now let's pose the pinky finger. All right. Let me just move a bit more, the pinky finger at it again like this. Alright. I think it's too much still. Maybe not at lunch this time, maybe just a bit like this. I see I'd get it right. My taste. That would be nice. We can also move a hand more like this a bit more closer. All right. Make it more natural. Alright. Mode it. So here we have our hands. Is a bit. Shorter. Yeah. A bit shorter also. And here we have our ends. We can also put the nails. We can try to put it now. But I think we need more resolution for it. That's right. Let's see how it's looking from the fore body. Let me see a proportion of the forearm. All right. The forearm should be around the same size of the arm. I mean, this part here should be around the same size to the shoulder joint of the the arm where the bicep is, maybe, let's make it a bit more shorter like this. Alright. It's safe. And now let's put some fingers. Let me move this more like this. Alright, let's put some nails. No some fingers, some nails. I maybe misspell it. All right. So the nails will start at the middle part of the final phalanx. You see, at the middle part around here will be the start of the nail. We can shape it. Let me see if I can find you a preference. We can shape it like this. You can see, like a new shape around this area. Make this shape around and then that flat round part, and then the flatbre. And make it more round like this. Let's use the dam standard to make it sharper at the corner. Then the same brush to carve more under the nail, make it pop out. All right. Let's make the same process in the other fingers. Let me remove perspective for nil. All right. The same method that sunder for the corner, and then for the carve under the nail, the nail will start at the middle part of the phalanx. Maybe refine more these shapes. Like more of pulling on the nail. We will have to refine more these parts when we have more revolution. Alright, maybe a bit smooth. All right. Let's make it and the other fingers a bit of a nail here. I'm stand to make it sharper and then carve under the nail. Make this more round. Alright. Make this a bit more flat. Okay. They how this looking from the far, looking a bit clear. That's right. Shape look good. Alright. You can add a bit of folding in this part. Make illusion that the nail is coming out under the skin. Coming out from under the skin, right? Looking better, I think. Yep. Looking better? That's safe. All right. Let's make the other fingers. All right. That's carve in this area. Makes the fingernails bit better. Alright, let's do the final fingernail. Pinky one, pink finger one will be the same process of using the dam standard brush and make things sharper I All right. Right to make each ER. We need more solution for the arm for the end. All right. Let's floating better. Let's attach the end to the body. What we're going to do is, well, we need to first if we don't have to do more tweaks because our body will have a lot of resolution that will be hard to control the shapes. But it should find more the body, maybe. Refine a bit more. Is on Is muscle here and smooth. A bit more smooth here. Alright. It all here. All right. Perfect. At more twigs. Make the shapes better. Smooth it out this bit. And also this part here. Alright, so let's attach the toms. We have 224 for the solution. We want to put the same value here. But first, let's go to the part merge and merge down. Merge and 12, two, two, one. Allow. Now it's dyna mesh it in 24, not lose solution on our hand. Now we have a lot of polygons. That's what I was floating about that we have a lot of resolution on our body once we dynamie it in that resolution. Bit of smoothing, making the shapes move. We can use this make a bit more fier Finer height Like that one, maybe be fine belly bottom. Once we have the bits with fingers and all the stuff, we are going to attach the head and then run a si mesh. And after that, we are going to start locking out the class. We're going to start locking out the class, all these pieces, the armor pieces and all this stuff. And then once we lock out those shape, we're going to start making the sword. So let me just do a little bit more of work. From this on more like this. Bits. Maybe a bit thinner in this area. Alright. We bit more. My 210 times here. Me spill. Alright, Lake more of refining. To make this night error. We need a lot more resolution for the hands. But we're going to address that later. Alright, guys. Well let's leave it in this page. And in the next video, I will start the fifth. And after we finish the fifth, we are going to attach the head with the body and then start doing the blockout for the clause, the blockout for the hair. And after we have done those blockouts, we're going to start doing the blockout for our sword. So, did you in the next video 11. 07 Refining The Body Blockout Part7: All right guys. So let's continue with this body. We're going to we're going to make the fifth and we'll see if we can attach the head with the body, or we're going to do some overall tweaks to the shape. I think that need to be improved. Let's see, I think this arm here maybe can be improved more the shape, for arm I think that can be improved a lot more. I don't like it, it's looking. Well, let's see. Maybe adding more work here do not make that we'd look conceal it. Alright. Let's see. I guess I'm wondering if we need to make the hands bigger or not. Yeah, I think the hands are too tiny. Too small. No, maybe we can try making it making them bigger. Alright. Let's see. And or to make them bigger or just a bit at much see. I think the tigger is better. Well, it's right to make a bit of the plain in the scapular. Mark more this part of the chaplain sheets a bit make this much So some smoothing. Here. A more smoothing. Here in the pt. Man. Here. Let's do it there for now, the trip for the body. Oh, let's make the fit. I'm going to make the fit. The first thing that we're going to do is to separate the feet from the body. We're going to separate them. The heading. And then we are going to use this brush that comes with some fits because I don't want to make them from scratch, so we're going to make them from here. It should be in old version. This brush should be default in old version of cbrush. So maybe we can try to use this as a base, and then continue working from there. Let's try to place them. Nice. See. All right. Alright. Let's see. The feet should be the half size of the calve. I think these feet are a bit big, maybe a bit smaller. I think that work. That's how the fits with the blockout. Let's see who just looking. Maybe just a bit bigger. Yeah. Let's try to shape them a bit more, write them. S shape them. Since I have Bferen for theft. I'm going to try to add those shapes that you can see here. I will be focusing more in the shapes that we have here. Is this shape. We have some concave space here. I mean, so for the finger, you can see how they go. When they go, they go like this. No, all that stuff, I wasn't going to be making That's better, Tim. Okay. Right, the add a bit more of explosion. We control them. Let's remove a bit here, add a bit more of mass here. If it makes this a bit bigger. I think the I think the the fingers need a bit more of volume. Yeah? Let's go a bit more here. I'm more this part, let's remove the perspective. Or now. Alright. Well, let's shape the fingers. I will be shaping the finger kind of like this in this image, and see the pink and small round, one more pointing, slightly pointy square and wet shaped. I try to make that use the ftopli that we can be found here in this part. But Alright. Is brush allowed to move things that without affecting the other part that are not connected directly with the area that you are selecting with the brush. Alright. Continue shaping this. Make them more like normal fit. It's Let's see taking shape now. Make this a bit pointy, but not that much make. Yeah. Let's make inky finger will be a bit round. All right. So let's try to make the other shapes that we can found here. These shapes of the fingers in the top area. Let's make start. Let's start from the thumb and find those thing changes. We have to see we can have a bit more resolution for this. We can also use the He polish define more the planes. It's a bit thicker, right. Alright. A bit weird. We're shape. Let's try to. Alright, let's continue with the other ones. Something I like to do is end of this. Maybe we can through this or maybe not. Sometimes it works, sometimes it not. It doesn't work. Alright. All right. Let's continue. 12. 08 Refining The Body Blockout Part8: We'll continue this. All right. All right. And make that define multi plane changes the fingers. Let's make the other one using g polish to define those plain plans. Right. And then for the last one will be only one visible here. Like this. You can try to add a bit more mask. Let's make the clay builder with a face mask. Right? Right. It's good to have a bit of separation in the fingers. So it will be here for the trigger to reach them. Alright, let's try to add more podium out here. So rices where the things are joint. It will be a big one. All right. Let's continue. Let me see my reference. Mike is. This can be. I Alright. Watching preference, it's always important to watch. With reference, I will not be tired of saying that. B important to watch your eyes. All right. Alright, it's moving more mass in this area. A bit. Bit of crease here. Maybe it's part a bit more like this. I think right, we need to make the net marks. I think it's the ankle, all in English. The ankles. Alright, like this aculetendon more visible. M out a bit try to keep it warm. Alright, let's make the tendons bit with a dam stander and smoothing them out. Is a bit. Alright. I Right, perfect. We have some basic bits. And we need really more solution to make them better. I don't want to keep working with this topology. You can see if Seb wonky this topology is helping me. Strike merge. I fits with the with the body. We can try do something safe. What is, this one doesn't kT doesn't work. Let's mesh down. And with a big resolution, we're going to die and mess it. Maybe 300 or 300. This maybe can work. Yeah, it works nicely. Give me some ver shape. All right. Let's try to smooth this smooth this. We really need to do the serie mesh process now. We have a little hole. For these types of holes, we can here close holes. You can see it fixed. Let me see close hole. Where is it? Worth it? Here a bit more. All right. We need we really need the remains. We're going to make it now. First, we need to We need to attach the head to the body. We have some merged vertex. Try to delete them, then do a close hold. In general, making his checks. You can also watch D six for reference. Because if you have phantom fits, you can use them reference. Instead of looking image from Internet, you have a real real life reference in front of you that you can use. All right. Right at a bit more volume, try to refine these parts more. Baby. Alright, leave it like that. I'll try to attach the head to the body. Let me duplicate the head, duplicate the body. We're going to delete them later, but not now. I just want to have them as a cup. So we're going to merge the head with the body. Let's do a merge down. And now let's do a peak dynamis maybe 320 All right. This is how measured. I the producing bag. Let's mode the neck section here. Alright. Let's see the feet if they are not wear or freight. Now we can do some syrmsh we're going to make symesh will be easy. Okay, we're going to duplicate this. Let's this, and then we're going to use this brush here that is it comes with zebrs from default. Syrmsh kite, the s. I'm going to make the kites like this one guide here, another guite here. Another following kind of all the topology flows in a good topology environment. And a good topology character, the plate of the faith flows, and then another guide that comes from like this in that area. So let's continue. Make the Wild it. La another guide or the mouth itself. Or let's make one that comes from the nose to the shin like this. Trying to imitate the Nsega fold around there. All right. Let's make one for the eyes. Another one for the eyes. The the eyelid and all that stuff. Alright, let's make another one comes from the shin and goes up to the forehead like this. And now we are going to use this option here. In geometry, you can go down and click Use fully paint. And we're going to paint the head with this color that automatic automatically in our brush. Is what going to do is we'll add more solution to the face than the other parts of the body. So now with this met, let's make a pig Pyramsh maybe. There's no 15. Right in the syrmsh. It will take a while, so let me pause. Alright, the serums is finished. Let's see how the topology is now. I think it's kind of I can't work, maybe we will have some troubles in this area here, but I don't think that's a big of a problem. Whatever, we're going to make another model with now food topology. We're going to do aphtpology of the body early. But for now, we're going to keep this su mesh. It's your measured body. You do more tweaks, more refinement and start working on the clothing, walk out and all that stuff. Let's do one subdivision. Let's get visible only these two, this is the measured body and the other dynaasured body. See. Body mesh. And Body mesh. Let's hide the ice. All right. Only to visible. Now, let's let the remesh. Why going to do a project O without the color? Reject O. All right. Let's see how this went. Let's do another subdivision, another reject O. See. I think this will be enough for now. Now we have our feet attach it with the body, and the head, also attach it. Well let's make more twigs. Let's hi hide the eyes, the eyebrows, and the eyelashes. Alright, let me see if we can find some oppose. Make her a bit more alive. Make with a darker color with this GB channel selected. Do I feel up yet? His Nice. Let's make a darker one. Alright, I think that can work. Just to make the eye more alive. Right now, we can do a lot more of improvement to the to the body. Maybe more twigs here and there. It's here and there. Right. It's M. He's a bit better, more volume there. It it heals more like thing. Alright. Shape his knee a bit more All right. Make this more like this. It's more of cause here we have the medial epicondyle and here is the lateral epicondyle. So when the arm is straight, this will make a line. This will make a line. And when the hand is bent, we'll make kind of a triangle. Right. More twits. It mark twigs, mark more the muscles. Maybe we can also mark more the shoulder muscles. Maybe make this more stronger here. More like this area. With the pectoral look that much, like you can make the clavicles more W the plane change more noticeable? If it is part so which now try to work on the face. It's smooth. Mark more the ss. We find more the corners. We can fit its shape here. Make the two bumps of the lower lip more visible. So. Et's make change here more visibles. Alright. Let's carve here the nosetirl. Let's define more this nose. Alright. All right. Move this part to make it not that pixel lighted. Here, we can make this eye all here, more pronounced. Now, let's make the corner of the lower lip more sharper. All right. Let's make some. Like them. Area here. Oh, right. It's more risk. Here in the lower eyelid. A from the dum. All right. Make. If you want more angry or name. All right. All right. Now we can maybe can try to do some hair lockout. Let's try to do it. Let's a paint here. With this logging here, see color. We're going to activate it. And then another window will be will appear. And with this window, we can color pick colors that are not inside cebrus. Like, I can color pick the colors that are from my Puref like I'm doing here. I color picking the hair. And now am I going to do a peel object to the sphere where that we just append Let's carve, start carving. Alright. Let's make Alright. Let's make, like, these two Um, I hate this. Alright, let's try to make this thing here first, and then we're going to make fun part. And the last we're going to make this part, Lou. No, let's try to make it. I think I will separate the hair in three parts. So strike with the Mfros I'm going to select at curve. It can be found. I think it can be found. I don't remember. Or it's found in stroke. Oh. Well, if you are using my Z CY, you can find it up here. So, let's continue making this straw a bit, like the general flow. And with this brush, let's try to shape the these hair parts. Let's try to make this hole here. Move the apples. Even the front view, it can be light ds. We put it again, the chive. We can try to to do this. Think it. A bit. Let's make this wall up. Maybe we can add a bit of transition here. Let's make exert few. Alright, we have a shape here. We can also let's do a semis with a low resolution, maybe 60 56. Right? Is there something there quick? Uh let's continue taking kind of the volumes that we have here. Maybe the front part is not symmetrical. So let's try to improvise all the front parts look. If it's not symmetrical, let's see we have own parts. Here rape me. These shapes. Then we have We have this part going like. Let's try to rank up the resolution. Alright, I think it better now. Just to define how the air is working in this area. Alright. Then let's try to make another hair I think Maybe All right. Flowing. It's right to work more on the silhouette. Baby. Tk here. Right to make this. Now we have to work in the back part. A moment I will do it. Give me a stick. Alright, let's try to work the back parts. Let's make the big shape that is kind of like this, maybe. Kind of like this. The big shape. Let's make this warm. Not that long this back part. Let's remove the aqua curve. What Acucurf does is, you can see I have my mfroHT goes. It's more like this rounding shape. With the aqua curve, it goes pointing like this. It can help to move parts like this point more better than if we are using a fro without the aqua curve and see how this goes. A have for their function. So what are useful in different scenarios? Right way. Is part like this? And to get right shades that we have here. If we can make back part and to get good silhouette from the front, we don't have a front view, so we have to improvise it. Alright. Let's start making those strands like these strands. Maybe make one like this here. Let's try to make another one that goes up here. We wolf like this Maybe. We have one that goes maybe like this. In this area. All right. Continue making this. If we decide, we can make metrical. A I don't like it how the hair is going on on the front feel very hard to get a good looking cigarette with this hair makes it look nice. A bit hard, you know. Is can be more. Like this. I more stick to the same then these parts can be more white. What I'm trying to do is to get some sort of looking piled on the side of the head. Just hang on getting some one that looked good. I and do more. Adding a bit more of strengths here. We need to get a good looking sile body air on the front view. Getting any one that looks good. We are going to need to parate parts. Work more freely. We have another run. We're going to use fo for this strength. Made it dip thinner. Or not this but is thicker dip thinner. Let's make some sharp angles. They make but more thin mid make it look nice. This ran here of pick the Is picking with this Brand making the cigarette. We're separate the strength. Maybe we can make that part that we have raise more to the side. We like this. This is your trying. This is just some sort of prior error. I'm just experimenting with this area to make it to make it look nice. It is just a weird type of hair, maybe. I think inside, the side looks kind of good, but in the front, though, it doesn't. So that's bothering me. Find a good looking silhouette on the front, the head. It's Really weird right now. We. I make this bigger. A more like this. Maybe we can we're getting something good now. A weird shape, but I think it is working now. Maybe we can always change it later. This is just a blockout. It will not be by any means the final shape. Right. Make this lower part Babe. Without a curve. Takes a bit of a deep here. Like this a bit nicer. I also can make more stuff like that here. All right. It's theory. We're I this is not working in that part. Let's consult C. Remove it. Et me see how the head looks. It's even. I not that much. Alright. I think I will leave this video around here. We'll be continuing with the rest of the character. We're going to start making the the clothing. Now in the next video, and we'll continue with the air blockout later. We're going to refine it and make it final. This will be will be not by any means. The final form of the head, this is just like an tch of the hair. So let's in the next video. 13. 09 Refining The Body Blockout Part9: Alright, guys. In this video, what I will going to do is refining more the face. I think I need to do more refining on the face before going to the blockout of the clothing. Maybe I will do also some refining when the air is cooked. So let's do it. This maybe will be a short video. Let's start. So the first thing I'm seeing here is maybe we need to make the eyes bigger. I have a layer here. This was just because I did some little adjustments off camera. So you can see the adjustments I have done out camera. Let me bao Alright. Let's start. I think the eyes can be a little bit bigger just to make it more stylish. You like this. Keep in mind to use the local symmetry. Maybe a bit. A bit. Maybe like this. Alright. Maybe the brain he has too much pain, maybe. All right. It's shape better. The eyes. Also keep looking into references that you have. Maybe we can also make the nose a bit smaller because we made the ice gear. We have to compensate that in other areas. That that much. Who knows I still looking eer My taste. Didn't completely liking her. I working on this? Maybe we can make the eyeball bigger, awesome. The eye shape is pulling me out. All right. Let's see. Let me some weird thing here. Let me raise this. Be we don't need them. Maybe we should do is try to make the eyes a bit lower maybe like this. Make the face a bit smller a bit, not too much. Let's see if our proportions haven't broken. They're a bit talking, but that doesn't matter. Et's see from this angle she's making. Maybe we can make part more parts more like this. Make her the front of the face a bit more cool. I think is looking better now. It's at as awesome. A Right. We can make the ground a bit longer, in. From the far, she's looking sports kids. We can All right. Maybe can be in. That a bit mass in this area. That's why you should look in all angles when you're smoking because you can have volumes like that that in and you don't see it later. Well, that's why I like to keep looking in all angles. Just in case we have some of those dims. Alright. You can make this index and the ring finger a bit molar something they this part out at point All right. I should they can be a bit more like this. Is the difference? Yeah, they can be absolutely more like more uppedd than as for me. The portions of the bits to thempa to the body. I think they are. Alright. We a keep tweaking the face. Right. I have a perfect data. I turn it off Yeah. I think she's looking better. These are just small tweaks I'm doing just to improve the overall shape. And I'm using a specific reference right now. It's more like I'm using more artistic freedom in these parts. And my feeling of if it's looking appealing or not, at least for my taste. Right I the eyes a bit a little much rotated size. We can't make it like this. It's a bit cross. Alright. Split from this angle. Right. I think she need a bit more Mass in this recorder bill et's see with the hair. Maybe we can make something here. I will separate the hair in three locks. I'm gonna use the lazos and legs. I will separate these front part. To from the side part from the back lit hidden. And this side part part. I separated from the back side. Now I will dynam it. It's like this. As into grazing. This one, too will dynamic. All right. And this one also aradya. I'm just removing, like some parts that extends our waist waste polygons as good as I like that. Let's mesh it. Because if we leave these type of polygons, it will cause problems. As you can see, we leave I wear off and I don't want to. I go delete them and In mesh. So I have more freedom now working with the shapes. Let's see how it looks better. All right. Experimenting with a shape here. Trying to see if I find something that looks at this strand here. I kind of has some strand like in this area. Is and again, All right. Maybe not as much here. A we can erase these parts here, M it more. MbO living. Yes. Or more more silt on the phone. This is just experimenting with a shake here. Trying to find something that I think that goods for now. Mm. I think this looks white, maybe. Maybe it is a bit more pointing. Here also baby, yeah. And this part, too. Let's remove what you're saying. Hello here. It's a big one. Alright I think that would be nice. Alright, we have some air blockout. I that is not completely like the coset. Will we make it more like the coset later? At least have irradl shapes of the concept. Alright. Let's keep. Working on the pace maybe. Maybe we can as this. Okay. Nice about. More. Alright. Let refine a bit more the ear part. E Maybe that was a bit too Right. Maybe we can n plane. See how it looks like that. I completely like it. Like more with the plane changes. Make the neck a bit more thin. I sparks on the bad. Here. Baby hair. H. Alright. Let me make low where eyelashes. I'm going to use the M warf here this MM cf and going to use this white strap. Make a bit of a lower Eyse bit. Fever Alright I'm going to separate it with this gray this gray color. Then I will use the pinch brrush to make it more pointy. There's some insiders to not make it so thin. To place this eyanch All right. That's see. I think it's looking way better now. Wever we maybe we need to keep finding we can. It's a bit more fun. Make the Wag. Not that si Make more of a junk face. You can shake the face. We can make these lines here. Just that line. All right. We may make a bit in the bridge of the nose. Of the eyes. It made them a bit the eye the the eyelashes and see, this is working. It is good for the eye. That's week a bit more this It nowhere in how it was looking before, how it looking. At a bit more of solution more of cleaner. It like bio Right. Is refining more d. I eye fall shape here. Alright. Tour on the eyelashes again and turn on the hair. Alright. Maybe this part is too low. We can make it warm up like this. Facing now the hair, it's looking nice. Maybe this What? Maybe D me see fabric morph saturated. Yeah, why not? I that looks good. Or maybe not. B raised a kid space here. I write. Let's say something. Let me use another what cup? Maybe we can use as you see all the shallow parts her. A these are all subtle changes that I'm doing just to improve the overall shape because I want to have something that I feel that is in a good stage before I can pass to the other to the other part. Mining here All right. Miss something. If I'm doing this, this loop on the front. Mm. It's something that I'm not liking it for or the ownershipe of the fence. In this part, I'm doing more the sync with my intuition more than using specific reference for this. Yeah, this I want this shape. Now, that's round this shape. That's ripe to egg that. Without destroying the other shake with this with the hair. I think it's looking better now. Alright, let's put better the neck muscles here. The neck muscle comes from the back of the ear, all the way to the sternum, and in the middle part of the neck, it divides in two, and this part goes to the clavicle. Alright. Let me more patience. Let me see my Oh it's looking my proportion scale. I think it works. It's just for me, she has a bit of multiple pleasures. Alright. With more subtle changes here and there. They are too subtle. Even more defining this line here. In the concept, she has kind of a line line these cards and trying to make it. Also defining long shapes here with a dam standard. It's making more Ish these five. All right, I'm going to carve here. Will you find this mo more? Now, let's find some food here. Make the turn a bit more lose like this. All right. A bit. That's safe always important to save. David here. David the ***. Not that Long. Looking up by reference. All right. Let me see if I can do more changes on the face. Improve more the shape of the face. Maybe the nostril, that's what you can do. It more scarf here and there. I just bit more more like this. And this parts more like this. All right. Perfect. Ve. If you don't want to make this like little changes I'm doing, you can just skip this video and just go with the other ones. Like starting cutting the clothing. Love help. This is just I want to paint a bit more. I'm doing these little twixsing these twix just to improve the overall shape. All right. Let's see the hands. Maybe we can make more define the nails. Bit more of definition here. Let me isolate the hands. Alright. All right. Let's continue with the other fingers. Because they are now a bit blurry. Just want to find them more. O ramp. All right. This is just a boring process. You know, this video is a bit boring because I'm not speaking too much or explaining too much the things I'm doing. It's better just to watch what I'm doing than me explaining it because most of the tweets I'm doing, they are just tuition. Reining in the moment. I'm not following a specific reference. I just using my experience making other characters, try to convey something good here. Alright. Lance finger here. Maybe we can also have to make the toenails. Maybe we can make them later. Or maybe we can do it now. Well, I think I will do it later. Why more mold. And win more. We take more sin the calf Alright With more sin. Like. Well, rise. Something sook in the air now. He that beat. Yeah. Maybe we can add just add that that part. That's too much. Let's do some control C. Oh, or not. I think this part too much right now. Alright. I think that's a worn now. Um big here in the back. It's smoothing. Darpening here. Ike a bit more to find the separation of the vertebra. More smoothing here and there. It more folds here. All right. If you want to make the nipples on one more, you need to have in mind that the nipples are not looking forward. They are not like this. The nipples looks more like this. I don't look straight to the front. I don't look straight to the front. They look to the side. More like that. You can see it's looking people's just put in there where they should be. The the breath look natural. Bit more natural. We just can put some indication, but not define it too much. Alright. All right. I I think we can leave it in this words right now. So in the next video, we should be starting the blockout of the clothes and accessories and all the stuff. I'll see you in the next video. 14. 01 Blockout Out Our Clothing Part1: Alright, guys. So in this video, we are going to start the blockout of our clothing. Let me bring up your references. So we're going to start the blockout of all these clothing here. We are going to start with this part first, with this part. And then we're going to continue with the jacket and that stuff gonna start. White fody. For this part, I'm going to use the masking method. I'm going to use mask Lasso. And then I'm going to make a similar shape that she has maybe see me now? Raise part of M facts that are not really relevant. All right. Making the spot more like a swimsuit. We more like this. They have for fat. Angle Here. All right. I think they should work for now. Let's remove more. If this mask it's open more. The breast area more like this. And we move more on the shoulders. We like this. Can be nice. Is one let's put it like this. Let's remove more here and more here. It's just making like kind of a Wimsut pim suit shape. Alright. Let's eth. This stuff. All right. So now what we are going to do is here in strat. We're going to make the thickness zero, zero, and then we're going to press extract. Is we make kind of of a mesh with the shape that's the mass. But we press extract and then it's important to press acect to accept the shape that the extraction created. If we don't press accept, it's just simply going to delete. Let's see. Alright. I think we can work with this. This inflated a bit. All right. And now we're going to use the ser mesh, before we can add end of this type of shape here. Make it look more like welding and make it not that in tight. It is. Right. Builds dolphin. 15. 02 Blockout Out Our Clothing Part2: All right. Let's continue here. Um, what we're going to do is delete this part. Let's isolate this and delete this part. There's a death here. And then we're going to use the polish by features here. Maybe we can grab this and push it to the side. Maybe not. Mm. Alright. Now, what we're going to do is we'll do a smash with a body count of 1,000 here. Let's see what this gift cost? All right, let's wait for this to finish. And this gives us this geometry that's in the middle part, it's a bit wonky. All right. Let's fix these areas that are looking really weird. We have some weird geometry. Let's stage this point here. I'm using the Emulor you can find it. Here. Here you can find it. And if you go over vertex to press space, you can see that you have a menu here where you can find a lot of actions that you can do with a vertex. My case, I'm using stage, and this is just for well to do vertex together. That's what I'm doing here. Now let's continue here. This is a really troubled area. So what we're going to do is to wrap it and push it to the right side because if you push it to the left side and press mir and well, you will have now super weird geometry that will not be useful. What we want to do is to delete this part, so push it to the right side without symmetry, then press mirror and weld. So we have delete that area, and now we're going to do another S mesh. Alright, now we have a plane geometry that we can form with. All these parts really don't like it. Maybe we can stitch these together here. Right. All right. So let's use the C Color atom from rush. And now we're going to color pick. We're going to color pick the color of that part of the concept. Like the and then go to do a field uptick. So let's push the parts that are clipping with the body. Alright. Let's shape this part. We look more at the concept. Alright. Let's make it. More like this. I'm going to active the double side option that you can find it here in display properties where you can find it. You activate, and what this will do is make the other side of the polygon visible. If you have one side polygon like this that is just really a plane that doesn't have any thickness, and you press double, you can see the two sides of the vertex of the plane. If you deactivate it, you see that the other side is just invisible. Well, let's continue with this. All right. I think that we can make the breast a bit close together. Let's make it. Excuse me a sec, refining the shakes the pack a bit more. And now let's make the breast. Los together. Let's remove the mats. Alright, let's go to the first subdivision. Let's use the lasso. And let's mask the breast. Remove the mask from the head. All right. Let's make it. Let's mask this area, remove the wanted mask. And let's invert the mask. Maybe do one right click. Let's see what we can do here. I think it's better for us to use here the kism All right. Make it this gem. Let's make something big here. I some mask that we have bit of were asking Make sure do not make it too close because this will happen. And we don't want that to happen. Maybe it's manor ground, we can make it close together. Inflate. Right. Now let's more visible the Let's make visible ship here. I'm making it closer because here the breast of here is looking that they are close together. So let's make it like that. And here, let's push it. Match the new position of the press Right. Let's con up the resolution of the party. Right. Perfect. Let's make these part. Let's start. Maybe a pido ish. Dark bluish would be nice. Maybe maybe more grayish, bluish. Oh. I think that would be nice. Right? So, let's make now kind of jacket mesh for us to work with. It would be easy. We are just going to we do simple masking. Let's use the mask glass of brush. And then on the middle of the upper arm, let's mask like this here. All right. With the mask pain, let's erase the middle portion. More of the middle portion. Right. And now we are going to extract like before. Extract. All right, inflate a bit. Alright, so let's make a quick su mache to get rid of this amount of ometry. Maybe we can do lemon, the silk consts here. I don't think it's good enough. Let's see. Let's inflated M. I really don't want this Fia here. I really don't like it. Let's see if we can rest this part. You can see that we have some weird geometry, let's erase this polygon using the sea modular rest over pura cursor over the polygon, and then let's space, delete and just let's click it. Right now, what we're going to do is to make a new space between the stuff to close that hole using the same brush in monorO the edge, press space, and then use reach and g the two edges. Right. But before now, we're going to need to do another math because we have really wonky geometry. This is kind of better. Let's make this more flat. A jacket is not attached to the skin. It's loose. So it doesn't have scene that has the same shape as the body here in these loosen parts. Let's make another mesh. Here. Give me a stick. Slide more of these parts. Let's make another sir mesh. Natural right? Let's use now this brush slice brush. Be we want a good loop of geometry co around the shoulder area to get better these sharp transitions here and these nice ***** part here. So let's use this slice curve. Now let's let's make it like this. Press out to make another continue the curve and release it. As we're going to see, it will make a soldier group. Let's mirror it and then mirror and weld. Now, what we want to do is use keep grooks that is here in the geometry area here down the irs part in the Crimge part, we can press keep grooks and then do a sr mesh, will keep the polygroup that we have created and make it more more nicely. Keeping a good loop between the two ones in the two polygroups. Now we can make these parts nice and sharp as they come We can try color pick the color from the concept to light it with the mesh. All right. Now, let's make sharp this part. We want them sharp, not not round. Let's delete these two polygons. And then we are going to use on top of an edge, let's break the space and then extrude edge edge here. And we're going to struch the edge. We have some weird bubbles here. All right. Now we have this sharp transition here, this part. If you press this one and form in a round shape, let's do kind of the same in the neck area we don't want a round shape there. You put back the lasso and let's extrude the edges. Alright. This Now, what we can do is make better the neck neck parts here that we have now and make trying to match the shape of the jacket. All right. So, let's use aqulos to manipulate better better the clothes yes. All right. Egg it a bit lower. Ek the mold back or All right. So now I think we can make another sims. Like now. I think that will be nice to another sir mesh because we have stretched bodons here that we don't want to another smash. Mm Let's do another one. I think this. This one will be nice. But now we have again these parts. Well, we can leave it like this. Doesn't matter too much. We can fix it as we did before. But let's have good meshed apology before doing another fix, not lose time again. Let's make this charp And then let's make this part. Me up and more like this in the size All right. Let's mache. These parts better? Alright. Now is It's taking shape. It's having fun at night. Maybe we can make this more backwards. And we have this sensation here. We can make this next part, another olive book. Let's look it. It's isolated. Here. Isolate it. Right. If you press with the lazos net on top of an edge, you can isonate edge loop like this. As you can see, you can isolate edge loop. If you press the control have with lasso net, an edge, you can isolate it. Let's be and press ton W. Right. Et's do up the syrums with the p Kip groups activate. Alright, let's make it a bit lower. I think this would be nice. Let's put again these parts sharp. That's the thing that the kip groups make the sharp parts round. Sometimes it's good, but this time is at that handy. All right. Let's make this part up again and make the step here. See how we can do it? Maybe we can use these two. These two loosen flops here to make that step. See how we can do it. We can use the modior then extrude these ones. Used against moder and this time, I'm going to use insert to insert ane trope. And now on top of hypertex let's use Stitch well these two polygs here. Now we have that step. We have the jacket. Then All right. All right. Let's make that part sharper. We also need this leaf be more more thick maybe longer. Let's use my mask glaser. Here. Just a bit not too much. Maybe like this would be nice. We don't have enough ometry. Let's add it manually and not do another sir mesh because I don't want to destroy the thing that I have done is add globe here with the insert atyn. Right. Right? Now, let's make some volume here. Maybe a bit of volume. Yes. Put some indication of some shapes and stuff that is happening here. Alright. Now, let's make we can make this middle strap and then this cloth here that hanging over the strap. What we're going to do now is duplicate the body, make it to the first subdivision, deli it higher, and now we're going to use the rap white strap brush here. And remove symmetry. And if you press a chief while making the fourth and putting outside the mesh, you can create this round closed loop that goes around the mesh, can use it to our advantage. Alright, let's not do this method. You can use it sometimes, but sometimes it's it's spooky. Let's not use that method. Let's use another method. It's with the mask las mask one area. Let's refine a bit more the mask. And then we can use the extract here. In fate, put it this time to the lowest solution. We have these nice big polygons that we can manipulate either. Let's do another sushi mesh, maybe rotten one. Another one. Mm. It's much geometry for me. Let's see here in town geometry, we can select half here, to another supermatch. Maybe another one. Another one. It's not changing. So, let's try to Let's leave like this. I use the gizmo, make it more more thin, maybe. Let's make it. And now let's shape it more. With this, we able to wrap around the waist area. Like this. Your patterns are clear. All right. Let's use the polish ferns. Let's remove the middle edge looks. We do not have that weird concave shape. Alright. Let's color pick the core for these frap. I think I didn't apply the color for the jackup. Let's apply it now. All right. Now we can use again C C modor and use extrude polygons. Extrude the mesh to make it with thickness. Alright. A bit warm. Now, here, we can make the mesh with the hanging clown toting part in this middle part. All right. What we can do is use the mask in mask just a portion of the belly like this. And now let's use extract. Applied it. Right. Do a syrums with 0.1. Let's shape it a bit pattern. Now with the GiSmo we can make it longer like this. Make it longer. All right. It's a bit below the mean. It's a bit, maybe but not too much. I like this. And then do pos p figures. Make the corners sharper for the sil map well. Let's make with 0.1. Let's do another one. Alright, let's make whit whiter Alright. Here we have it. But as you can see here, in this part, is not where. It has kind of a triangle shape. What we can do in this case is slice rush slice wolf, and then slice this part like this and delete a new polygoop. Now we have this triangle shape and do another suzimj this time without symmetry. So we have no a triangle shape with a good ology. It's fix its desire. It Alright. Let's go pick the corner for this punt. And it's the same of the swimsuit part. It's more like. Now, what we have to do is to add the shapes that she has in her chest here. Let's try to add them some basic forms. This time, let's use this mesh that we have duplicated without subdivisions. And now this time let's use the white strap and make the one strap that are in this area. Let's separate. It must point here. And now let's put the color of the wrap. If you're on weld, you have if you want your mirror and weld to mirror the mesh, you need to have the active of local symmetry. If you have this active, what it will make is your mesh like this and you don't want that now. Now, let's active it do weld all right. Make it longer. Thanks. Let's push it more these parts. All right. Shape it more. Let's try to shape more this part here. We have kind of fine dentation here. So detention line here. Make it looks more like a close glove. Right? Let's continue shaping this part. And now what we want to do is to make this leather part here is the same process masking, studing, doing all this stuff. Let's make it. Get a simple masking. Let's mask from this part. Like this around the back around here. Then going back, like this. Alright. Maybe we can make it both. Oh, a bit upper. Let's extract it, right? What do you have done here, whatever. Airs puppet. Oh, let's first inflate. Let me restart to rush because we have made something weird here in the top bar. I will bath you in just a second. Alright, we are back. So we have now mix this up par. So with the mask crated, you are going to do a 0.1 s mesh. You have good topology to work with. Other one. Alright. Alright, let's bring back our clothing. At the undercloth. We do Folder folder. All right. I'll be in the undersut. Oh jacket. Perfect. Let's inflate this. Right. Make this part more like this. Let's make the straps bit thicker, maybe. Just a bit munch. Let's remove some of these oligons. You make statopol simpler to control it better. All right. So we have this kind of rhomboid shape or square shape that can be easily done ending object, like a Ring three D or any object. Let's make it. Rotate 90 degrees. And now in this icon here, we're going to click it and then select your Ring three D option. Now we are going to reduce the resolution to four. Now you can see that we have the same shape here. And we can rotate it again 80 degrees. All right. And put it in place where it belongs. I put some white color on it. Alright. Let's put the lenal color here. And this part. Let's Let's add the apology. Yeah. We have control. It's inflated a bit. Alright, I baked it a bit smaller. Et's make more like this? Maybe let's inflat it just a bit. I'm not. Mm. We can make This part going more upwards. The concept is kind of like this. Like, it's works like that. Make this up. And it's wrapped going to that worship. This part too. Alright. Et's make now these shades here. What we can do is what we can do for this bar is make a tube. Here, we have a tube. Let's press the icon and now select a cube. Let's remove this resolution from the height. And now we're going to make it more like this. I All right. Let's rotate it. Rotate it more. Let's try to not lose the gizmo aligned with the mesh. Let's put it here. Paint the color. Sometimes f white. Icing here is nice. Make it a bit longer, maybe. Maybe not. What we can do now is to maybe can put two more polygons here. And now we can mask. And let's match this and push it. We part? Let's do one thing first. Let's max the middle parts. Make it more like this. And now we can mask the middle ones here, and push it down. Make that kind of a round shape that we just All right, maybe a bit met wall Itrapsthin like this. Alright. Let's make this part a bit more like this. Or let me use the mask here. Mask, that edge look. Or Let's use scale here. Let scale O potions. Let's scale down these parts. I would like. Now, we have this kind of shape here. Let's mirror it the other side. Alright. We have it. Mm. Yeah. Maybe we can make this jacket it longer here on the back also. All right. It's far. Work this a bit more sharper in the Mingo. Right. All right. Let's leave this part. At this point in the next video, we're going to continue with this bandage art this color stuff and continue with the robot arm as this will be a bit complex to do. It maybe we took some So videos to do? So ideo in the next video. 16. 03 Creating Accessories Blockout: Alright, guys, so let's continue with floating of this model. So, we're going to continue making these accessories, this hanging accessory that we have in the strap on the neck. We also will be making these containers that she has. And maybe we can also do in this video these bandages that she has in her arm and her leg. And later we'll be gonna addressing this robot arm and robot legs. Also, we have to make this kind of loading that looks like some sort of a reped dress or something like that. Let's continue. Let's make first this neck neck accessory that will be kind of easy to make. So let's start. Let's hide the jacket. Now we're going to mask in the neck iron, using the mask pin gonna mask. I think this can be nice, maybe a bit thicker. All right. Now with this part Musket, we're going to go to subto and then do an extraction. Upset. Extraction with zero with zero thickness. So we have just a one plane, one side plane. Now, let's do a Sri mesh with low weight resolution. Alright, Let's inflate it a bit. Perfect. Perfect. Let me say. All right. Now, let's make this by removing all the loops that we have in the middle so this doesn't have any concave shape. Now, what we can do is let's see how this if we do a pose by fetters. Right. Let's do a poly by fetters. Perfect. Now, let's incite it a bit more, maybe. And use the simular brush and then go over a polygon, press space, and then extrude all polygons to do to make some thickness. And right. Let me use metal material for these metal parts. Let's put the metal material in all the metal parts. All right. I think I extracted some weird part, I forgot to clean the mask that we had on the body, as you can see. Just remember to clean the mask before doing another extraction. Inflate it a bit more and maybe let's let the thickness, and maybe inflate it just a bit more and do the thickening. Like this on right. I think that's nice. Let's make it lower, maybe bee bee inflation All right. I think this is good. Let's put some loops. Alright. Let's see how this looks with the dynamics of division just by pressing the. It's a dynamics of division, just press shift. We need some supporting W to fold shape. Nice. Or what we can also do instead of adding loops to hold the shape. We can go to here in herometrycress, and then press crease. This will make the edges sharp. And this will fold the shape. Also, we can play with the level of the crease. The higher the level, the sharper the edge. So let's make it kind of level two. Also, we have to play with the subdivisions. If this is increase Level two, we have to crank up the solution to four or three. To have this nice edge without being lucer sharp. All right. You can make another. What is by pitons? Right. So let's make the handing part of the color, this circle piece that is kind of more like more like a oigan stuff. Let's see how we can make it. Let's hide taste to see. Alright. Let's start making that part. We're going to mask again. Remember to clean the previous previous mask. Now we're going to mask again, do extraction. Okay. Now we're going to make this flat with the He polish person out. We can make this flat. Alright. All right. Now we're going to Sims with the lowest subdivision. Like this. Make this a bit bigger, maybe. Let's move maybe another one place it in the covered position. Let's make this kind of shape. It's not fully circular shape. Oh, let's make some sort of circular shape over it. Now, let's make the thickness with the thin molaor and the shoot option and the polygo menu. The polygon o menu. Ready my bed. Alright. We have this honored baby's not that big. I think we have to make the color a bit lower. If it's too high. It seems Mm. Maybe we have to lay with the precious muscles here. All right. You see pit? Let's abolish by ftrins. Let's make the edges sharper with the Cris option. Make the Cris level two. Rank off the smooth the resolution. Alright. Um I think these Cris parts can be done just sculpting. So let's address that part later. Now, let's put some metal material there. All right. Let's bring back the jacket. All right, we have that color part. Now, let's make this strap accessory that we have here that will be kind of easy to do. So now let's paint a cylinder. In what we 90 degrees. All right. Then this icon, let's click it. And then select cylinder treating. So we have this this these options here, we can open or maybe not. Let's let's not open it up now. It just reduce the resolution of the side to make you make a bit thinner. All right. Let's put it in the strap part. All right. All right. Maybe we can duplicate it or not. I think this is this will be easier to duplicate this mesh. Let's do Control Shift B to duplicate the mesh, and then make it bigger, let's go again to here, praising W and open this here. Make it bigger, make it thinner. We have a hole. You can see we're making this hole here. And now the art will be easier to do instead of having all the things in one in one piece of geometry. Let's make this part inner. All right. So, let's use here. We have completely symmetric all the parts. Let's call to transform active symmetry and click it in this icon here, the royal symmetry. Make it for E how this working. Also use local symmetry for this. We have to change the axis. Let's see if this is working in the Y axis is not working. Let's see if this working in the axis. Let's see, is working now. So let's put some loops here. Let's use air in the insert use multiple tropes. Have this and seem Alright. Now delete things. You go back to let. All right. You're going to have a completely great g p without too much inclination. Let's see, multiply a trip again. Alright, here we have a perfect straight extrunb. So let's go back to this menu and select pebble. We're going to pebble this edge maybe to this point. And then we're going to extrude it by selecting here in the polygon actions, strip and instead of all polygons, let's slate either of polyloop or here polygopO. Let's use polyloop for this for now. You see here that we have a yellow line. This is telling us the direction of the loop. Like, if the line is pointing to this part, the part that will be extruded will be this loop, you can see. If this putting pointing to this part, the part that will be extruded will be the green part, you can see, all right. So let's extrude it down like this, maybe. The thing creates. Let reduce this label and crank up in a solution of these smooth subdivisions. All right. Maybe we can make this part and reduce the whole a bit. Let's mask here. Using the lazo mask. Smash this part. And with the keys, let's press out and the blue blue part. And this will scale all the parts but the sea axis. All right. Maybe not that much, just a bit. All right. Let's put the metal material. And let's color peak with the C Color on. Let's color pick the orange part, the center here. Let's change the material channel to the RGB channel. All right. We can also maybe try some materials here for the orange parts. Let's put the material it in and press feel up in. Go to fold material. But we have now this tape here. So now let's make let's make these here. But first, let's crack up the size of these parts a bit more. Maybe here is too more. Let's make it bigger. Remember to use the imetry and the local symmetry. These to work nicely. Maybe this big will be nice. I think? Maybe yeah maybe a bit smaller a bit off. Right. Let's save. And now let's make this f here. Let's make first this part that's going around strap. Just let's duplicate this strap. And we select lasso, select everything but one loop. All right. Here, we have selected everything but this. Look, let's see if we don't have unwanted polygons. I let's delete hidden and then inflate it a bit. Let's change the color of this part. All right. Let's kind of grayish fat. The RGB Shao? All right. Now, let's extrude. You can use here polyub or polygons and extrude a bit. We have kind of this shape here. So what we're going to do next is to do bit k You have two. Before that, let's make it a bit thinner a bit and then duplicate it and put it in place. All right. And let's remove this part from the other side. She then has it. The other side. I'll let's hide that part and then delete in and make some creases. Here reduce the crease level. Let's reduce it to one and crack off the solution here. Alright. We have some weird issues. Let's go to the edge action and select this Cris option here and then select complete and just do a lack in this part to make this the buy well because if we don't have it, we'll be opening this weird of here that it doesn't really working well. So let's have this gust here. And now we have the we have these parts here. Let's put some polygons. Support more the shape. Let's put some polygons here, too. We can also mix the crease and poly a polygons pour the chips. Alright. Some polymdi. All right. Oh, let's make the cylindrical part that we have here. Let's make this first. As will be easy to do. Let's make Let's go to another pin. Kidssk I have to clean this file to make it more readable. Let me go to another pool here. And let's make a cylinder Cylinder, e. Alright. And then let's rest here again in the gizmo, spread this icon and then select the cylinder treaty. We have in this square shape from the previous accessory that we did. So let's crap that solution more, maybe 16, here, 16. All right. Let's rotate it ID degrees. Let's close the hole in the middle part. Make it a bit longer. And now let's start making this stuff here. We can put some edge looks. All right. Some edge loops like this. And then the leg let's extrude poly loop. And with the yellow pointing pointing to this loop here. Let's extrude it a bit, like this. Let's extrude it this part. Also. Let's make another poly loop here and then bevel it. Perfect. And then extrude All right, we have some basic shape for this. Maybe this part, not that thick. Right? Let's make. It's part a bit taller. Let's extrude this center part to have this This looking like this anti jagal flame. I can run My do something here. This seems like it's kind of like this. This kind of shape in this part, this kind of, like, like, is this going like this? So, let's try to make it. Late all this stuff. What can we do? Let's delete this loop here. And then we're going to mask this part with the mask lassop. Here, let's mask it, and then remove the mask on the other parts, inverse the mask and just bring it up maybe not that more Alright. Baby like this can be nice. All right. And then we're going to extrude this part again. Good. Alright. Let's remove the pollo action to a poly. And to create this y selection is just easy. Just press and click on a polygon, and then just And then just drag the cursor over the polygons to select them on right. And now we can extrude this part here. Maybe not that much, maybe just a bit here. All right. And then we can make these edge looks here. I support this shape. As you can see. Let's make them here and here also. In this part too. Here here. Me polyens Now, we have this this linder part. Let's make the middle part like that yellow color. Let's color pick it. All right. Let's color pick the grayish color. Let's fill it with a grain, and let's select this part and add this upper part here, and we did. Yellow selected, let's make a f object. Alright. So we have this art maybe you can make it more name on bright. Well, I'm right. Let's make this open part. It's just will be it will be easier. Just make cylinder. Make it little adhere to the icon. Left cylinder treating. Yet it with the grayish color. Make it a bit bigger, a bit bigger, more like this. And then let's extrude this part here. Mask it. Make it thinner and make it longer. A bit thinner. All right? It is not that much. Let's del this trip. Alright, let's make it a bit more longer. Put it more like this. Let's goner pick it here and fill it with the pole, maybe a bit lighter. All right. And this part, what we can do to make it is we can do some stuff to make that rhion. We can put insert loop. Let's put three like this. And then here in the point action, let's use this action here split. Split the edge, vertex into a full perfect circle and then use the extrude polypops action, extrude polygrapO and we can extrude and make it right. Kind of, like, like this. All right, is not that right. That's just trying to make it Grether pot. Alright. Let's put some polynoms here with support. Is shape. Let's grease and remove reduce a crease resolution. Let's remove some unwanted greases here in with the molar brush. Let's go to the crease part, and then change to edge single edge here. Then press out and click. A, click on them wanted grises. I'll click. I'll click and I'll I'll click and crank up the solution here. We can make a crease here. Right? Let's put some edges. We can also make this bigger. Let's remove this part and make this part a bit bigger like this. Even a bit longer. Longer, Nate. On the right, let's reduce, reduce this part here. Right. Perfect. Well, we have this version, isn't there? I see done. All right. So we have the first linder part. Maybe we can make it a bit longer or not we can make the base a bit big. All right. Let's move this one look a ki again. Alright. So now we have to make this other cylindrical object is a bit more complicated than the other one. Maybe we gonna need 22 cylinders for this. He also here we can separate this yellow part from the grayish part. We can do it. Let's do it. Just select this yellow part and do a split hidden. And here with the make something wrong. Make sure that it's just the yellow part that is selected. You don't want other part to be selected also. Let's outer groups, hide this part, and then delete hidden because we have it in another subto or. All right. I think we don't have lower parts. Just remove just the yellow parts. And with this, we can do a close whole operation with the convex whole here up up all right. I took some edges and there we go. We have another cylinder done here that would be useful to make the other ones Art start making this cylinder here. What we can do it. Make it in folder. Would it plicate the ello part. And let's make the other lender part. All right. We this duplicate it, let's use the Gizmo and press control and rack it. Have some hidden mesh. Let's just do a it and then again, we just press control and drag the Gizmo. Make a duplication of our abet Right. Let's press the split musket point. This will split the point that are not musket. All right. Let's color pick the gray color here. Alright, perfect. Now what we can do now is remove the center part because we're going to extrude it again because I don't want that center part to make these weird shapes here better. I right. Let's duplicate it again. Make it a bit longer. Here it is looking it here or like, try to I'm trying to match the proportion of the other cylinder. Right. Let's hide the previous cylinder here. And let's make this were off here. Let's make this part with the symmetry activated. Let's go here and transform and change the axis. Let's. Yeah. All right. Let's make this part here. Let's see if we can turn off this perspective. And here we can make mask here, and here we can make that part, as you can see, and here the lower parts make this this wave. Here. We can make it like this. Maybe taking this a bit on the right. All right, perfect. All right. Now, let's close this hold here. We closing. Let's do this. Let's do an extrusion poly and wait. Another poly p. Let's flip it. Then we can remove internal polygons with the leg lasso. If we press on edge, this will hide that polylopR? That's what I want. I want to hike polylop us this one. And here also, is this selecting Let me shake Alright. Let's delete it. Right now, let's close it here, close, conducts hole, and press close. Here also. Here. Here. Alright, perfect. Let's make this part. It's a big pocket. Let's extrude it. Yeah, let's extrude it a bit with your single poly A right. Let's remove this edge here. Make enough bubble bubble edge. Make it a bit lower. Then we're going to extrude it again. Right, extrude. Not too much. Make here another edge loop. All right. Here we can bevel this. And then extrude this polylop inner, add another polyloopRmove this to and add some supporting edge loops here. And now we need to make kind of bebag here also. Well, let's make it. In babel, and there we go. Let's do some rises here, and reduce decrease level and crank up more the resolution of st. We can also make crises between two polyps. Pressing this crease PG right. Let's make this a bit thinner. Right. You know this mask this lower for All right. Now, let's add crease here also. With the strip complete. We have this harp. Sharp edge there. And now let's make this art here. Just like the previous one. Here we can make another shilling there. Take it molar. Let's do some musket. And now let's make a shape. Right. Let me color pick the column. All right. A bit lighter, right end of this shape. Let's remove this polyen and extrude using single poly. The other up. All right, let's remove this flu. Add another polytope. And here also. All right. Let add two more polyps here. Make this kind of weird shape here, and then select oolons using old or maybe four. And we extrude with a single poly. Let's extrude them. Mask that extruded extruded part. All right. And then we're going to shrink it on this axi like this, like this. Alright. Or right, let's rotated. On Let's put again the polynuclear. Like this in the middle. Let's make some more. Let's put another polynucion on here. And here we have the blockout for the cylinder parts. Now, to add up them to the model itself, let's do merge visible here, merge visible in both cylinders. Let me put the second one in another folder. Right, let's bring back the first one and merge cible again. Here we have our cylinders that we can here copy and then go back to our model and rest paste. What we have here, make them in a folder to have more organization. And make them bigger. And let's put it in place where they belong. We a bit smaller. Yeah. All right. Stuff like this. Let's do the same process to the other cylinder here. Copying. Cb. Press paste. Make it bigger with the kismu and put it in place. What Oh, I think I got confused. Let's delete this. Let's copy this one hoping. Alright, paste it. Make it bigger and put it in place. Alright. I just messed up the placement. This one should be here, and this one should be here. Let's put this in the cord right. Position. All right. Then let's put it in the correct position. Yeah. Perfect. Now we have them you get her with the models here. So the video is a bit too long now. So in the next video, we're going to start making these bandages. And the next one, we're going to maybe start making some blockout for these arms and legs part. So see you in the next video. 17. 04 Creating Bandages Blockout: Alright, guys, so let's continue. With this model, now we're going to start doing the bandages. But before that, let me do some quick adjustments on the face. I saw that we can do. Maybe we can make the ice a bit separate. Let me see move teams. Let see if they are enough. All right. That be separate. Not too much because we want we see 11 eye between the two. We don't want to break the proportion here. We want one I of distance between the two eyes. It'd be one e of distance. We don't want to break that. I'm just separating it a bit, trying to keep that proportion. We don't make it look too weird. There are cases that we can break that proportion and the model we look we look nice, but in this case, I'm trying to not break Alright, let's put the care back. Maybe we can make a bit lower let's see how this looking like that. Maybe not looking too good. See All right. I think that can be and now for now. Alright. Let's lift the face for now, and let's continue with the bandages. Let's do first the one that are on the hand. First, let's remove the symmetry because this arm and this leg will not have the bandages So let's start. How are we going to make these bandages? We're going to make them by masking. So let's use the masking lazo. And here you can see that we have kind of three we have kind of three big ones. Let's make first these three big ones, and then we're going to make those little ones here and here. Also we will try to make these hanging bandages here. So let's start. Let's make first three ones. Three pick ones. Maybe this can be kind of diagonal. Maybe maybe let's make it a bit open. The arm near to the here the wrist. All right. Mask them. Now we're going to extract them. Then once stracted, we can adjust size and everything. Right, let's extract them, stretch, accept. Let's put them on a new folder or right, so let's inflat them. Remember to remove the mask. Inflate them and do sir mesh in the lowest resolution. All right. Let's do an auto work. Let's do another steal image. Because we want these nice straight polyps. Let's do another autowork to have a poly oop in each individual bandage. It All right. So let's try to shape it like we have here. Let's usemos topology. Move topological. Let's try to shape it. Now, the hand is looking more like this. And from here, let's try it with the stuff how we can see in the reference. But let's forget to put it. This should be a bit bigger like this is not that much. Maybe here can be like this. Right. We're making an illusion like it is a continuous bandage that is going around the arm, but this is just some sort of of cylindrical shapes that give deletion of that. We don't need necessarily to do a bandage that is going around the arm. All right. All right. Since this is good enough for now. Let's make this over here. And now let's make these little ones here and here. We can duplicate one of those. Let's code here. W control, press. Let's click the Gizmo and just drag it. Alright. We have there. Let's make this part more like tins when under this banda sheet. You can also make this a bit bigger with inflate. Let's also color pick the color of the bandages here. With this scolor atom, we're going to drag the floor picker to one of these colors here and then set colors. All right, and then let's fill the it with that color. Well. And here for the for this part, let's do the same thing as the lower part. C grade. Clated with the gis Machondro and just give it the shape as it has in the coset. I sort of beans. Let me just isolate these parts in a pave that but in the middle C grade. Perfet this is with the mouth one now. We can also do thickness with the C modern polygons. Thickness here, flip. If you give thickness to something, it will always going to flip the normal, as you can see, in this case. If your model is looking like this, just click on flip here. I think that Imam is here in the properties. You can see here the flip bottom. O let's from tiny All right. We have our first pair of bandages. We can inflate them a bit and separate them from each other. Let's make also crease and creases. The edges make this decrease label to one for me right. Now, let's make this part here. This is like hanging from here. So, how we can make that. Alright, let's see. We need to make these parts. This maybe have two of those. And then one big strap here. Let's seeing. Let me think. Let's first make the hanging part with the AM curve here. Let's select the white strap and just drive it. Here. Makes a bit bigger to match the size of these other scrubs. Make feels like this, fill with a f and we can make chips. Let's remove the middle Bloop just to have more conc well to the main main shape. I think this part is going more around here. Make it like this. Right? Because I'm making it like that because it's going from this part at this part called correspond to this part in the arm, not to the pump side of the arm. The other side. So let's continue. Let's add some Holk to start making those other caps that we can see and sort of this one, maybe. Let's make these bid thinner here. All right. Now, let's make this part here. I think we can move this here and around. I'm seeing that round. Here, maybe. Maybe. And this is more like it has 22 straps instead of a big one. This is more like maybe like this, maybe a bit thinner with other shape. Let me see like this. All right. More like this this part shorter. It's going to be more under the other one. All right. So let's make this part here. Let's use in this case, we can use cylinder, yeah. Let's go here. Rag it. Move it to the part that we want. Let's move the cylinder here to the bandage folder. And now let's press this icon, express the cylinder treating. You have more control over this part. Let's have a cylinder has a control and then duplicate it. All right. So now let's delete the middle part. N. Pick it double and delete this other part here. Field. Now we're going to make it a bit more flat like this. Maybe bring it from here. So something like this. Then we can move it. The part that we want here. Let's try to not lose the nicely positioned Imo to have perfect control over this shape. All right. Let's mask this here. Make it. Well, flat. Let's the mask with it. Make it more flat like this and more like this, maybe. Let's mask this. All right. Let's make it a bit more like this and put it here. Duplicate it and put it in the other side like this. Alright. So let's make a middle part that we evolution that's all stuff. It's just one wrap. Let's use this control cylinder here, duplicate it again. Remove the middle part. This time we're not going to delete anything more. Just shrink it, make it smaller and bit flatter. Alright. All right. Let's make it in the middle part. And here, let's duplicate it and stain it again. Ape to make this go grab around these two parts. Looks a bit bigger these part. Let's go back to this object. Tap it. Let's use the most topological rush. Alright. Perfect. Maybe we can lift these like thens. Maybe made it a bit bitten. Bit. Any them for bits. I is what if I can interpret this part. But let's make some sickness here. And est. Check the double, a flip. If you have the double active and then you do an extraction, this will not show that the normals are flipped, so you have to check the double and then do a flip. Normals to make the stuff always have in mind that part because the reverse normals can cause some trouble sometimes. All right. Make it more like tins. All right. Perfect. Alright. So now we have the arm bandages that the cust, they look bigger. Let's try to make them bigger. Let's try to make them bigger. Let's use this icon beer. And we select elect lasso's going to select the parts that's going to move and unshake the other parts. Let's make them a bigger masks off ages like this, we will have to shape again. With this will be able to match nicely. The arm shape before arm shape. Maybe like this will be pod Ways Maybe lets. Let's shape it again. Let's do a auto group here and split these two ones on the main part. Let's shape it. Always watch the model on the angles. Well, right? Let's spological. And shape it more right? I want to grab this cart. It's musty. I have more control over it. I could never mod this part. As this one It's more known. All right. Right. I think this is better. Yeah, I think so. It is better looking more like the coset. It better the straps. Make this more ring. All right. To shaping it. Or fried. Let's unmask the ones that are masked and move them if this activated and let's check the main part. Let's place this where it belongs. And both this part, maybe a Okay. What right. Maybe we can make a strap a bit longer like this. Right. A bit thicker. Let me. Safe first. It then with the inponO right. Perfect. Right. Let's continue making the other ones on the leg. She has a lot of bunches at the leg. Now these will maybe take a while. We can also do another method here in the leg just to save time that consists in masking. Let's mask here. Mask the leg. Let's do an extraction. So now let's use the slice of brush. Make all the groups that follows the bandages that we want to make It's I'm just removing some excess of polygrams here. Let's remove it just with you. All right. All right. With a slice of here we can make also kind of of bandages shapes. As you can see, we are making bandages poly polyglps that then we can extract and make like them like bandages. All right. Let me make this part more like this. All right. We will have to clean some of this part by hand. Also this part. As we can mix this with the mask brush to make some extra bandages. Let's use this method just to make most of them, and then we make some specific ones with the mask instruction method. Let's make ones here. Have a enough here. Make it more inclined it's more inclined. Here you have big part that has enough I like some sort of book they make this part der. And this has two sandwiches going like this. All right. Let's continue making trying to make these shapes, following the number of bandages that we have here. And let's make the one. Of course, we have to tweak the shapes to better match the coset. But here, I'm just making the overall shakes. Let's make this art here. All right. We make that p. Let's make this to you. It's more like one here, another one here and one incline like this. Then we have one that goes around the knee area like this. Another one maybe like this. A right. Let's make the ones that are on the feet. Here, we have two of them. We have another king. Here, we have a big chunk. Let me make it a bit smaller. Here, you have to have space. Then we're going to continue ticking the chakes and we can make this a bit upper. We like this when around the half of the calve, Let's make them there in more like 50s. And then this part goes more like like this. And then we have more strength. Then let's make one let's go let's mache these one All right. So we can start the lead. Now we can start leading the ones that we don't want. Alright, let me change my color. All right. Let me see. We have some gaps. Here. We can make this while we're going to start. We can tap. Let's inflate them a bit. We have better view. So maybe we can delete this one. Here. Just leave it like it is Deleas this one here. This one also or not. Still it. Just isolate this one and press to you, merge make it one polygn so we don't have to at it. Let's delete the whole polygy Let's lit. Do spot fulsome. And now here, let's remove this exy of polyunse by hand using the mass clam. All right. All right. So mask by features. Perfect. Now, what we can do is press here. Symes, let's press keep groups and do a quite large resolution, maybe 1.5. Let's do the Symes, and let's see what it gives us. We're fry kind of decent one. It's pretty decent. Maybe, let me see if this look with another sing. This looks better. In my opinion, let's delete these parts here that are not looking good. Let's use the delete option here in the modeler. Do delete these unwanted polygons? Right. We want to separate the toe part. So what we can do is press here the simular. And here in the pin action, let's do a slice mesh. You connect the pin point here like this. Now we can delete these two. And let's do it again to connect this one here and delete the middle. Now, let's stitch this point to this point and delete the middle edge here. And let's isolate these two and then do an automx we have them separated. Okay. All right. So let's put a quarter at the up. And let's do panel loop. Where is the panel loop? You may ask here under the edge oop. Let's press this bottom. But first, let's adjust a loop, maybe two and press panel loops. A right adjust thickness. Maybe a bit thicker. The elevation and let's see how this looks in film. Elevation. Right we will need to adjust will need to adjust these parts. Let's adjust them now. But they are clipping through, and we don't want that. All right. We're going to delete this middle part. I don't really like. Maybe we can delete these parts here. I see something. It starts looking before. Alright. I we can put before doing the poly. The funny loops, let's put another another polygon here. Let's do it in the funnel loops. The inflation me. I don't want that part. I really don't want that word to be opening, let's stitch the part here to be lit. That part that I don't really want are right. Let's do. And that's here. Let's seal the butter loops. So we have them the par better. Right. Let's just the bandages. Or right. Perfect. Let's make these parts Federov Joseph. A Alright. Perfect. Let's say. And let's try to shape the shape better than these bandages. Maybe more like things. It's height is well spart. You have better access to the bandages. Let's make them overlap. One like this. W that give more dilution of off straps. Let's mask to make more thickness here one more thickness in each part. I'm masking it. All right. Here, we want this to be big this curve because the need to overlap this part here. Let's make it what All right. Let's make this bad under the purple. But you'll be under this but above this part. Let's make it quickly. All right. Let's delete this one and use this one. Make one that falls maybe under ankles. Make this et's make this more like this, less stake. A mate here. It's sicker. Right. Is part should be thicker. Politic. Let's use the select wrap. So I can that better without selecting just poly loops. Sometimes it's annoying to use the select lab and it's just keeping selecting the plyloops Yeah, maybe we can make it more like this. And this one maybe more like not see how it look. Let's say it like things look better. I'm following the concept, but I'm also using some a bit of artistic freedom to place the advantages, but it's not completely like the concept, but I'm trying to make it close. All right. Mask this put. Right. Let's mask it. We keep being. All right. Go to the knee art. The knee, we have Let's try to shape them. Right. A trying to shake better parts here. All right. Y et's see how this. After this five, when I need. I've not one that goes more like in this isle. I go more like like this. Let's do another outworks. We make these parts with another poly group. White? Naked. No. Like things. And this small town. Is part will be a bit. But you don't know Right. Let's save. Always. Remember to save your progress in case Gibbs crashes. You don't lose too much progress. I really hate when I lose progress because cebrus decided to crash that day. And that specific moment, we hate that it's stowy part, make it a bit thicker. Make it a bit thicker and right. Let's see we burst the mask. All right. Orting right. It makes it more like this in Taria. A We have to address a big part also. If the video is taking a bit too long, but let's try to finish these parts before ending the video. Try to do quickly. End up like this. Maybe. Oh, like It's not that much. All right. Let's make this part. Um this pipe we have two. So let's delite that make this big Would be bigger like this. Is this part for food? Would be bigger. Let's make some rises. What is it is rises to poly polish or not. It's just noting all my stuff. So let's delete the creases here in creas We're going to make the creases later not now. All right. No Bies. Art. More All right. Let's make this isolate this. Mask it. Make it curve on right, mask it again, and shape it more like this. Much a bit more the concept. All right. Yeah, this will go under the bandage here. All right. Et's make it finger and make him go under this strap. Perfect. Okay. The If it. I think that we are in a good place to leave it for now. The next video, we're going to continue making this this clot here. And then we can maybe start blocking out the robot arms and leg. I'll see you in the next video. 18. 05 Face Refinements And Cloth Blocking: Alright, guys. So in this video, we're going to continue the blockout of this piece of cloth that she has in the hanging from the waist, this piece of cloth. And also, we are going to do a few fixes on the face. So twigs that we're going to do. So let's begin with the face first. Let's hide the the hair. All right. So when I saw her again, once I open this model again, I saw something that could be changed. Like maybe make the nose a bit longer. I'm kind of like. Let's see. I think there is nice. And also remove these sharp sharp transitions on the nose. All right. Something like this. Would be nice. It's a bit Alright. It's more round. C. Also you need to make the head a bit a bit thinner from the side of the head around here, we're going to make it thinner. Is a bit. Let's see from the top. It's cranium shaped looking really weird. Alright. This I think the cranium is a bit. Maybe something like pinch would be nice. Alright. Let's remove a bit of mass on this part. Let's add a bit more on pins. Alright. Now I think it's better. They move more mass in these areas. Alright. Let's see from the far, let's add a bit. Or suf here to make the bony parts a bit more suf. Cause the female has soft base sitters, let's try to make them off. Not that noticeable. Alright. All right. Let's see what else we can do? Mm. Maybe we cannot. We can mask here. Asking run here and maybe we can take this part of the town. Just a little bit, not too much. Let's say who is looking with the eyelashes than all this. Let's go back and go forward, all right. Add a bit more of nuts in these parts. The fat pad on top of the eye. Alright. Let's a bit more find kind of some shape. But this time not make sharp stuff here. Maybe we can find this part of it more here, we can push this in Mm fright. Let me remove the eyebrows. Maybe make some harp hard stuff here. Right. It's mols. A bit is boring landmark. Mod it just a bit. Not much. Y right, let's see how she looks with the hair. Let's put the eyebrows. She's looking better now. Maybe we can make the hair a bit up. A twig more parts a bit sharper. This now the attus make come sharp, move with the move rush. All right. It's around the middle of the. It's in front. Alright. I think the face is looking a lot better now. I see how he was looking at the beginning. Really weird. And now hows looking now a lot better, in my opinion. All right. That's why you should last the model. And then when you go back, you will see stuff that you wasn't before. That's really helpful. When you're doing the model, because you often see errors or things that can be changed and make a huge improvement on the model. Just I'm doing some refining. It's a big a big deal here. Right? Let me see from all the light. I'm just going to move this bear here, change the light position so I can see benter the volumes. We can see here web weird stuff opening. Right. I see from the sleep. A from the dot? On the bottom again, not that much. Art here can be a bit less strong. Right. Let's put it back where it was around this position. I think it's really better now. Also, I think that we need to do another C mesh because I'm having some trouble with some. We are omging in the nose. And some of these we're stuck here. But let's see if we need to do that r mesh. But for now, I think we can leave at the faith for now and focus on the cloth part. Well, let's save. And then let's start doing this cloth part. Alright. Well, let's see how we can start that. Alright. So I think we can I guys let me do some changes. It removes makes things a bit. That much. I think that we can mask a little portion here if this. And then we can extract with zero thickness. Then do a sir mesh with the lower subdivision. All right. Let's seal this cap at was in the butt. Let's do another syrmsh. Another one because I want these straight edge loops where in the middle, we don't have them. Let's make it. We have those straight edge loops on the middle. That's what I want, right or right. We have straight edge loops. So what I'm going to do now is to delete the middle ones. Rounds. Let's use the lasso. Let's move the lazy symmetry. Lazy mouse, lacing symmetry. Alright, it hidden. We can delete one more here. Now, we want to mask this edge here, mask it off. Right now, let's use the Gizmo. Let's drag it down near the sheet around here. Let's make them bigger around here, maybe a All right. Having some troubles, yeah. Let's make it where it was. And now let's use NDC Mlinar. Let's use instead multiple ops. So we can add multiple ups at once. That's what we want. All right. I think that would be nice. Let's save and reset the body move. Now, let's make this match the shape of the body. Let me remove the dynamic from the my brush. Alright. Now, I think we can start shaping the lot piece. You can start shaping it. This clocks a bit weird. So it seems like this part is like a different fabric or here is a big This part is a big rib, something like this maybe or something that goes to the belt and goes down. We can try and make this part more like this. Let's see how that looks. So now let's it will be a bit difficult, at least for me to add shaping from these parts. What we're going to do is subdivide this and then draw the shape of the fabric that we want to do with the mask rush. Here, let's subdivide, change the color. All right. And now with the mask and brush left. Raw. End of the shape that we want. All right, from spew. Go around. Here, I'm just going to draw a overall shape. The Ob entre that's what I want like this, maybe down. We can shape it better later when we have extraction. We can move things around and make them better. Alright. All right. I think from here, this goes all the way up. Like this. Let's make this part also what? Let's mask this A and now let's make the other part, the side part here. Let me do some movement here, maybe this part goes something like that. And here we can make some of this All right. Mask. Perfect. May make it dqart a bit bigger, and then let's do an extraction with zero thickness. Right? A sect. Let's hide the other parts. Right. We half this. Let's do syrmeg without symmetry. Let's add a bit of a high count for the solution. Let's hear what this give us. All right, those. The geometry, maybe we can work with that, or maybe we can do another supermesh. All right, is way better geometry to work with. Let me delete this triangle here. And here is another triangle, stitch. All right. Let me see more triangles? Body and one triangles in this mess, at least. All right. So we want to make this part hanging over the belt, right to make it. We can mask with a mask laser this time. We can mask then invert the mask. And now let's bring this up Let's mask again. And we're going to use the transpose line, align in this position and then srtate that's like this. Let's use the at curve or the move brush to move better the polygons. Now let's make them a bit more like the All right. It's not that good group right now and young. Let's we can make it better. It should be hanging. Let's remove the aquacor from the. We'll be hanging maybe a bit let you move topological o. Right? Right? I think that will be better if we just made this part separate from the main body of this clause part and to be wiser instead of trying to do it this way. We can just excuse it like this is going below these closed bars. Yeah, I think that I could do that. Be easier instead of trying to make it in this way. So we're going to separate the mesh from this point. Let's hide it. Let's hide this part. Let's do a split here, but we have to separate and we are not at touch with this other geometry. And now we can do another mesh to fix some stuff. Like. Perfect. Always save in case your ibrs crash, I really hate when my bros crash, so I tend to save a lot. I have lost a lot of war. By that I really hate it. Because who wants to lose war a full? Right to do remesh for these parts. Maybe we can just add a bit more sponym here, with up these parts. All right. This is a lot. One. I think this is fair. Let's try to stick with this quality for now. Right. So let's try to make the shape that we can see on the coset. Make this more paint like this right and make this part. Each makes this part a bit more round. Mm hm. It more round like this. So if we do a subdivision, this one will not be that sharp. We can see here, it's not that sharp in this part. All right. Hollywood. To be able to select this peer. Alright, now we need to think how this will work. Aaron So of shake. Like this. I fight. Now, let's try to add to add the color that he has in that clothing is like the same color of the jacket. So let's color pick here with C and then do a real object. N flow part. That's right to work here now. Make this a bit away from the body. And now let's try to make what we can see in the coset. In this part, we also have to do some word. Well, let's do it first in this part. Right. A B to make this wave hanging ford. All right. Then we have, Some sharp angle. Yeah. So you can see what I'm looking. We have some sharp angle here. Maybe let's make this a bit up. A bit more down. We have that sharp angle. Let's make these parts chart also. Right, makes this part open. Right. Let me rest the character. Let's do some save. Now, let's try to work. Alright, let's make something like this. I'm feeling let's right to make this kind of rip? The cloth, internal ribs. We're going to make it later. Well, let's untight stuff. Try to add start adding this wabe both the cloth. Make this feel make this part feel more like a cloth piece. I can add All right. So in this part, it's cold. And like things down. Allright. I think we need to each these points here. All right. Is more like an. Let's stroke some edges here. That's better press here, Stroud. Edge root. Just root one edge or we can set it from here. Alright. Earl sex. Here my gizmo. Let's bring the Gizmo to shape this part. Then let's add some Egg shook. Er fex. Let's make some beach. Hang in full there. Thank, this a bit go grass. Right. Let's give some variation here. Perfect. Now, let's make because here in this big spike is another off going on. Something like it's kind of to make. I'll be kind of difficult. Let's see if we can do a su mesh. Let's say first. Let's do another serums. Maybe with a higher resolution, let's a bit. Higher. So it is a lot better. Let's delay this polygon one this right? Oh, now that's try to make this parapntic this time, it's le Ming from here. Was it miming pinch. But it's not working. Right one, so let's delete that these polygoms here. Make that triangle for and we can see there. Let's each mesh these polyms. And now let's remove the crises because the slice mesh make the edges with creases, and I don't want those unwanted crises. Here on geometry, let's go to Cris and then increase O. And then just shape it a bit better. Maybe we can stitch two more pulling here and make this part look better. Oh, right? Make this a bit more tab and it's smooth. Is part here. We have some basic shape or our dress skirt, whatever this part islove part. And now let's make dipintment in this part. It's kind of. Let's see it from O shape. Let's see here, let's move the Acucurve. Move this right. I think that we need another syrimgO not, we just delete these poybons here. Perfect. All right, I want to make this shape here. That's what I'm trying to do. But I see that this is more like like a want here, something like this. Then All right. Perfect. All right. We can make it a bit more saturated. Maybe also we can do another smash. Let's do a quick save and then do another syms. You know, we have some weird ame ring. And she's not really the best. And Everyone like these tho Maybe we can add more eggs here just to support those eggs. So bubbles here. Soft these those charpsO there. All right. Let's see how this is looking with the body. Let's make this a bit larger from the p. Let's remove Beck girth remove this dynamic stuff. It's a bit more larger. Is part also. Alright. So now we kind of have it that shape, make it more like Okay. Night. I can see that is going to have some weird transitions here. Try to make something similar, although I don't think this part can work in three D. I really got confused. This part. I see, we can solve that. Alright, I think we can leave it just like this at least for now. Later, we can see how we can tackle. In This area, it is a bit of a problematic area. This looks like it's another piece of cloth hanging on or is a bit form piece of cloth there. It's a really weird part. So let's tackle this part later. So for now, let's leave that piece like we have now some more. Mis. Also because this is going this is going through the bells, we can make these parts separated from this cloth part, so we can work separated from this and these other piece. I think that will be something wise to do for now. Let's just make that later. Do a final a final revision. Maybe we can add the whole that we saw that she has a rest. If we can we can do something on here. Let this and make this one like Oriano maybe not a fish. Maybe you can just do something like this. Then just delete that part and stitch these two points here and these two points Here All right. And just don't have these parts here, we can do with the slice mesh. We can slice slice that part here and then delete this loop and then do increase all. But we don't have those unwanted creases over there. I have this. I am wering but let's don't bother right now. All right. Like, it's a bit thinner. Bit molar. All right. So Well, let's continue in the next video. In the next video, we're going to start the blockout of this robot arm and the lectarm. Maybe I'm going to split the two into separate videos because I think it will be a bit of a long videos. So in the next video. 19. 06 Robot Arm Blockout Part1: Alright, guys. So in this video, we are going to continue making this robot arm here. So let's start. Alright. The first thing that we're going to do is to copy the model. Here, we're going to select copy, clicking. And then we're going to go to another subto and we're going to paste the model, so we can work now in a clean environment. Without all dot dot sus here. All right. So the next thing that we're going to do is to delete the body, but we are going to leave an arm invisible. So let's fix. Let's delete the body. We leave an arm, all right. Let's just bring it down or up We put it in the middle. Lower and the higher. Let's ring also the jacket. It's a bit a portion of the jacket. Let's copy it. Alright. We're going to paste it, and we are going to let this portion of the jacket. Alright. Just in case you have a full context because if robot arm goes over the jacket. Alright, so we are going to select here to move every big object. Let's put the floor to see the axis, why we want to put them in the middle here around here. We have this symmetric. Let's see. Maybe something. Let's add a cylinder just thin. Just to see if the arm can go under it. I think around here would be nice. Alright, let's hide that jacket. So we're going to start extracting mess here. So let's create this Let's create its first mesh. Right? We're going to mask. How you mask pin. We're going to mask. Then we are going to extract it here, upset. Inflate a bit. Put the lowest resolution on the serving math. Let's do a polish by filters. Alright. This is kind of convex. Maybe some round shape, try to make it to sort of roundish shade. Let's also make it symmetrical like this. Let's try to make that roundish shape. This looks like also that it has it has kind of a edge that um I have, like an edge that goes like this. Let's try to put it also. All right. Something like this maybe could be nice. We can mask this edge here by selecting Sim, then going here in mask Edge rod complete. But we can move. Is edge here freely. I will have some weird stuff here. Let's delete those edge roots. Right. Perfs. Let's make it more roundish. All right. Perfe. Let's inflate it more. Let me see the jacket we can do here. We also have to mop to modify the jacket in the here. We need to make them it bigger. Us the cops, they look really more they look more big and we have here. But I want to do that later when we put in place the block out of the robot arm, Let's put the armour into a white or, differentiate. All right. L a bit. Have more full context. What is happening here. Right? No. This has kind of off a pecous shape here. Fight make it all. We're going to delete some polygons. Let's see which polygons we can delete. The in the middle. Then we're going to drag the other polygons to the side. All right. We also have another ratio rapacious shape here. Let's do it all. Let's add a edge here and delete these two licos. All right. Dave? Perfect. I right. Maybe we can put some thickness. Let's do extrude polymes. A bit of thickness here. All right. Maybe polish by features. No, that's much. Division Nyamic subdivisions. Let's see, put some creases. Chris. Reduce the crease level and increase the most subdivision. Right? Perfect. I think the shape should be a bit more wider here. Make it a bit more wider and less. All right. Let's put another edger here. Make this charter. As we can crease that edge rap here. But I don't think that solos. Good enough for chancer. Alright. We can do Wise by fibbings and again, egg a but in a bit choc Maybe not that much on the side. All right. Perfect. It's gonna be a bit more like this maybe. It's gonna be bigger. Wrong here, just don't look. That don't look like in that triangle shape, so let's make it more straight here back. All right. 20. 07 Robot Arm Blockout Part2: Right. An ki here. Make it more. That it doesn't clip through the arm. French right here. All right. This part here maybe can be like Mayabo doing something like this. All right, so let me see if it creates that issue. What does it gives us. It makes this more round. No night. Mmm. Maybe not. We can leave it. That. Yeah, I think we can now. All right. So let's put this wheel shape. Let's just add a cylinder, cylinder trivine. Let's make it this type of cylinder with the gizmo and just rotate it increase. Make it a bit thinner, bit bigger, and put it in place where it belongs and when here All right. More. Like this. Let's put some chips. Pour one this. We can use. The rises Well, not from now. Let's make this piece here. You know, Make this big chunk of piece. I think we are going to do that. Maybe with dynamesh maybe it'll be easier to lock out that part just with Dynamesh. So how we are going to make that part with Dynamesh will be easy will be kind of the same process. We're going to extract the mask. Oh, it's raw. A mask here. Right. End of this shape. Ola's Oh, the other there. The other stuff here. All right, let's go back to the mask. Right. We're going to extract reaction. Let's make it symmetrical. Maybe we don't care about if it's intersecting with the arm because we're going to delete the arm, so that will not be a big problem because I want to keep the joint position later and we are reading. We don't have much problem. Oh. Um, here you have moved that without cleaning the mask. What a shame. Let's remove the mask, Mol meter camine bans. I think, yeah. The. Let's add bit of pool like this. Yeah, in the mask border. Let's I think that may be masking. Here, we're going to select this to and just select the border and the mask by feature. We're going to inflate inside and then we're going to do a dynamesh. First, let's use the back face masking. All right. So let's start shaping this. Let's draw maybe where these shapes would be. The drawing. Maybe something like this. Here Like this. Let's remove this part. We are going to delete that part later. But now. Right? Continue. Filling ten bottom. Let's bring these bars down. All right. Let me use we must select here. Another another dynas. Let's do it a bit bigger the dynamish more solution to work with. Wait? What we have is has come down with a pebble. We're going to address that later not now. Just wait a bit. We're going to make it later. Give more pollen. All right. Oh, now, let's add those kind of pebbles that it has. Thing like this. Let's put some lazy mouse. Art adding this type of shape. S just go more like that. Alright. Let the tren dynamic make those parts. What? Right? Age polish is time. The difference between age polish and trin dynamic is that dynamic is more aggressive, as you can see. I like to use that when I want to remove some pigs that are looking weird. All right. W more polum here. Well. You'll A this part also. Also flat. All right. Let's put more olim here. Make the part flat. All right. Now, what we're going to do is choose the Make these parts dinner like this. I will dynamesh. All right. Perfect. Make it a bit more fine with more age polish. If we decorate this a bit from the upper part. Let's use the trindynamic here. Maybe the trindynamic. I mean the lip brush. We can mask. These part. Then they wear the mask and use the trend dynamic. A tren dynamic now the clip brush. Then we have the straight. Also put in here to you don't imitate where the border should be. Then later we're going to look refine refine and start cleaning up the dams up NMS mesh here. Let's just for a moment. Let's. Light. Make some bones. Perfect. Let me. Make this more like this to print better. This. Let's also took the cake, cylinder, make it smler. But she has, like, more smaller cylinder here. Let's split that. Make it symmetrical here. And we're going to do some bebo. Spark in bacon, like this. It big the peppon maybe like this. Think that would be nice. Add more edge loops. Pour this shake. Right, bit sller maybe like. Bigger that. Let's also um, wrap. Is mesh made. Let it move forward. Maybe award. Maybe a bit smaller. What might? So now is when we're going to start breaking some some stuff as they make this a bit bigger. We like that's nice. So what we want to do now is to make this piece here. You want to make this piece here now. So, let's mask that part right with the mask lesson. Okay. Well, right? Wrapped. Be well. Let's hide for now. Make it a bit bigger and start shaping it. The shape that it has. Right? I'm part of it. Bigger. I think we can do a remain here. The lowest solution. All right. It's safe. Right, perfect. Try to make that and where shape that it has. Not that full where he also has a bit but where you shake. Right, this line this part. With that, I think this piece should be a lot bigger. Looks too small right now. Make it. Let's make it bigger. All right. And like this. Clean up, run there. A big like this. Ahh. Alright. A like this. And make this part also big. Taking fill from here all right to assume a dyna mesh and start polishing this up right. So it's a lot better. Now, let's try to add this lack of here, like some sort of transition mesh between this mesh and this other mesh. It's polished more. Let's make that part there. Let's see, I think we can just duplicate this mesh and delete the unwanted part. Aw. Let's remove the lazy mouth from the select. Here, here and here, it them. Inflate it. Make it. Black. Let's make this upper part here, bit with a dark gray. This black. Let's go the white con. They just put this in place where this should be. I'm saying like here, it would make that piece bit light. Maybe, yeah. I also with some thickness here. When I visualize that. It puts some creases. Right, reduce increase level. Increase the subdivision level. What's right? Let's remove this middle wreath. All right. Let's see how this is looking with the dynamic subdivisions. All right. It is more this a bit flat here, we can do some some curve or maybe not flat All right. This part is more. We have some missing missing prices here. Let's add them. These missing pass straight edge afmEfanr more like this. Maybe. All right. A Oh, right? Perfect. Let's do some thickness here with all the bit. With quite as thickness. Let's mesh the needle a part. Moses let's make this part more light. Yes. A bit more. I think The needle part can be maybe pointing. Can go up pointing. Not that much. All right. Alright. Now let's see how this is looking. Let's add some crises. It to the crease level. I've increased the subdivision dynamic subdivision level. Is my crises. Alright. Let's remove the cris from here. Well, right. Let's make the thickness more Bak Night. Something like this should be nine for now. Make this with even thickness. Ise this mesh. And this mesh. It's Right. Get some thickness here. We can get some sickness. I All right. Perfect. I'm just polishing more this shape that we have. Do. Is, you know, parts part. This lighting stuff, maybe we can make it later where we're going to start refining the blockout and make this with some masking. This part also can be done like that. I mean. Which is your parts here. Big this. We little squeezes here. They think should be nice now. Right. All right. Make some set like this. F to make some Eden thickness. Perfect. So, let's add this black stuff here and this other stuff. I think it black art is more like some sort of cylinder so like it like that. Add a cylinder here. Bring it down. Bring it forward. With this type of cinder with the m and this cone, rotate it. Make it thinner. Make it longer. Bit thinner, thinner, Ake it kind of lack. Let's crease it. Reduce increasing level, increase the Naticdlon. Let's also add some additional edge loops to support better the shapes. All right. P. Let's see where the arm. Let's make this part. Let's make this part smaller in length. I something like here maybe can work. When right's move is arm. Perfect. All right. Maybe we can make this move forward like this. The shape here is a bit wonky. Let's try to make that. Even I think that can work or now. All right. Let's now add this feeling there are more here. We can just duplicate this until shifty, move it down, hell it, make it bigger. L it down, make it white, and remove these additional egops here. Involve allots let's remove decreases, increase all. We have this, make it bigger. You tongue bit or break. Add an egg op and mask it with a soup complete. Musket. Make it bigger like this. Alright. Now we can add those reporting age groups where they need to be. Around here, these are the goals that I want to keep char. On right, make it a bit lower bit smaller. My like this. On right. Strive to make this. I two. I need more I. Papen. So now we have these basic arm shapes. I think we can do more work in this upper upper arm age is more like thin waving or like tins, it's make this more round. We can decrease the resolution a bit. We have more control over the shape. All right. And this should be bigger. But here should be bigger. This part here also should be bigger, and this will be also bigger. Right? Make it bigger. Move it. Bit down bigger, a bit white. I think this snob more in the center. H. Let's merge those two cylinders. We can you touch them later. Merge down just to have better view of what's happening. Right. Perfect. Let's polish this. All right. Add a little more pooling here. It is a bit thinner. All right. This can also be a bit Meta. Let's do lip this with a clip brush. Maybe I is more like Is that. This can work for now. I some fine now. L in the shape. All right. So in the next video, we're going to continue with the hand parts. So you in the next video. 21. 08 Robot Arm Blockout Part3: Alright, guys. So in this video, we're going to continue with the hand part. So, the first thing that we're gonna do is to try to make this base P mesh. Then we're going to add this to this knuckle stuff. Well let's start working. Well, let's let me raise this. Let's make this palm mesh first. So this is kind of like this. It's mask. All right. Bit of masking. I run here, maybe. All right. Mask is pomart. All right, let's mask it. He files this kind of shape like medieval and armor or something like that. Maybe like a glove. All right.'s mask a bit more. Maybe we can mask these parts here. Not that much here, not that much also here. But right now, we're going to extract extract with zero thickness and inflate a syrmag maybe with 0.3 resolution. Really? Yeah, that's good. It's stuff here. Alright. So let's start adding the other parts. Maybe let's make some thickness for this. Let me add some cruises. Reese freeze level t of four subdivision. All right. We can bring this W is point. Well, we can make this longer later. Right. So now let's make this off he is knuckle stuff. It's more like a pyramid shape. It's more like a pyramid shape, you can see more like some sort of pyramid. Something like this. Let's try to make it. Oh, we can make that shape. It's easy. We can paint a sphere or an image. Then we're going to select here this icon and press this concrete shape. Then we're going to decrease the resolution from this side of four. Maybe decrease the solution here just a bit. And then we're going to make it flat. Not too much flat. We want some thickness in this, but not too much. He this could work. 90 degrees. All right. So we have here our shape. Now we can shape it. All right. This is more in the concept, it's more round. So let's try to make it more round. Right just give me a thick. Let's make this part sharp. All right. Adopt this part sharp. It's also. Let's make it sharp. All right. We have the s. Let's try to make this more round. Here. This They make this symmetrical. All right. It's a bit more round here in the parts. Alright, perfect. Let's see how this looks without these parts. All right. Take it more like me. Perfect. This is more like the shape that we have on the knuckles. As you can see, make it a bit more rounds adn solution here, so we can move them. Make it relish, can these soften looks. Right. All right. No that much. I think this is enough for now. It's more kind of like the shape that we have here. I mean, we can make this a bit chaperOr not. Maybe we can leave it like this. All right. Alright, so let's see how this looks. Oh, I forgot to to off the symmetry. Well, let's do something first. I don't like to have this straight This part here. So let me do some thickness in this back part. Let's do extrude. Oh, let's select something. All right. Let's do extrusion. All right. So I want this kind of thickness here. So let's put it where it belongs. Let me just do some color pick to add the color. Um color pick here. Right. Perfect. All right. Let's put this where it is something around here, maybe. Now with control press, we're going to it and that will duplicate the mesh. You will see in just a sec, though, press control, drag it, and you will see that the mesh will be duplicated. And that way we can put it where it needs to be. I round here as to again, control, drag it. Move it and place it All right. Move it again. All right. Lace it. If we can make this bit smaller. All right. We have some knuckles here. Let's make this a bit harp in this part. All right. So now let's make finger armors sick. Well, let's make this kind of finger armor stuff. Let's start with the thump. We have here some some chips that we can make. Let's start with this part. We're going to use the same exact metal as we do with the pump stuff. We're going to mask and then stractate extract with zero thickness. Extract, accept, right, inflate, remove the mask and then inflate. We're going to do this time 0.1 mesh, I'm saving now. And let's start shaping this up. Let's do another serums. We have some weird geometry. Let's start making this shape here. It's a bit weird shape, but we can make it. In here, we have some extra extra stuff that we maybe don't want. Where is it? D. All right. Maybe we can delete that part and do another surmise. We can add this Loop here. All right, Let's the lady and do another camsh All right. Another one. This is giving me some weird stuff. Maybe we can stitch this here. Stitch it with the sea modeler. All right. Then then let's do another thickness, and quitrtion. Extrusion Alright. Perfect. Let's grease. Alright, so let's start making the thumb part. Something like this. It has some angular shapes. Try to make some angular shape here. Let's make this part a bit thinner. Maybe we can do another siumes. We have better geometry in this area. Let's continue. It's looking kind of nice. All right. Let's try to make the w. I don't think we really need to make these parts. In the other side, well, we can try it. Make it a bit angular here. Right? Perfect. Go and then extrude there's a bit. All right. So, we need to make these parts. It's more like another kind of pyramid shape, maybe. A bit wheeler shape. So That's right. Make it. Maybe we can grab one of these puke it, lead on mask. Then we can place it where it should be. Around here. Oh, I'm thinking I wear around here. Right? Let's make it big. Now, let's use the transpose muster to get the current orientation, maybe, make it a bit longer. Bit longer here. Bit longer or right. Let's place it again. It's not that long. All right, maybe something like this can be nice. All right. This part, I think we gnate a char part here, but it also has some fine changes here. So let's try to make them too. Alright. Let's add a middle portion. Let's remove these two. Now, let's try to make. We don't have symmetry now, but let's try to make those parts. We can just delete, delete this and try to make if parts there. I think it would be better if we have symmetry. But let's just do it like this way to make it symmetrical. All right, let's make this part harp. This part also sharp. Now we have some weird stuff happening. What? All right. What is it? Well, right now we have the finger stuff that is the same the same color as this. All right. Let's the column. Perfect. Let's do some creases. L prese do a crease level. All right. Oven, maybe some freezes. Do decrease level. Maybe we don't need freezes increase oak. And here, maybe we can reduce even more decrease level, make this a bit thicker. Maybe you can up again, decrease level. I think that's good. Right. So let's try to make this in the middle like this. All right. Thing I don't really like is the straight apple here and making some pinching. I don't really like that part. How we can fix that. Maybe we can make this part a square that use the slice mesh. There also the slice mesh. All right. Now, let's try to stitch some of the kanedf Alright. Now, let's delete the extra polyculs. Here. Let's stitch this to delete this and let's put the base actions into nothing so it will not do anything. In the polygon action, right, because here I don't want to accidentally delete a polygon or extrude some face. I don't want that now. Let's increase that part. So we have bas leans made the same thing in the lower portion. Let's use amdeler with here with a slice mesh let's what we have here. Here, it is not. With slide mesh so let's start Alright. Perfect. What right, let's start stitching. Yeah, let's stitch all of these. Now, let's start deleting the phases that we don't want. All right. So we have this as as square and we'll want part. And now here, let me just believe these polygons to have better control over this phonine. Alright. All right, let's again, this stuff. We have a bit better or cleaner. Those parts, maybe we can remove the creases. But we don't have too much pinching. Alright. All right, perfect. Hello. Let's start doing the finger armor here, finger stuff. Let's try to make it has something like this, and the top will be something like this. This will be the finger armor, and this kind of will be the tip of the finger. Still. Let's try to make it. We are going to duplicate not duplicates. I mean extract the finger maybe, we can strat here. Here's the late extraction. Low sickness, upset, inflate just a bit with the lowest solution for the serumes's do a cerumes of. So let's do another serames we have some weird polygons. Perfect. Moly a bit. That's a bit, I mean. All right. You can also try to make the finger stuff symmetrical, in another sutt I mean in another two. So we can sit symmetrical in all the fingers. Try to do that. Oop this go another. Let's go back here. Let's grab the hand Opie paste it. Now, let's move what? All let's it in. Alright. Let's move the hand and make it symmetrical kind of Alright let's put it in the center and let's do a mirror on weld without the local stuff. This is kind of kind of scary, I know, looks like those alien things. Those more falling things. Well, trust me, this wouldn't look. This will work. So let's work with this. Looking really weird but trust me. Just trust me, please. I'm crazy. Extract Inflate? What? I didn't make extraction extract upset. Inflate? Do C mesh with the low subdivision. Alright. We have EmetricalEmetrical. Geometry. Alright. Let's try to make some shape here. So shape. Now we can maybe delete some of these polyconsT make place for the the knuckle part here, maybe. We can test it. Let's copy this. Let's paste it here. So we can test test it. Let's remove the symmetry. All right. All right. Looking kind of a good thing. I But this is more like a roll arm. So I think this will be thinner, maybe like this. So let's try to not make it take This is supposed to go under the arm. Let's see how this will let All right. I think we will like this the stuff it coping. Right here. Wasted. All right. Now, let's put it where it needs to be. Measure weld. Let's put it where it should be. All right. We have a bit more context of what's happening here. This is saving half a bit more of context. Maybe we can bring this more up. Let's Alright. Let's see how this wool This wool flex All right. Well, let's try to delete this. Make some space for this to be? Tasting this. This is just trying never seeing what and work or the design of this finger because here is not too defined. So here we are, like, designing together, create something kind of good Maybe that could work. All right. Here. You can even leave it like that on right. Or maybe we can make like some some finger joints here. Let's try to make it a bit more thinner because it is a robot finger. It's not too much of a finger armor. It's more like a robot finger. All right. So we're going to paint Oh, let me this. This will work. Let's do the winder here. Rotate it 90 degrees. Make it thinner. Let's place it where the joint should be. Maybe around here. I think that can work. Let's remove the hand. I think I remove much of polygons. Let's. Then they dip this again. Right. Let's work better to see where finger joints can be a bit thinner. This part maybe not that not that long. All right. So here, maybe we can duplicate thing like this, then separate it. And now I want the lower part to be on the upper part. Let's rotate it. Let's do some mirror and well. But this time, with the Y as, but it's not working. Um something's not working here. Let see where she's butted. Oh, I think it's working, but it is the other part. All right. Let's delete that. Let's use the local symmetry. Let's do a mirror and quilt like this. This is what we want. We don't want this middle portion here. Alright. Let's delete that. Then do a slice mesh another mirror well but this side with the g at Mid right. Bottom right. I'll be around well this time without the local geometry. Let's delete these two polygons here. All right. And now let's delete these extra polygons in this area. What a fact. Sebrh is behaving well now. I have fear full of this rash. That's why I'm saving too much. All right. Let's do an increase all. All right. So we have this piece for free. Let's bring again the hand and let's place it where it should be. And Let's use the dance post line. And now let's make it. What? That's what I want. It's really weird. I don't know why it's making those behaviors. Um, because I had the Y symmetry active, it should be nice now. I get a bit smaller. Right. Oh, we have some weird stuff happening here. Let's do some extrusions. Root. All right, and root. Right? Extrusion is not working well, so let's just bridge. Perfect. Let's make it more that can be better together in a way that can be better together, right? Maybe something like Feels. Maybe not. Maybe. Maybe that can work. And here, it can be likes. All right. Maybe we can make this finger joint bigger where it is to be seen from the bottom is more like like that. All right. Still some polymo here. Maybe. These two. Maybe not two, maybe one and be nice for this purpose. Alnight. Let's do the same thing here. Let's delete this here and delete these two. And now let's move it. Now, let's see how this will bend because we're going to wreck this. We want this to bend well. We're not too much. Weird stuff happening. All right. Now, let's make the tip of the finger. Let's duplicate this joint and place it where it should be. All right. All right. We need to delete another polygons here. Deleit Now, let's move it like this. All right. Now, let's make a tip of the finger. It will be straightforward. Make it. It's just a simple mask like this. Strat, upset, inflate, maybe not that much. But the lows Did you measure geometry? Alright. Let's do maybe another one. Right now we can hide the hand. Where is the hand? The hide the hand. Oh. Let me see something. It's a hand a tip. You can make this thinner rotate it like this to be more align where the finger is All right. Perfect. Right to put the finger joints in the place. Let's make visible the tip. And we're going to delete some stuff also like this two here, the lick. Let's make this wider. All right, here too. Still it's the right. Like it wider. So here we have the finger robot fingers. All right. Maybe we can try to see we can make sparks. Like this. Oh this will bend. All right. We depending from here on this point. Neither I think this is a bit too big. Et's use this. You see how this will bend. All right. I don't want this stuff happening here. That will not be good. Let's make it instead more like this. Oh, it's not symmetrical. Let's do a mirror on weld, and let's continue making this. All right. So this would move better now. Well, we can lim it like that. You know, have to want it too much this part. Alright. So, let's do some thickness. Something like this can work here thickness, lip thickness, lip. Right? Let's duputate the finger joint to the other part. Maybe we can also do like some cylinders. Let's do set loops. Let's knit this. Maybe not. Just lit it. Let's make this moler and wider inside. Fill more the caps and not make the finger too hollow, pebble the sides and put some off there. Here also we're going to pebble. Pebbles. Let's put supporting the troops. Alright. After supporting a chops here, let's do the same thing here. Perfect. So it's not looking that hollow. So we can duplicate this? The other finger Alright. I. Let me the other joint up the other finger. All right. It's a lot better. Let me hide that hip to see if the enters. Other thing that we can do is just to merge. Let's do that and just going to let one of these joints. A make all the joints the same. All right, merge down. And we can duplicate it everywhere we want. Like here, for example, let's put again this stuff and here. All right. If we can make it it's modern. It's part of it more like this. All right. So maybe now we can do some some copy of this mesh. Let's do some merge visible. And here we can start copying the finger to the hand. Let's delete this mesh, and let's start coping the fingers. Let me delete some measures that I have here. Now, let's paste it. I think we need to put a hand off in one folder. And what we have done here with the phone. Alright. Where is the hand stuff? All right. Perfect. So let's start coping the finger. Oh. All right. Ltratate it. I did the kivs and put it in place. All right. Put it in place. We can we will have to do some extra work on the arm area. All right. All right, I think it is in a good place or it will not be off from that part, the joint will be more here and the knuckle, not there, we made the finger to We chart ins. But if I find then the joint will not be perfect goals anymore. Let's see what we can do. All right. I think that we will need to make this part shorter. Here a bit short. Y. All right. Make this a bit. Modern. A bit tricky to do. All right. This speed is quite long. But let's try to finish at least the fingers. Right, let's put it. Not that big. Alright. Let's just leave it like that. I Alright. Perfect. Let's do another plication. Y. All right, I think we will have to do some rotations here, maybe, but not now. Let's do the last one. The thump. We're going to address the stump in the next video. This video is quite long now. All right. We have our robot fingers laced. Perfect. As in the white, thick. Let's see from the from the four. The two sums. Big here and there. We have to sell those caps just with some fill mesh. Alright. All right, so let's leave the video here. In the next video, we're going to address the sump part and doing some finish touch touches to the out. And then we are going to start making the fifth part. I think the fifth will be easier to do because we don't have a hand there. So C in the next video. H. 22. 09 Robot Arm Blockout Part4: White guys. So in this video, we are going to continue with the hand making the thump and also we'll see if we can also make the leg, what is start the leg. So let's begin with this. But before making the thumb, we need to fix the fingers because I feel like the fingers are a bit too thick. So we need to fix that. Though, how we're going to fix that will be relatively easy. Let's go here out of groups. This auto group option is around here, polygroups and you will see it auto groups. So let's go with the middle finger. That's the one that looks too much thick. Let's make it one flooding group. And now let's use the transpose line. Like you can see, we're going to just track the transpose along the middle the middle loop that goes all the way to the finger. And now we're going to press T and then here we're going to heal it to make it thinner. All right. Perfect. Also, let's try to rotate it because I feel like the orientation is not too good. We will have to rotate the fingers. Let's use the transpose the auto groups here. And now let's start rotating the fingers. All right. Let's use, in this case, the Gizmo. And now let's start rotating. Let's add this. This two mask this. Now we're going to rotate it to align with the finger. Something like this. More align. Less and hide that. Well, that right. Inverse the flection. And here we have our finger. All right. Maybe we can try to put it better around here. I think. Perfect. Woman. The middle the middle finger was too thick. But we can also try to make the other ones less thick. And we need also to rotate more the fingers like this one, and maybe just this one. This is looking kind of good. So let's keep fixing the other ones. Make them a bit less let's say. Let's potty and right here. I put line, then press and scale it down. All right. Sell it. At. This rotation is a bit mi Right. Next, this is nine for now OO finger is a bit were made. We will need to check that. In the other hand to fix it. But now let's just focus here. All right. We may also try I think we should make the middle finger, maybe use a bit thinner? Maybe not. We see. All right, try to make one au a bit thinner. Alright. Why do you like this inner All right. Rotate it in bits. And then we're going to rotate it here from this point. Let's use then. And then we're going to use the the mod Allright then we're going to rotate it in place. Went here. Yeah. Let's remove the lazy mouth from the mask. And now let's Potatoes makes the alignment a bit better. All right. Let's see if the mingle is the pinky finger. It's also some modifications. Let's hide the arm, all right. Next not. The pinky finger is nice. All right. So, we need to make the thump. We can make the thumb if you may ask. Well, we kind of try to duplicate one of these. Like maybe this one. This mascot. Use the gizmo, chondral ragged sear and it's a bit weird right now, I know. But we're going to donate some parts to make this finger match the s so let's try to hide this. And here, we're going to delete these ones delete, right? All right. And here now, I think we will need to make maybe a bit bigger a bit. And put it in place. Let's see how this looks. I think it's looking kind of nice. But I I did some mistakes. I delete these ones here. Let's split this because I like how it is now. Let's remove all. And then here, we have our finger Yeah. Perfect. Alright. Maybe we can make it cleaner like this or maybe not. A bit. I All right. Let's hide, be arm. Strike to make this much better. These or here. And now we need to make I was to fill these gaps that we have here. I was thinking maybe going here, deleting one of these looks. Let's use the Claso and press edge like this. Let's remove one bit. Well, we don't have a clear way to delete in this part. So let's the delete option on the plyonctons. Delete these ones. Maybe we are complicating Img it too much. Let's just consol C and select this one and just do a delete heading. Now here we're going to select the closed covex whole Make this. This is looking very weird. So let's make it just one poly loop, one polygroup then extrude poly group O, make an extrusion. It's selected. Make it a bit thinner. It's flat. There we go. There we go. This is not the best way to fill the gap, but I think maybe that work and maybe not. See how it looks. Mmm. Maybe we can make some bridge here between the fingers, right? Fill those caps? Alright, let's delete the other parts. Let's have the other part. Let's make it double. Let's try to see how we can make some some bridge between the fingers. Maybe Let's use a breach here. Breech. Those caps. Right to make it one polygon, white. Right. Rich. Now, let's try to make them only looks. In the middle. Maybe. All right. Now let's make some thickness. To. Oh poigon. Right. At my smooks. Make it a bit thinner on the middle. I think it is kind of nice. But we still need to seal those caps here. Let's try to use the same metal before maybe. Here, we can make it. CopexO up, right? Let's make this one polyloup. Here we're going to extrattrat now. Extrude polyloupO like tees. So we have that lot and here also. One All right. And we have here lose. And in the fingers also, let's try to make it. All right. All right. Let's make them one poop, then extrude it grease. Let's remove some creases. Like here, we can remove it. The ocean can be removed. It's not looking good, maybe. Is it just try try an error? Just to see which is the best way to make this? Maybe that could work. Alright. Alright, Garf. Here, also, we need to fill this gap here. I close that. Or maybe we just make a sphere, put it there as a feel up yet. This can also work. I don't want to met with the topology of this part. Let's just do this and forget about this. Right. This is filling the hole. Alright. It's filling the honk. But right now, I think we can put this in place with the mesh of the cuter. So in order to do that, we are going to hide this part and then do a merge psible here we have our mesh. Maybe it's a bit weird still this not looking good. Let's go back where is the mesh, and let's flip the normals. Let's see which other polyculs has lipid normals. Let's do another merge visible. Here, we have it. All right. Let's copy this. Let's go here to the mesh. And then we are going to haste it. Paste it under the main body. Paste. All right. Now, let's use the gizmo to put this in place. All right. Make it a little more, try to match the fingers. 'Cause we need the fingers to be matching. Let's use here transport line. I think it is more precise for this tas. All right. I think the fingers are matching now. Maybe here. I think this is nice. Let's see from this view. I think this is looking good. All right. So let's gonna hi this. And let's make this part go under the arm the robot arm, all right, like this. Ah Alright. Here. Make this go under and make this a bit bigger here. It's within flat brush. I'm just adding volume here because it needs a bit need a bit more of volume. All right. They still need to make better folds. What that will be in the refinement stage of the high body. For now, let's one thing about to compact falls. Let's just try to make some putts. All right. Here. And do something here. These part is a bit like paint over. Like Um Like this one, maybe. Um, no, I don't want to exclude it now with nothing. And here street polyp. All right. It's not excluding everything. It's a bit weird when this happens. Ithing Sometimes Blender is a bit both Debra is a bit bobby. Sorry. I bra not working coractly now. I'm just confusing names. Really sorry. All right. See mother don't want to work now. I hate when that happens. His just don't want to work nicely. Let me see if we teach the We make this work nice. It's not working nice again. And right. That's safe. And let's see how we can work around with this. Let's use the gizmo right to make it h bit pens like this, what I want to do. Maybe something like this. Let's see if we can do some bubble here. To another pebble. Oh, this is bad here. Let me see if everything's moving nice. Right? Let's make it bigger. Make it faint. Let's do some bubbles. Let's make this scale where it's scale, all right. You complete. Let's scale this up. Now, let's bring this down with the slice that you complete. All right. Eble. Perfect. All right. Best mask is try to make it more like this. Maybe will not work nice, but who knows? Mmm. I think that what we are doing now will not work, really. So let's consult see. All right here. Let's just consult see everything. Maybe to American wealth. All right. Right to make this more more sharp transition. Here. All right. Make it more like this. Right. All right. Perfect. Make this editing more. Here. All right. And here we can do some stuff. The concept, you can see that she has, like, this stuff this looking like a strap that goes under the sleeve and goes outside and then bend over. I try to do something similar. In order to do that, we can duplicate the jacket. We're going to do something fancy now, duplicate the jacket. Now hide this part. Let's just hi two of those volumes here. Lead hidden. Then we're going to extrude it on right, it's safe. It's inflated. Now we're going to delete delete the middle part here. But this part here now. And then let's delete dose. All right. Inflated a bit more, maybe. And here, let's make it a bit a bit longer maybe. Alright. We have it. Do some extrusion here. Thickness of polygons. And sickness and right. Perfect. Let's do some thickness on the jacket, too. Perfet Let's crease the troops crease the older part. Right, let's reduce the crease level and crank up the subdivision levels. Dynamic subdivision level. Let's fix this part here. All right. And here we are going to hide. The other hand because we don't want it now, at least for now, right? We're going to delete that arm later, but not now. Maybe we can even delete that hand in the in the cryptopology stage, we can make all the body, and then we can delete the other arm. It's not a big deal. All right. We have our robot arm in place. Well let's now try to start this robot leg. We're going to make the upper portion we will need to make interior like in another tool, I think, because I want symmetry on the shoes, also on the calve. Yeah, we will need to make that in another too. Let's copy the body. Let's go to another tool. Based. Alright. On high everything. Now let's move this to the center of the room and try to make this and Bird All right. I like it. Let's do it again. I think I just did some rotations. At. All right. Or maybe we can make this high part in the ear and the calf and the feet and the poll. I think that or not. Let's think. Alright, let's just make the leg armor, another two. And right. Let's begin with this let's mask. This is more pi dial. Let's try to make that. It's mask like this in this part, to make the ti armour. I here to leave spins for the pd, you can make some Suff here. We can make it like this in this part. I marks like this carpet. Alright. It's a bit with a sharp Plain change. Here, also, we can make it like that. With some sharp changes. And now let's press extrap with zero thickness. Alright. Let's do a Sri mesh with the lowest resolution. It's taking too long. Alright. It's not the best spring mesh. Let's war up solution a bit. Maybe here can be nice in 0.5. Well, it's good work, maybe. The strike makes the fit a bit thicker. Alright. Let me just change the colors. So grayish. So right. Let's remove some of the anatomy. I want this to be flat. I want this to be flat. I don't want any anatomy form popping up. Alright. So here we are going to make a calve. Let's see how we can make the calve. All right. I think for the calf, we can make some dynamesh blockout as we did with the hand. Let's try to make it right here. Let's do some extraction, inflate. Then let's do a dynamesh. M right, we have our dynamesh here. Let's do a mirror and well to make it symmetrical. Let's make this with local symmetry. Around weld right Perfect. All right. And now let's try to keep it if the shapes that this has this cow part has like this here with a clip rows here. We can make that something like this. All right. But I think we will need to place every part individually in the with the character. I think so. Yeah. Let's try to make this side off. It's like um it goes and make it. Like that, maybe. And in the refinement stage, we can make it a cylinder with some cylinders. I just want the overall shape for now All right. I have the cylinders. More like the Alright, let's make with the tm standard, some clinches. Take something like this and be nice. Perfect. Like, it's a bit thinner. Let's make some Perko got here as we have in the cast. Do we like this? Oh, does it mean anything? Let us. B clip. Framed suit, let's see how the trim suit will work here. It's not working really nice. Let's use just the clip. Perko brush. Without, right? I think that looks a bit better. All right. Let's make some indication where the whole what the knee joint will be. Let's try to erase this portion here. All right. Perfect. Perfect. Let's delete this here. All right. Make these habisHw that part. All right. So now let's try to make the under part here. Right, let me bring back the leg. I think that will be around up maybe this will be around here. L dry. Let see, it is. We'll go more like this and the cos like the like this here. And here we can make some indications where the empty stays would be. Let's mask these areas here. Let's bring back the the let Let's bring down. All right. Maybe we can go here and make something similar in the back par. And then just mask this portion here. All right. Something like this, maybe. All right. It's not that much fier. Not looking too much to come yet. This feet should be a bit thinner, also. It should be thinner. Not thinner. Oh, going to bring the reference back. Alright. Let's trim back this. I don't want that part. All right. Now, I'm going to trim this. That's the one I was supposedly to trim at the start. But I forgot about that initial plan and then do the other stuff. But we have to it now. All right. So we have kind of the shapes that we want this part. All right. Perfect. I think we can leave this video here. In the next video, we are going to start making the fit, the road fit, and continue the leg walkout. So you in the next video. 23. 10 Robot Leg Blockout: Alright, guys. So in this video, we are going to continue with the robot leg. We need to do now some bonding of the feet. Then we're going to refine a bit more this piece, this coff piece, and a bit more this piece also. But before doing all of that, let's do some tweaks here in the body. Alright. Let's do some twists. We're going to make this but less sharp, the. And to make that less sharp, maybe mark some of the atenla bone that we have in our knees. Maybe something like this, make the feet a bit more realistic than knee bit more realistic. Alright. Maybe that's and the nine Alright so now let's continue with the feet here. Right. In the concept, the feet looks like it's symmetrical, so we have to make something symmetrical here. Let's strat these pins here, extract. All right. Let's high. The 40. Let's make it Entriclen without the local stuff. Maybe with the local stuff here. All right. Looking really weird now, I know. Looking super super weird, but don't worry. Going to fix that in just a minute. And what I did here was to remove let all the floating geometry that will cause some trouble. I just did auto groups, and then I select leg dimes, and then I did the let healing. That way we don't have loading geometry. So now let's do a dynamesh. All right. Let's start sketching. The fit design that use black face mask, right? So let's see how is the design. Let me move this a bit to the right. All right. Let's make the parts up. Let me this part a bit likes. Maybe we can exaggerate a bit more calf muscle here. Let's make a design that these hats here. Let's see if we can make something change maybe something like this would be nice. A. Perfect. All right. Maybe this war is looking. Nice. Alright. Now, let's continue with the fit here. Perfect. We're to add some volume. Let me add some volume here, and then I'm going to trim that. But first, let me remove the floor. Right? Oh, right. Let's add some volume here. Now what I'm going to do will be the clip brush here. You clip this part and make it lot other dyna mesh. And now I can start doing some sketches with the feet. Let's make this a bit wider. Maybe this part not that much, but this part can be wider ful too. All right. Right. Maybe this parts not at one. If it is gonna be inner here. All right. Right. Let's try to define some planes. Like here, we have this piece. Let me use these days the latex. We have some piece here. All right. I think we're going to need more solution. But let's see what we can do with this solution, and then we're going to crank up. Solution more. Let's not wrong where these black parts will be a shape that they will have. And we can frame it a bit more or write. Now we can make part a bit better. Okay. It seems like it has some plane change here. Right to replicate that. Let's do a higher resolution dynamics maybe 200. All right. Yeah, I think this is better. Ol. Oh, right? It's mark. Um I change it here. Five more. Which part is the black part. It has some like this here. All right. Part is more like this, maybe. All right. Perfect. Maybe. Mm see what we can do here. Looking more like it's a bit round here. It's some roundish. Get it here. Right here in the back. We don't see. We do see the back, but let's try to make something. Let's be bit it's volume. And then let's try to make enough of a design here. Maybe just, it's kind of shape here. Maybe let's try to replicate these two shape here. Maybe that'll be something like All right. Here, I'm just trying to to translate this design into three d, then we're going to start extracting elf. Right to make some cation here. Maybe like that. All right. Perfect. I think it's can be a bit less. Is can be more maybe with this plan change here. I think that's looking better. All right. All right. Et's try to shape it more. Get some better shakes here. Right. Strike your mark. Is part here. It's looking more like like this. Something like that. All right. This is like that. Long, more like this on right. Perfect. We need the outer part. I see that part is like some it's a bit separated so we can mask where that part will be. Use the Naso. Something like this should be nice enough. Alright. Let's use a mask pen and start masking. This is looking like it's called agonal line here. You can see it's looking some agonal in this call like pins. All right. Let's rack this. Rock. Oh, this is too much. This too much. Let's delete this. Alright. Let's do a extraction with zero thickness. Rack upset. Alright. Now, let's inflate this just a bit. Start making this shape. Let's do a dynamic. Alright. Make some limes here. We also need those cylinders here. Let's make it. Right now, they are just two cylinders there. Let's use ready here, here. Get it down with the gizmo. With this icon, let's select it. Then sight cylinder three. Alright. Let's rotate it 90 degrees. Perfect. Alright. This is awesome, all night. Uh, something like this would be enough. And here, let's place it. I think if we make this just like this would be nice. Now, let me move this a little bit more. Maybe not that much. Yeah. I would be nice. Right. Let's be with more likes. Um I think this should be nice right now. Let me see how this looking with the rest of the body. Let's let me hide this part. We spins. All right, but we need to make these parts a bit wider, maybe a bit shorter like this. A bit wider. Alright. I think this is enough. No. And here we can do a dip. Let's remove this perspective for now. Here we can do some clip like this. And add some design, maybe something like this in this part. This is more like some artistic freedom because we don't have a babe, we can guess by our own what the back Biell will be. There is something like this will be if you could. All right. Let's now start making the cylinders. Here, we're going to use the modeler brush. Let me say first. All right. Now, we're going to do a pebble like this. A little pebble. Then we're going to add a H loop. We're going to select this with Alt and then to extrude single body because we have this polygon selected with At use a single body, we're going to extrude the selection that we have made like this. And now let's do a see here, where is scale holy group O, Um, working properly? Um, here, polygon polygon center, I think. Alright here. Working up. Perfect. Let me hide this part. All right. We have that part made. Maybe it is a bit wider, maybe not. I think we're going to we're going to need deporate that and make it a bit iono. But let's see how this looks. Um I think, yeah, maybe we will need to make this a bit more taiono and just duplicate it in case we don't want make that tao A. Let's remove the middle part and do some close convex hole here. And then we're going to add group. All right. Let's add some supporting polys here. Like this. Perfect. All right, here, too. All right. Now, let's make these polygons. Oh these cylinders a bit diagonal like this. I think it looks better. Alright. Let's continue with this a bit lower, a bit wider like that. And here we have some stuff happening. It's looking more like this is going more like like this on right. Let's add some plain change here. Let's remove. Dacu turf. Add some plain change. Alright. Let's use again dacturv. The move banter these parts. Let me fill these gaps and polish it with DH polish. Alright. I think we need to add more resolution here, maybe 200. All right. Let's try to make the outer parts even evenly distributed, something like this. These kernels can be like this. All right. Let's see if they can get free dynamic. Make this or like this. All right. Let's match. Is it better. All right. Here Perfect. Make this a bit more you learn all like this. And the parts looking for flat right now. So I think we will need to add a bit more of volume and not make that part too flat. Let's try at some stuff here. Maybe we can ap this nice stins I have messed parts like. Just let's fix it with smols and with the edge polich. Alright. All right. Perfect. All right. Maybe here, it's going to be part of the black art here with some claim change, something like this, maybe. All right. Here, we can make some plain change here. Maybe make this part a bit thinner like this. Very knock every week and just maze part here bit wider. Symmetry. And then we can do one plane change here. Pert. On right. I mean make this part a bit more even distributed. Let's use the clip. Of brush on right. Let's mask this lower portion and do a clip brush like this. Make this more flat on right, let's fix this an All right. So we are having something now. Let's polish these parts, maybe make some plain change here. All right. Perfect. Let's try to add this like some design like this has. Here. Let's use the lazy mouse. Maybe more bit more a bit smaller. Go up. I like this should be enough. Maybe even we can add some volume in this part by let's play first and then do an inflation here. Maybe not. Maybe it is move, we can move it like that and then do a dynamisme let's define again its part. Well, great. Let's try to make the same plane. All right. Perfect. Here we have something. Maybe this part can be a bit more excluded the back. But a bit more interest on that back part. All right. We have something now. We have the feet pit sketch of the feet. Let's now try to improve the type part here. We don't have a clear view of what's happening here. So let's try to make that part a bit simpler. Like, we can see that this part have this round part here. Let's try to make that. Let me move the thigh part to the right to the left. Allright. All right. Let's make this art Break. Perfect. Maybe we can do some deletion here. I something. Let's make it double. All right. This is a bit a trouble area. All right. Let's unhie these bars here and delete the other ones. Perfect. It's looking a bit weird let's make this part of it thinner. Maybe something like this should work. We're not having much of asymmetry. Let's at the floor again and try to make the piece in the center of him. In the center of the scene. I'm thinking. Like here maybe. Now we have big just a bit less we have more accurate symmetry. All right. Mm. I really don't like it. I'm liking the part here. I think we have to make this a dynamic to we don't have work with coploty and just start sketching these parts. Let's do what dynamesh here at. We have some weird stuff happening. Let's remove the lights and does. Let's remove the trouby areas. Alright. So dynam. Perfect. Let's smooth everything. Perfect. Now here we have something like something like this. Baby here, too. I like things. And then here we have some make things a bit smaller. All right. And here we have this a bit round dish. Let's choose the clip circle center and then do a clip like this invert the clip with out. And we're going to have this round lip that we can work with trying to integrate that part into the mesh. Does look better. All right. Let's one more song off here. Perfect. A let's remove the floor for now. And here we have kind of of these parts. We still need to do some work here. Let me now. Let's see. We can make some ings here in the back. I don't think the planes here in the front will work. And let's just unsee the planes that were in the back and let's make this part a bit more round. All right. So as you can see, we can do the treat sketch, and then we can just extract extract and to re mesh. So we're going to strat later. This is just like a treaty sketch. Maybe we will start refining the feed once we get into the refining stage. In that stage, we're going to start rating the pieces, picking that the final high polyms that we are going to use. Let's remove his At here. All right. Let's do the same thing here. All right. Anais. Perfect. We have the fill here. Let's see how it is looking with the With the body. Now, we need to make this entropies here. Is shape, I think will be easier to make it when we get into the refining stage. But I think we could try to make it now. Let's see how we can make that. All right, let's make a sphere. Let's bring it down with this icon. Let's make a pretty cylinder rotated 90 degrees. Make it bigger. Alright. Let's make that a bit more down. Aber here. I think what we need to do is make this part, a bit thicker, as you can see, its way thicker here in the cott. Now, let's make these parts here. A bit thicker. All right. It's thicker here. A mask. Sparks. Alright. I will take care I think this should be enough. Maybe a bit less. We'll see. All right. Let's make this a bit thinner or right. So here you can try to make a bit shorter, maybe like here. And we need to make some stuff here. Let's make this a bit less thicker. Let's do some Russians. Let's add one edge loop here with symmetry. As you can see, this is going like some stepped. Like, here comes the plane. Other plane, another plane, another plane. Let's try to make that like ps. Alright. It's Let's select those parts. Oh. All right. Let's do extraction. Extraction now true. Right here. Perfect. Now, let's add another sulu delete this one to have, like, this kind of bro. We can mask this patch here and make it a bit taper like this. Alright. Now we can add another slope here. If it's something like this. And extrude this down. Let me strew it with another edge oop. You can strew with another edge loop just pressing while you have still clicked your mouse. All right. And then do scale here couple group O with polychor center. All right. Let's see. Let's add some important edge loops. All right. Now, let's try to make this middle piece. Let's see what we can do. Maybe we can select these pieces and then do inset. Here, and do an extraction. Smooth inset with another plybuo extraction, poly group. All right. Maybe that can be molar, maybe something like this. Let's slide Let's slide this light a bit like that to make this model right. Let's do the root polyrupo. Make it a bit deep, maybe with another polyup. We can scale it down now, scale to make this kind of taper off Alright, let's make that harper. Let's do another inset here to make like poten sup there. Right? We have made kind of that fish. Let's control C to make this part of it roundish. Like here, slide that fish with sliding the point action which model. Let's do the operation again. Maybe this time not that deep, maybe like this. And then the scale group O polygon center. All right. Insert here. I set in this area or right, then add the other shots. I think that should be nice for now. I Alright. Let me just quickly polish these parts. All right. It's some skin, Anspinmody. All right. Perfect. Let's make this part sharp. All right. We can try and put this block out a robot leg with the other with the rest of the character to see what is looking. Copy here merge visible, all right. Here we have our merged. Leg let's copy it now, copy. And then let's go here to the character, and then pace operation. All right now, let's move. Let's move. Let place where that should be. Alright. They may try to match the orientation of the leg. I think what we have what we need to do is to make the feet pointing upwards. I mean, put into the eye. I may hide these part, see what's happening in the back area right. I think we will need to reach this part by hand here make this match leg but let's try to match the upper portion. The lower portion, we don't care about it because we're going to delete that part anyways. So we can do this now here. We can hide that part and hide this part here. Or right. So here we have our feet. Perfect. Our robot fit. Maybe we can make these parts here a bit a bit upper with something like this to match where the knee joint is a bit more because our knee joint in the robot 50 a bit lower where the joint in the left knee is. Let's just try to fix this with scotrs here. I don't care too much about this part because this is not a final mesh. Let's try to fix that also in here in this part here. Try to see where is the knee joint and try make it there. All right. Let's face this up. And let's mask a portion here, make a part up. Also I say like it's warming Perfect. The seeing if we can make also these off parts, call parts, a bit upper, also, all right, perfect. So here we have end of the blockout of our robot leg. So in the next video, we are going to do we're going to start doing this word. We're going to start making the blockout of this sword. So see you in the next video. 24. 11 Sword Blockout Part1: Alright, guys, so in this video, we're going to start making the sword. So it's start. But before that, let me do some things cause I have noticed that these two cylinder stuff are a bit more on the front than on the side as we have here. So I'm going to move these cylinder parts more to the front. Let's do it. Real quick. Oh, let's remove. Alright, real quick. Yeah. Let's move one here, maybe around here, yeah? Right? Just grab the other one and move it too. Like there is something like this will be nice. Alright. Now let's move these parts here. Let's mask one and move it for right. Perfect. Let me move this a bit down. And this a bit also down. Maybe it is one more to the side. Maybe one can be like that? Right? Well let's start the fourth. The first thing that I'm going to do with the fourth is to guess maybe, which is the size of the sword. As you can see, it's really big. I think it is about the same height as the body, a maybe a little bit less less big, maybe a bit shorter. So let's you start it's a paint, a cube. All right. Let me make a folder for that. Port. Alright. And let's make click here and grab this type of cube. Let's remove maybe 22 edge loops around this part. Make it a bit flat, a bit like this. And then just make it big. Maybe it can be around this height. I don't I really want to make the sword the same height as the body, maybe that will look a bit off. Maybe just a little bit shorter, maybe like like this. Maybe a bit bigger. That can work. Maybe. Alright, now, let's copy this and paste it in another tool. Alright, so let's start editing this. Then we remove these two parts. All right. Let's make this a bit flat and a bit wider. All right. So we have like four sections here in the sword. We have the plate, the handle, this part here, and then we have this tank here. All right. So let's start trying to make the basic shape that we can see here of the blade and the top. All right. We remove that middle part. Make this easier to control. All right. Now, see. Maybe we can make it is with symmetry, but the axis will be the S. The C, all right. And now let's take local symmetry to have symmetry here. Perfect. Let's find a sword a little bit, maybe not that much. They can look a bit broken. Me atoms maybe dynamic right? I mean, We use a base. I mean not. I'm dropping a nice. Let's use the transpose or this. And what? We can miss a bit. All right. Let's safe. Now let's right make this middle part. Separate a handle from the blade is like some some cube and use a cube for this. All right, using a cube. Let me move the blade to the center of the wall here or go do it here on right. Perfect. I mean, right. This will be around. A bit below the middle, maybe rounds here. A bit right let's make it a cube. Make it smaller with flatter. Alright. Perfect. As you can see here, this has, like, this type of shape, something like I like this, maybe. Try to replicate that. Right, let's see how we can do it. Let me remove some edge loops. We have more control over this. All right. Let's move. Let's remove the mineral. Alright, let's move this one around here. Let me make this a bit a bit smaller and a bit Carters be good. It like things right. Make this habit more inside like this. Let's make things a bit more up. And let's remove this one. Right. I really think that this is a nice for now. I think so. Let's do a bubble here. All right. When you have a pebble. Let's add some extra here for the chakes. If you want right now, we have separated the glad part from the under part. Alright, so I think that I will separate from this entire mesh to plate to have more freedom working with it. Let me think about that. Yeah, maybe I will do that. Then let's make this transparent at edge here and hide this other part and click split hidden. We have this part leaded. Now we're going to bridge with the C modeler and on the edge actions. All right. Perfect. Um here. Reach it from here all right. Perfect. Now it's rich. Alright? Let's do the same thing here. Perfect. I perfect. All right. So let's try to add this cylinder part. Let's put a cylinder on cylinder. Now, let's make it this type of cylinder with the gismo Alright. Make it a bit bigger. Makes it a bit longer. Burn up at one, maybe. Right. I think we can make this a bit ger. Maybe it's a bit shorter. Let's make this. Let's put extra here and then do an extraction Extrude. What it looked here? Me kind of this this part here. A right. Maybe that part can be a bit smaller maybe like this. Maybe not that much. Let me mask this and make this part a bit more thick. Or right. We can also make the entire plate here. A A bit why like this. Maybe not. Maybe that's much not that why. Use green. And be good cornell. All right. I think it was a idea to separate the lake. But we will see right have some basic shape of the plate here. Let's see what we can do next. Let's try to do these two parts here. So, let's try to make this lower part. Here. Let's add another one, like, fill and then set without this lower portion. Like this. My add another one like this. All right. Now we're going to duplicate this and delete hidden on the duplication. So we have this packet piece and the original piece. All right. Perfect. Let's extrude it all polygons. We have that lower part here. Let's make this part a bit more tajabono. Let's remove the polyoop on raid and make that part a bit more daino. Perfect. All right. It adds some more edge loops, maybe. And is this to support better the shade. Right. Let's add a crease here with the modeler here, edge, and do a crease. Perfect. So let's try to make this upper portion here. It looks a bit a bit weird, but try to make it. I think that we can make that from a cylinder. So let's make a cylinder. Make it up. Alright, let's make that cylinder this type. With the ismo right. Perfect. So what we need to do now this is more like experimentation. Maybe we can we can extrude let me add are here. Edge around this area. All right. Now we can extrude this part here. Let's select a body and extrude this part. All right. Now we need to extrude this other part, maybe. Bit weird I don't like to have this this star here. Maybe we can put a poly and delete polygons here. The d is led right And then we can breach the cap here. All right. Reach. Perfect. Let's see if we can do the same thing here. All right. Perfect. Then bridge here. Perfect. All right. But I think that we can make that upper part a bit easier. The oar. Let's see what we can do with that arc. A bit weird to make. We can mask here. Make this up a bit. And here. Mm. I need this this with a atup. Let's do slice, mesh in this arc. Alright. Now we have some triangle here. We can just add another edge there. But it slice manche. Now, it is a triangle. I mean a quad. Now, is a quad. Let me do some Perfect. Let's remove this stuff here. All right. I remove the crises and Cris. And now we can move this more like that, and you can see this is a wad up here. So now let's try to do again we wanted to do before. Not looking that nice. Mm. Maybe. What? Where's my I think I messed up. This lower part here. What is it? You think I messed up that part. I wait? Let's just extrude it. This part here needs to be a bit wider, more like this. Et's add more solution here. And then add another crease. All right. Perfect. Yet another edge loop here. Upper part, a bit a bit weird. Maybe we can screw it. If it's easier than I think. I'm just complicating myself. Maybe that's an option that would happen. You know what? I'm just going. Fizzy way. I'm going to name this. Make this up like this, to another dynamesh. And then I will trim with slip parts like this. And another part here, maybe like like this here. Perfect. Let's do another dynamos. And then a part. Or like this and another like that. A bit weird shape. All right. Let me make this a bit later here. All right. So what I'm going to do is wry and make them only groups. Or we can just mask this. We can mask this. Yeah. Then do let me remove this wanted mask here. What? All right. Then do an extraction with zero thickness. All right. Now we can use the slice curve to make some colic loops. All right. It should be different polygrpR? I should be another polyrup and this another one. And this entire thing will be another one. So let's do a the mesh. Let's see how this looks with the lowest subdivision. With the lowest resolution, I forgot to turn on the keep groups right. It's just not looking good. Let's increase the fluton. Maybe let's do another one. This is really wonky. I'm not liking it, really. I don't liking this shape here or this geometry. I don't think this can be the real solution for this. Let me think a bit. All right, guys. So what I did here was a bit of a simple stuff. So let's go back. I selected the top part, and then I delete it. Then I have mask these parts without these being closed. So I don't have the limitation of that part that we have before. So let's make this up just a little bit, then try to make those diagonal stuff. Make also a rub here. Trying to find the shapes. Alright. Now, here I'm just trying to find more the shapes like this part here. You can see and here I put another edge loop here to have a bit more solution here and to make this a bit more like I want maybe because you can see here this part, that part here on the top, what was what I wanted to do. Alright. Let's continue. I turn on the double view and start bridging the gap here. You can see, I started reaching the gap. Then I made a middle edge loop and finishing the closing of this gap. Alright. I think that's good enough for now in this back. Let's do a Cris reduce a crease level. Rak up the resolution here. Alright. Here, let's do Crit photo. Let's see. We can make that part a bit more sharp. Someone else make it too. All right. This is not really crispy or. Maybe here or maybe not. That's looking good. We can leave it like that for now. Or right, we have that part. Let's make this part here be dicing. Just let's select. What? Right? I don't want this. Things. All right. Alexa leg this cylinder. Let's copy it. Move it. Remove. The wanted part. Move part. All right. I'm going to remove the middle part. 'cause I just want these parts to be maybe making this a bit more like this. And the top part maybe a bit flat. Alright. Perfect. Let's bring this down a babe. Alright. Perfect. And then do an extrusion. Extrude polytons. Oh, it's not symmetrical. Strewed here, extruded all polyms. O polyos. All right. Let make it a bit more fake. Like this. Perfect. Trees. I keep the crease level two and increase the subdivision subdivision level. Alright, let's make this part sharp with a crease. That's creasing here. I grease this catch. That isn't going to be creased. Is a peg know why this part don't want to be creased. Oh that's a bug here. Let's do it by like this and then going back this piece down like this lot again. Alright. Maybe we can mix this a bit like this. Right. Perfect. Right? We can remove this edge loop here. Make that part round and maybe add some more edge loop here. I don't really like the harp look on the top. Let's see if we can make this a bit more round. Or. I we like to keep that round arch here. And I do a subdivision. I kind of like that round shape that they take. You can see and I don't like that shape here. They can be good for this part to work nicely. We can make it bigger. A bit thinner. A inflated or read it. Let's a quick save or right. Here we have the sword is taking shape now. Taking form. That you can see. Is word. It's looking a bit larger. Let's make word here, plate a bit longer or right. So now I think we can do is this orange part here. That will be easy. We can duplicate this mesh. Then we can, right? Make this a bit more canner like this, maybe. Also, maybe a bit shorter. Blade. Let's make it. The orange parts a bit thinner. And let's maybe Let's do something thin. Let's slide. Let's look complete here. Let's see how this looks. Because I don't want to delete Politans like maybe a portion. Alright. Perfect. And what I was looking for, but not completely it. Maybe we can do we run well with the seats. That's slide. Those these polygons here also. All right. Here, too. All right. Let's see. Holidays looking. We can make displayed a bit here, a bit. Alright. Maybe do a rise. Perfect. Let's add some egg soup here. Pour more the shapes. One night. Let's make this ad. More prominent. Maybe not that much. Right, let's make it with other color. Let's color pik here, let's color pik of orange, yellow. A right. And let's fill it with that colour. Perfect. Alright, now let's make this hook shape here on the on the tip. Maybe this can be more and go like this, maybe. I would work. Maybe not. That's a thing the trick. We part or right. So let's start making this indentation here. You can see that there is two layers, this yellow part, a darkt one, and a grayish one. Alright. Let's duplicate this and make one of those a dark gray right make the dark gray a bit inner I think I messed up something. This will be a bit white right here. Hart. All right. Now, let's try to make those shapes here. Around. Let's try to make this part first. I right around maybe that ball. Maybe more rounds here. Seeing this. Good. Let me Ionate this and then we add Etro and then do a Q mesh here. Ingle polling. O white. I qui's really hate this modern is like a journal. I want that to be straight. Great. Let's make it straight. Let's make that part straight. Okay. All right. All right, so let's do the again the KMs. I bit better now. And where I did that? Oh, my God, I did it. The gray part. I'm done. Let's just hide that. Make it whiter. And let me unpick the gray. Whiter, let's fill with white. Make this part. Let's white and make it gray right. So we have fix it. Now we need to make this part of it more two. I like this. All right, let's do a rise rise here. Rise, let's reduce the crease level and crank up the resolution. A right. Too. Perfect. Here in the great park, we don't have a much. Let me remove the tip part here. All right. It in. I don't see we will need that much sprich dose here. Perfect. All right. So let's start making these steps here. All right. I go around here with this start. So let g all of these polygams and then do another tush. Here, right. Then I will add another polylop here. Mm. Maybe it's a troop here and be a bit in less like this. All right. Perfect. Let's add another poly loop here. Then do another step here. The um a bit buggy. All right. Now, let's do another cris as we have. And those steps. Let's make these parts more than you want. Like this on fried. Let's also try to make these parts more that you're gonna know again. And right, perfect. Now, let's add some maybe. Let's try to add a strip here. Feel the empty polyton fields. All right. As you can see now, the plate taking more and more shape now. I think we need to make these parts B wide is like this with the last song. Make this part, more like you can make it more white also. All right. But now it's not looking not like that. Maybe just make Let me select we select just this portion here and make it more like this can be nice. And this part as here. All right. At some edge loops. And now I think it's nice. All right. So let's leave this video here. In the next video, we will keep working on the sword. I'll see you in the next video. 25. 12 Sword Blockout Part2: Alright, guys. So in this video, we're going to continue with a sword. Here, but I just want to let you know that I have update my brush to the 2025 version. This version has a tool that will be really useful for us in the process of making this model that is the dynamic symmetry. You can see we had before the local symmetry. But now we have a dynamic symmetry. That means that we can have symmetry in any angle like this one, as you can see, in this angle, I can have symmetry. See, start working, we have to turn on this. And now, as you can see, I have my symmetry. Perfectly done. So I can work with symmetry without need to go to another tool and make the symmetrical. So that would be a really time table. So we're going to use that tool later when we're going to start refining the mesh. So let's continue with the sort that we have here. All right. Mm. All right. Let's continue. We need to make now this tank part. It will be really straightforward. Let's make first this big this big tank, and then we are going to continue making those stuff here. Let a paint a cylinder, a pint cylinder. Now, we're going to move it where it lungs. Alright. Now we're going to select that icon and select this cylinder. Let's make it bigger, a bit bigger and a bit bigger, right. It's less big. Seem maybe just a little bit, maybe that and a bit down. Maybe around here, which would be nice. Maybe maybe around here. I see would be nice. Right? Let's pebble this part. Um, right here, let's pebble. Perfect. Let me add another loop here and use the scale option in the X actions with the simola complete. White. Let me add just real quick, another look here and another here, right. Perfect. My add some loops. Support the shape. Perfect now. We we need to make the other parts. Let's duplicate this and just select this part. Just select that circle. All right. Now we're going to strat this string. Polygons. Polygons, right. Make this cylinder here. Oh, now I'm making this tiny part. So, let's shoot it a bit more. Alright, let's add some Hollops. Move this one. Maybe here would be nice. And now let's do an extrusion. Extrude. Hollop and right. I made this Les big. All right. So now we're going to slide the slide. This edge loop here. I should complete. Alright. Perfect. Oh, here. We have that nice Aiono playing here. Now, let's add some more edge loops. Perfet Right? Let me see. Let's add another one here. So now we have this part. All right. Now, let's make that other part that is just cylinder. Let's duplicate this. Now, let's just light this Here go. Alright. It's not latin. All right. The lit. And then do another excursion. Another group O. Another extrusion. And let's make this part a bit thinner. Maybe like this, maybe a bit bigger. All right. I think that should be nice. And now let's make some babel here. We just a little bit of babel another edge. Perfect. All right. Let's push this in a bit. All right. Here, there are so much cylinders. But whatever, let's duplicate the cylinder again. Let's move it forward. Make it thinner and a bit shorter like this. Maybe we can make it with make it a bit like this. And then we can add another aggro here. Alright. Let me erase this one. Mando aq mesh. A around here, aq mesh with olelop. It's not working really nice. Let me see if the extrude works here. It's not working. Machines not working. This is a trouble. M A trouble, yeah. So in this case, let's add another edge look here and let's make this thinner like this. All right. But I mean, not that thin around here should be nice and select this color for this part and this part. And let me add the same white color to the other part. Alright. Now, we need to make this curve in there. But first, let me move. Just a tank art around here, maybe should be good enough. Let me a bit a bit up up down right. Right. Let's make this part here. Okay. Let's just locate this cont. We have it located. It's working. All right now, it's working. I may move this facing rise the cylinder till it gets to the handle part. And we can make it like this. All right. Maybe we can also make this handle part a bit bigger, maybe. Maybe just a bit. A bit. Alright. All right. Let's continue here. Let's make these parts more thin. So this can can be here. Can be a touch in that part. Like here in the concept. But we can also make this a bit thinner, right. Perfect. Let's make it here, thinner. Maybe not. Go it back. Alright. Let's make this bigger. You can see it's a bit more long the conceits. All right. Let me just erase all of this One of those out there. Make this around here and then do an extrusion. Good. All right. You body with the lighting. Perfect, like before. Let's add another edge leave around these areas to explore this shape. Or the right. Some edgelps here and there. All right. An loop, another loop. Another one. Another one is this one. All right. Saving. Remember, always save your project. All right. So how are we going to make that curve shape here? Maybe make this a bit longer We can make it by hand, maybe or let me something here. Yeah, let's just make a cylinder here. But let me think about this. Let's make a cylinder. Let's make a stack of cylinder. And now we can lace one cylinder here, mask around here, maybe. Make this less long. Here, you can mask these two and move the other cylinder up and rotate it 90 degrees. Alright. This part also, we're going to rotate it maybe 45 degrees and make it a bit bigger. Alright. Maybe this part less thick. Around there, I think it should work nicely. Lets bubble it rerollsr. Let me select the lasso Brush. Make that more like this here. And make this one a bit bigger. All right. Natally, we need to make this f here. Yeah, I think this should be a bit a bit less Less long here. All right. This is just an end. Makes this a bit longer. Maybe here, we can Make a natural here. Maybe a bit. Down this. Make a natural. Let's shot this. All right. We it a bit. And then this looks like it has a pebble. So let's make a pebble there with wrong on right. Perfect. I so let's look to support this shape. And here, it looks like it's rotating like this. So, let's make it here. Alright. And let's save before doing this part. Now, we're going to inflate this part here. All right. Maybe we can make this a bit more parts by doing this make these parts a bit longer. It looks longer here in the concept, maybe here would be nice. It's a sly, please. Bart right. Let's make it gray or a bit darker than the other parts. It is dark gray. And now, let's do something here. Let pebble all of this. Let me slice this edge and then pebble. Ibn not that. Here All right. I think a bit O here. Not that much. That much. Alright. Let's do a pebble. Alright. Let me move these bas. I'll bit up. These bars I bit more in the middle. Maybe this can be like this. All right. Now we're going to let's make this a bit less big around here. All right, now we're going to exporting this edge roots like this. Let's add a middle middle age. And let's add more solution part. Has Me solution to make this rounder. Now we're going to mask just the middle part. Let's see an inflation gain. All right. Let me reduce the wooden density. These we parts. Just a bit. Just a tiny bit. All right. Let's rank up the density again. Let's do some twigs give it more shade. Right, we have on the middle one. Multis again. Let me make that middle portion here. Let me pedal this a bit. Add some looks Insert. Maybe we can do Right. It's remove these birds here. Perfect. Here, do It's remove those birdies And here also. Wait. We have messed up. Here. All right. Now, let's like that. All right, maybe we can do another inclonmve All right. Let's just pinch to pinch these parts. So damn standard to make it paper All right. Is putting it's basically made. This part can be also done in sculpting. I think it would be easier if I made that just with sculpting. But let's make it like this. So later, other stuff will be easier. Like, we can reuse this topology for the low polymse that way saves time. Right. All right. Let's make this part that should be easier. Right let's duplicate this mesh. You support this. Duplicate it. All right. Let's chose delete these pass and delete the rest. All right. Delete the rest. Now we're going to strew maybe instead of struing, we can inflate it and then add a middle loop and then bevel this rounds here. Now we can select this part here. And then we can delete it right. And the vertices we can slide it, make that round shape and then do an extrusion with polygons. All right. Lip it. And let's put some rises maybe instead of in. We can do crises here. We right Perfect. You can remove the crease around here. Perfect. Now, this will be nice. Let me see how this looks doused with disappointing looks. Let's see. This will look better. Alright. And Mm hmm. I don't like this edge here. We're having the same error that I don't really like. I just decrease it for now. O. To put the shape, we will need to draw some stuff here. Special to put in a loop. Let's do it. Why not? Let's just delete the thickness. And then we can use slice mesh to draw to draw this pattern here around the shape. Et's do something that will be a lot easier. Let's go back before deleting. Let's Let's do inset. Alright, we have that nice supporting edge loop. Alright. Now here, we're going to the leak the middle portion. Leak. So now, it should be nice. It suppose should be done. Lip it and then add the supporting looks. Ice. Same or even worse. Well, let's lit here. Do an extrusion. Take it. Let's at the middle part. Slice. Like Alright. Let's try the metal die. Will you make this. Alright. Now, let's do them the part. All right. Around here. And then do a mirror and weld with C axids and let's each some polygons in leather like these two and then delete the wanted ligans right here. I still all of these polygons here. All right. Now let's delete the creases. Now, is this supposed clean to be nice and clean? I think it's better. I All right. I think that's that's better there, but the problem is still there. Maybe we can make it down I may frank up the severe or bright. I don't like those pinches. Let's just continue with other parts. Let's make this part here. That should be easy. Let's duplicate this. Now let's just select this portion, move it and inflate it. Let me remove this one. And let's find out the shape that it has something around B. I think this should be enough. All right. Let me remove this one to half or let's just delete these two and then do a pebble here. A pebble. Now, let's do an extrusion. Alright, flip. Now, let's extrude this part. You have that top part. And now let's add some supporting edge ops. He around random sports. Alright. Let's add more porting ge ops. I all right? I think that ours is really big and maybe, yeah, I think. But our tank is really big. Let's make it less big. Let's make it smaller. Maybe around here should be nice. Wait. I have some mask. All right. Make it smaller. And this should be around here. I will be more or two. Let me do something real quick. Make this a bit modern not a bit in the concept. All right. Let's make this. Let's bring it down a bit. And then part let's move it more like this. We let's move it more like this and just mask this face and let's move it. All right. What this now is a bid to dig. Alright. Maybe we can just try to make this curve. Maybe around here. All right. Doing some tweaks here. True? All right. I think that's better. All right. Let's see what else we can do. All right. We can also try to do this up here. Let's see how we can do that. We can just use another cylinder here. And right. Make it like this. Rotate it. Make it smarter. And now let's make it a bit longer, a bit smaller. Let me same All right. A bit less egg. And from here, we can extrude with the gizmo like this. All right. And and rotate it more Or. Now, let's make the lower part. Yeah. Or right. This looking more to this angle maybe. Right? We need to move it. Night is is far. All right. I think that that part should be nice. Enough. We should take this just a bit. Perfect. Let's add some spontaneous look. All right. Here, also. Off. All right. And maybe here up. And also the tips around here. Around here. Perfect. Let me remove this too. Let's see. We can improve this I think it's All right. Let's add again. Fortunate loops. 91 here. Perfect. Let's add this disc that will be just another cylinder. Alright. I'm wrong here. Maybe make it. Make this part darker and this with a tiny lighter brain. A little bit all right. Now we need to make this other part here. Let's just duplicate this cylinder. I bring it to the tank part. Rotate it. Let's see how we can place it. Alright. Perfect. Let's see what bebo here. Let's add more poltyaps And here before that, let's do this quick loop here. Let's just uplicate this part. Then we're going to add another render. And now let's delete the other one. Alright. Let's close all here with close convex O. Let's do some Bbbles. And let's add more off here. Perfect. So we have most of the parts. Maybe there is some little stuff at this left like this tiny stuff. But that will be really easy to make. Maybe we can make this part real quick Located. Located. Alright. Now, let's just Let those two parts. Another one. I half messed up something. All right. Um, Alright. Make it a polygrp. Lo Alright. Let's select everything, know the poly group that we have made, then the lid, and then do an extrusion with all like this. Add some creases. Alright. Perfect. So now we have some blockout of the sword. We can make the other stuff like this tiny stuff and the other out here in the next video. Also, this stuff maybe will be done in the refining pole. So in the next video, we're going to continue maybe just doing those little pieces and start refining the character. Now that we have made almost all the blockout for our character. So I think that we are in a position that we can start doing the refining. So she doing the next video. 26. 01 Start Refining Our Blockout Part1: All right, guys. In this video, we're going to start making the refining of the character. And also, we are going to finish the blocking sword that is something, some little stuff that is left to do. Like this stuff here that's scrapping around the handle. And this little piece here, you should start making first the handle stuff. How we going to do that will be really easy. Let's select the handle. Duplicate it. Now, we're going to use the slice hoof here. And then we're going to start slicing each segment, like this bit smaller without a dynamic upte for right. Right, maybe count I'll be around eight, maybe. We have six here. We want more And I think like this would be enough. So what we're going to do now is to delete the other parts that are not the polygroups that we have made to delete that. Also, we're going to delete this middle age group here that we don't one. All right. Now let's go to geometry, loop here, and then do some panel oops. Let's reduce this slider here to around two. And let's play with the thickness. Let's see the result that it gives us now. Let's turn off the polish. All right. Panalp that's increase thickness. Maybe a bit more. I think that can be enough. For now, let's col or pick the color from the coset. Alright. I apply it model. Maybe we can make the color a bit more saturated. Saturation here maybe a bit more saturated and maybe a bit more warm here. It's a bit motion today, then. Let's color right. It's applied. Is this pink. I have a better contrast, right. All right, maybe a bit a bit darker, maybe. Let's see. Or not. Let's leave leave it like that. Or right. So we have to block out of the sees here, add some polylpes the In the handle parts, maybe one here and one here. And we have to do the same thing also here. Oh no. Let's leave it like this. I think that it makes it make shape like that. My opinion, but it always can be changed later. Let's say I have the same opinion later. But let's continue with a little piece. Is little piece here will be kind of easy to lose. Let's select let me see. We can use the Hmm. And we can use a capital shape. I think you can use a capsule shape here. Make it a dark gray, this type of grain. Make it molar or right place it where it should be All right. Let's copy this. Make it smaller. Let's separate it with another object. Alright, we have this stuff here. Let's make it bigger like this. Alright, perfect. Around here should be good. All right. I think this should work for the purposes of this wire. All right. We can do some bebing here, do some bebo here also. Then here, we can do maybe some inset here. Let's select the standard method. Let's do an inset around here, maybe. Now, we're going to extrude this new polygroup that is created. Let's select here extruding the polygonaction with modular, single poly, a single poly, and then polygroupO polygroupOe. Maybe some something like this. Let's copy this orange color and select this polygrop and then we'll opt it to put that orange color there. Right, we have created that little piece really quickly. It was an easy one. Maybe we can make it a bit thicker around here. Is. So now we have around all the parts of the sword made. So now we can start refining the character. We can start making the high body. So let's start with the simplest stuff first, that will be around be this dark cloth will be kind of easy to make. It safe first. Alright. All right. So let's start fining the dark cloth. So the first thing that I will do is to make it some thickness here or poly and do sickness. The glue flip. All right. So we have here some sickness. Maybe we can do here and add some creases with a crease level of one rise and then crease poly glue border. All right, because I don't want wanted rises around this area. I don't want that. That's why I selected the Chris Body view border. Now we can maybe do polish by features smooth all the lovely effect that was appearing. Let me hide the jacket. Fix this clipping stuff, the pad the shoulder around this leather stuff part here. Right. Or white perfect. Then we can make this leather stuff a bit a bit separated from the plus. Let's do a thickness for that leather stuff. All right. Perfect. Let's do the same thing. Acres with a poly decreased level of one or right. So now to bring back the jacket. Now we want to apply the dynamic subdivisions. That would be pretty easy. We're going to go to here and then where sit dynamic sud here and then apply subdivisions. So the subdivisions are applied. And let's start doing some finance. Like bathing we can do Oulge Maybe like this. Maybe some ols I mean, not like films. Maybe something. Maybe it's a symmetric. Here, maybe. Something. All right. Is a part that is forming a lot when she bend the body. Maybe some fault are created. Damn standard. Right? Let's do finance here to folds in this area. And reducing the resolution, we control a weight shifting. We can reduce the solution at the syms. Something like that. Maybe we can do another stuff like this. This represents some tension folds around the breast area. Right? Now, let me see the back area. Let me hide that part. Maybe here, we can do some folds also. Greiner like that. Yes. So small stuff here. Can be good. Right. Start making the golden stuff. We're going to make them with masking. Let's use the mask pin. Let's start masking the shape of these bolden lines. Right, let me hide this jacket so we can have better view of what we are doing. Alright, start making on the back face mask. All right. Let me turn off also the the poly paint. I get white. All right. So we have better view of what is happening here. We a bit more close. I'm seeing like this, maybe. Right. We can end these parts like this, this area on right. Et's do the the other part. Maybe let's bring back the jacket, where sit jacket. We have two parts here that are kind of visible. Let's mark those part first before before doing a rest. All right. Let's mark the last one here. Let's hide the jacket again. And let's mask that area. Those shapes. Yeah, around here. Maybe a All right. Perfect. All right. Let's see how it will with the jacket. Let's make the lower part, this part here. I the jacket again. His comes around Let's do some fixings here before doing that card. Maybe making this a bit more parallel to the first line. Right. Let's make the other line here. It's like this is going under the leather part. Maybe something like this. This is a Let's make this stuff a bit longer. All right, Perfect. It's not looking too parallel. Maybe we can pull back the jacket, let step in. Show more of the breast both. I mess my tablet. I did some stuff. We're here. By accident. The control scene. All right? I think we need to make this stuff a bit bicker something like this. Here also. Once we strat them, we can play with the shapes. Better than now. Just want to have a good foundation before distraction. Maybe this is more like this work. All right. Stuff. But right, let's just left that part up that, and let's focus another part. Oh, I seem like this part is going under the legal part and making this shape. This is, like, a continuous shape here. Let's try to do that, too. Let's find this part like this. Here. All right. Strong Grapes. Right, perfect. Right? Let's draw the other shapes. It's something I like. Is weird stuff here and it's connected around here. That part means this part. We can refine more the shade later when we strat it. All right. Now, let's make these pelvis belly lines in that part. Alright. Try to make that parallel to the border. All right. And now, let's make the rhomboid babe in this area. Something like like this would be nice. All right. A bit bigger. All right. I think that would be enough or now let's save this verse. All right. Now, we're going to do an extraction. Here we extraction, dtraction here, extract. Little thickness. Rect accept right. Well we have shapes here. These parts that lead all those wanted polyubs it all and then do with symmetry, seri mesh, maybe let's leave it in 2.2 0.1 resolution. All right. I think that maybe it's kind of go let's see if looks if we do multipy features. All right. A bit lower, maybe looking better. Maybe let's see how this looks a bit lower. And better, more we can have more control with this. We have some stuff here. All right. Now, let's inflate this. And now let's go. A doing some shaping. Let me delete some problematic polygons. Take, these parts, let's delete this polygon this polygon. Here we're going to delete that here this what else in this part, let's let I hooligan here, all right. It's those polygons that we don't want or write. We can start working now. Let's bring back the poly paint or the dark cloth. And now let's start shaping this. A bit more like agar like this. Let's add some golden material here. Yeah, material filled up. Right. Ithing like this B. Let's work in these parts too. Make this Di jagonu I'm using the move topological because I don't want to move other far than the what I'm working on. Let's make this symmetrical too. A symmetrical null at the Jagan I mean, make this more the Yau u. So it has kind of a continuity Right. We can do auto groups and then do a mirror and weld. So we can mask and use the pinch brush to make that lets take on right at work in this tape here. Got it hidden. All right. And make this Javano matching the angle of this line. Let me delete those middle edge group and then we're going to add them back later or as the angle or rights at again those trooks. Perfect. All right. All right. Maybe Not that golden material. Let's see. Material we out there. Maybe we can leave it without material and then just gave it. So color here, something like this. Stry to make the upper art a bit more parallel. All right. Alright. It's work. Now. Are you? Make did the ameral stop you? All right. Now, let's shape. It's part better. This part is more thin. Maybe something like this. White. Is upper part part here. It's a bit more down a bit more down. From here, maybe. This is some weird shapes here. On right. Let's stitch these mopere that are very weird looking. Alright. Each it's up in here. Lift this. Then the split here all right. So now we can make that part thinner and we spark more sharp. Although this is a bit bad. Let's delete this polygon here, and then we're going to move this polygon. We thinner the shape. And we are distorting less the mesh. Make it a bit more more thinner. All right. Perfect. Let's see how this looking with the rest. All right. Let's work on the lower. Symbol here. Let's make these parts. Day All right. Let's make the other parts Dayao. Alright, let me ask this. Make it a bit parallel to the other one. This more Diana right. Now, here, let's delete some boy looks. Give this one can go away. What this one can go away, right. And then we can delete some other parts. Maybe the All right. We have this ovoid shape here. All right. Now that we have symbols, we can do thickness. It's at thickness here with the modular polygon actions, extrude all polygons. And now we have created rated some thickness for them. Now here, we're going to do is with a rise level of two or right. Maybe a dynamic of division level right do, what is the features and bring back some arts. Alright. Great. All right. So we leave it like this in this video, the next video, we're going to continue with the other part. All right. In the next video, we're going to continue with these parts and then start maybe making the finment of the jacket and the jacket and the like some dress piece. And so, so let's do it in the next video. 27. 02 Start Refining Our Blockout Part2: Alright, guys. So let's continue with the finding of this model. We're going to continue this plot here. So let's start. Before that, I just want to tell you that I have done some quick changes out of camera, like, making this stuff here a bit thinner, the opening of the here a bit wider. The pot holds a bit wider. But those are really easy to make stuff. I just make them. I make thinner these lines just with a pinch brush. I mask it and then did a pinching to make them a bit thinner or narrower. Right, let's continue this piece of cloth here. Let's see, we're going to make this. You can see this has some bools. Also, it has some invols here. Let's start making it. Just start making the thickness here thickness or polygons. Make some thickness here, slip. All right. Now, we can do some cress with a crest level of one, all right. And let's add here subdivision level of two. Maybe we can do more atrops here if it is a bit more of solution. Let's see what is looking with decreased level of tea. I think I like more prisle love too in this in this mash. Then we add some feel weak. Love here. And then I will add another crease. Wrong here. Sketch right. Make that part a bit charper. Alright. We safe. Quick? Now I just way till the end. So now we're going to apply the dynamic subdivisions. Then we're going to start start folds. Like, fold. Let's tread the solution a bit. Start doing boge like she has around here. Like if this is compressing the strap or something like that. Something like this. Let's make transparent. All right. What's happening here? Call right. Let's make it some fall here and there. Oh. Maybe we can do. Like like this, maybe here? No. Okay, how do this look? All right. I think I would con maybe or not. No, I think I will not keep that to just an experiment I was doing, see if that will look better. I think I will just leave it like this in this part. And it'll be enough. Maybe it'll be enough. All right. It is hanging from here, so not hanging from oil. It's a bit straight. So some rib here. Like fold the cloth. Make it. Let's use the attic roof. Make kind of this rib Bag Alright. Tweets, all right. All right. All right. We can start now making symbols. Making them. Alright. Make this. And we love here. I think that should be the digger. We just a bit. I seem like this will be enough. Now we're going to make the two ones that are on sides. These ones here. Right? Man ones. They're going niche something niche ins maybe. Make the point. The end point here a bit. No wor All right. Hm. They think that we are making something bad. Let's make this a bit. Wearing these part and this part should be the same white here around. Here maybe would be. And around here should be the part. All right. Make a bit sharp. The the mask a bit sharper. Or. Let's make the last one. That one is a bit it's a bit more long big part is not that long. And the other part will be the long part. It goes kind of like this here. It will be ter this area. All right. Maybe we need to do some s here. All right. Let's continue with this. Perfect. I think we can start working from here from here. This is still need more refining refining. Alright. Let's strat it. Where it studs here with zero sns as Alright. Let's go to the mesh that we have straw Where is it? Right here. Now, we're going to do we remesh. Let's do kind of maybe 1.1 solution. Maybe it warm a bit lower. Maybe a bit more lower. This could work. Let's delete some some bad poisons that will cause some trouble. I forgot that this has, but I think we can address that later. Alright. Well. Let me just think. Let's separate this. Is or not now. I messed up something. Do you think Alright. Let's do an inflation. Perfect. Now, I want to rate the Because I'm going to do something. Let's do slice here. Because I want to separate these pieces. Now we can do a serums with proves activated or not. We can well, we can do it. I don't really like what's happening there. Let's separate lead. Yeah, I'll let's do the. Let's go here and Symes syrmese options. Let's click and halve. All right, not giving to good results.'s if we can get some good results, maybe we can make a butt a bit more sharper. Alright, maybe another one. Another one, I think, because I want these polygons here to be like that, maybe we can do another one. We can achieve a result. This one, no. I shake syrmsh sometimes. It's not giving what I want. But we can maybe with let's see. Maybe we can stay with Alright let's go here. And let's do syrmsh also. Let's remove kits. And here I want to do something us. I want this to be pointy. Alright. Alright. Let's do another mirror on weld. Let's do a a measure. This is deleting our points All right. Maybe let's do again the SIR mesh to see if this end up giving us what we want. But this is not giving it we can. Well, I think we can work around with this. We can do another sir mesh. Maybe it should be good enough for us for now. Alright. Let's make this more like this? Perfect. All right. All right, we can separate the tips here also. Round here, split. And we have this splitted or right And let's merge everything down. Let's first safe. If we do something wrong, we can go back. Alright, let's do mirror down where it's mirror down or mirror down, merge down. Sorry, my bad Merged here, merge out. Right. No one, and last one, all right. So let's do auto groups, iter and well Alright. So we can start tweaking the shape of pins. Make it what we want. I bid more angular, more parallel. All right. This stuff will go more like this part. And this will go more like this. These pieces, baby, should be a bit smaller. A bit smaller, maybe a bit up. Alright. Let's mask again those pieces. Maybe a bit more like this. All right. Let's keep refining the shape. Maybe it's not acting the shape of the concept. Right. It buns. It's gone down. Right. Make it a bit more sharp. On the right? Let's start working the lower one. Maybe a bit rise it, a bit more. And let's start tweaking the shape. On right. It should be a bit long too. Maybe like nice. Let's wich here a bit more to make that a bit more parallel. Maybe, let's make this wall a bit more clean land and let's mask this again and bring it down next year will be good cause this part is kind of aligned with this edge here. Alright. Let's keep tweaking this shape. Alright, let's do the last one. Let's match it. And let's start shaping it. All right. Let's make this a bit more thinner. All right. Okay. Perfect. Maybe it is a bit more up. Maybe it is one, two W more up. Round here, maybe, yeah. All right. Maybe we can start making some thicknetsTknes for that. Here a bit of thickness. And let's do some cree. Here. Let's bring down the level to two and the dynamic solution to four. And now let's push it in the class. All right. Let's push it. Perfect. All right. Let me add some crease here because I want this part to be sharp. Perfect. A All right. Let's do some polish write features. But first, I want to add some creases in this area. In this other area ing and some creases here. Polish why features again. All right. Symmetry. Because this part here is not symmetrical and start tweaking the shape match the surface of the class. All right. Push this more here. All right. Push this a bit more. Right. I'm saving now. Alright, let's see. Looking at maybe a bit of fatto here, maybe like okay up here. I on right? Parch. I want to note that straight. All right. What we can do now, maybe we can start adding those creases here on this stuff on this metal piece. D here would be kind of icy. Let's do some cress first. Let's reduce the crease level to two and crank up the solution on the dynamic subdivision. Now, let's add the Eps here around here, maybe, yeah. Maybe more inner maybe not. Maybe a bit more like should be nice. Now, let's do some beveling with the simular. I click it drag the pebble, and now let's do a click. And in moder we apply same pbble that we did before. Now let's do extrusion here, extrude this like this. Then let's add another edge here and remove these two. Let's do the same thing here and move these two here. Perfect. All right. We have those details in the strap here. Perfect. Alright. Let's add maybe the two bolts that this metal piece has here. These bolts. Let's go here and let's grab. Maybe I think for length. It's not the roof, I think. Yeah, it is one. Let's selective and let's drag it and then controls control and drag it again. And now push this Let's max statue. Now let's push it in and right to a mirror and weld Perfect. Est counter pick the material and then upla all the mesh right. Perfect. Here we can do some creases. Let me separate this part. Then you can organize this part a bit better. Right. It's brick with all the leather pieces that are there. All right. Here we should be There should be also the symbols. The symbol should be in the underclass group. And this one. Alright. All right. Let's bring back crops. Now let's separate. Put it herding. And let's do some creases here. I crease. Lab of two. Right. That should be enough. Let's add some crises. Here. Alright. Maybe I went around here. Perfect. Let's soon is complete. A. Now we can merge the two ones here. Merge them. Now, let's pick this a bit more match the strap angle. I like it. Now, with the part that is scrapping around this metal piece would be really easy to do. Bring this under right. Duplicate this mesh. Now we're going to add Old here. And then with the last select brush, we're going to hide these polygons and then delete the other ones. And now we're going to inflate this. All right. Perfect. That means remove that one. Now we're going to make some thickness of polygons. Lip. Let's color pick the potter of the leather, and then apply remove that metal. With flat color here with this material, if you apply this material to an object that we do will apply like out configuration of the material, you see if I change material, the material change on old stuff. That's because the flat color material is applied to all the mesh. But if you see the metal, here, it doesn't change because this has the metal material applied to it. All right. Perfect. Let's do some crises. Let's Well, let's throw a Cris bonded up here, all right. Glous working. This will be in two. This is full, right, perfect. Let's add this lino. One here or one here at the pebbles, and then the extrusions right. Now, let's insert here. Another one here. And there we go. Perfect. Armed right. We can add here some crises. Let's add the Cris here actually complete these areas. Perfect. Alright. Let's see what else we can do. Maybe we can add those slide here. Those line will be applied. Sculpting eight the first thinks the res level, maybe 21. I be nice four Maybe just one. I think one would be enough. All right. Make this thing under the leather right. Let me say things first. Alright. Let's hide the jacket. And now here let's remove these wanted creases. Perfect. Now what I can do, I would apply the dynamic subdivisions. And now we're going to make the lines open. 'stune on the lazy mounds. All right. And now let's start making the shape here. As you can see, the shapes are maybe and this one. It's right to make all around. Maybe more like this. Maybe more like this, yeah. And this one is going more like this. Oh, here, we can do some maybe some design. It will not be seen too much. Maybe we can just ant these two lines. That's it. 'cause that's too boring. Let's do some cool design here, maybe. Maybe let me put lazy mouse and here. Alright. Perfect. Bring back this jacket. Now we have that letter I made there We can also we can fit a bit the corners with the dynamic dynamic dynamic here. Make it a bit more beaten up. Maybe add a bit more detail to those parts. And what? Maybe a bit of damage. Do you remove this? Maybe a little bit of damage here here and there, maybe. Maybe not in that part. I think that can be a bit like that for now. Alright. Alright, I will leave this video. In the next video, we're going to start making the refining of this class, this green class. I'll see you in the next video. 28. 03 Refining The Jacket Part1: Alright, guys, so we are going to continue with the refining. In this per, we're going to continue with a green cloth. So let's begin. Let's start by doing some thickness for the dress. S here with the semodorEtrud of polygons. Let's do some thickness here. Perfect. Alright. A little bit more. Just a little bit here. Yeah. Let's go here and then just do a click. We apply the same thickness in this mesh and this mesh. Alright, let's remove the double and do a flip here. Remove the double check. Alright. So we have thickness. So we can start doing some stuff. Oh, so I think I'm going to make this a bit bigger to match it better cost hard because this part is, like, a bit bigger, maybe. I make it a bit know more something more like this. All right. On the price list. Let me we apply the same sickness. We did in the lower class. S just do a click and slip it. Alright, I think this work Here increase. I will increase. Let's try to apply the creases manually because there are some angles that I don't want the creas to be. And there's just a few creases that I really want. There's some specific areas. All right. Remove it creases there. All right. They here, we can add some creases. Alright. Let's fix this clipping in the back by just moving it with the movers Right. Now, let's apply these subdivisions. Here we're going to go to dynamic subdivisions and then apply. Now we can scope freely. As you can see, we can hold now. So let's try match the concept. This having, like, this stuff and then a big fall here. I will try to do that. But also if I can add other fools by myself. It has, like, oh, I forgot to remove the these trees here. I don't really like this crease in this part. All right. Supply can increase the subdivisions. Now, let's start doing those folds. I have reduced the subdivision level to be able to work on with more control with the mesh. And be able to shape better the genital shape or the genertal form. Right. It's looking like something like this. You make things a bit bigger here. Not looking good. We can isolate this Right. Trying to match the concept. But making this looking good from all angles a bit hard. We can make this even even bigger. Maybe or maybe not. We can make the shoulders a bit bigger. Shoulders there. Jacket. This is a bit more red, maybe. And this should be more wide. Maybe this is straight. At here is not looking too good. All right. All right. Let's add some compression falls here. She kind of has some compression folds as you can see here. Et's stay real quick. All right, let's continue. Trying to match like the general shape here, try to catch the seluet Right at some compression folds on the back. Here, two. A white clean grade for car to attend the polymodeling stage. And seem here. That's not a big of a deal. We can do it with the Tam standard with the lazy mouse, increase the lazy mouse rises and then do some line here. Perfect. Right. And maybe we can add boom here. It is parts. Right. Maybe we can end with a bit more noticeable, maybe with the clay looks here, mas mouse. So this can show more. All right. Et's do some smoothing. Here. Nice. Perfect. With the pinch brush. Then do something here. Right. Let's try to add other fall here 'cause she kind of has other falls going down here. I'm just trying to add this this hole here. Let's see if we succeed in the task here. I'm adding these big holds with low resolution with a low level with a low subdivision level because it's easier to control the shapes. The bigger the resolution, the difficult is to control the big shapes. So that's why the bigger revolution are used more for the tiling and that stuff because it's a bit harder to control the shapes. Right here with the nuts with the highest subdivision. Let's add stroke here to sharpen more. Is hard here. Right? He is having like a motor maybe. Fold maybe. I like this. I think we're here. I' really like that. Right. This is a bit concave. We like to make this more convex. Maybe if washing it down. I think this is too much, maybe a bit less. Just a bit. I think that Wood maybe. Oh Right. We can add this took part. Thinks looking better with that crease. Okay. Let's try to add some other stuff here. Maybe. These stuff are maybe some creativity, freedom I'm taking. Maybe some fall here. I don't think that looks too bad just to make it more illusion that this is a piece of cloth. All right. The bag is full. I sense. We can just live with these greases here. Also, let's add maybe like two tiny folds. I always like to add maybe in the parts because here we have the caplas and then some empty space here. And I like to add maybe this like two folds. It's part. Because the tocabulas making the anticipate part to be a bit hens with some tension. Alright. Let's add these fold here in the neck area. Let's use the buildup, and then we're going to add some shape and volume here. Well then, let's first apply this back face mask to the play buildup. Full the back part. It doesn't affect when we do a stroke. The way around here would be nice. Let's you thinking am standard, and then some smoothing. All right. Perfect. We can make this part a bit bigger with the under rod. Just to add a bit more volume. Maybe pulling this up. Make it a bit bigger. Alright. Yeah, kind of works. Y. All right. Perfect. Now, let's add the recess here. These lines. Let's use the standard brush with the lazy mouse, a high lazy mouse. Now, let me first save morph target. And let's draw chakes here. Then down. Go down, maybe. They bring the preparen so you can see. This go down. And then this turns this point. Here. And then the torne around this part. All right. This not part. All right. And then the torn. Perfect. I can try to draw this pattern here. All right. If we can reduce the lazy radius, Let's see. Liking it with me. We try to do these parts just few times. Mybe like that, will be enough. Mm. If we will have to pull some parts up because they are too close to the same parts. All right. Perfect. Setting some a bit of a sharp border in this line. We should have used the orb cracks for this task. I think it was the orb craft cracks. What this Okay. Right. Right now, let's try to add this metal stuff. For these two little ones, I'm just going to maybe a paint or strat here. Let's strut. So little square let's see here. What is it? Extract o upset, right. Let's first do serums with the lowest resolution. All right. Let's do another one. All right, this is not looking too good. Let's just wrap some ware or tube here. And then remove the st here. And we can do another thing. Maybe instead of a cube, we can select a reduce these parts to four parts also and make it a bit flat. And maybe. We can Oh. We can shape it match the reference a bit better. Alright, this is saving? Always save your files, please. And maybe we can do something like this. Alright. I think you have noticed already. But I'm using the dynamic imetry to make this. It's a really useful stuff. We make this white. Alright. Maybe also we can delete these plywos here. And then do an extrusion. It's a bit cleaner. Let's see how this behave because I want to burn this Alright. Perfect. We have this shape here. I think that maybe we part would be better, maybe another subdivision. Let me use the apocrat here. Maybe we can refine this thin line All right. You're trying to refine this pattern here. It's so So mag potish. Let's make this stuff here symmetrical with mirror and weld. Alright. Let's duplicate this little part here. And right, let's turn on the local symmetry and the activse the dynamic subdivision, make this motor. Put it around here a bit longer. Around this part should be good enough. All right. Now let's do this pattern here, the shoulder. You see, we have this pattern here. So let's try to do that. Let me leave the reference here so you can see what I'm doing. Let's use the mask pen All right, let's mask and remove the mask in some areas, shape it. Better the form. Alright. Let's do the lower one. It's something like this. And this lower one is following the line of this diagonal stuff. Maybe something like this it bit thinner. Maybe this part. I think that part can be like that. Alright. Now let's add some extra pieces here. Right. Perfect. Let's do the same thing on the other side. A round smear maybe should be enough. Perfect. Think that's good enough for now. Let's do an extraction with zero thickness. Dripped, a set, right. Now let's do a sish with the lowest subdivision. With lowest resolution, sorry. Right? Maybe another one. Maybe another one. Maybe another one. Let me remove some On polygons, I don't really like these ones here. All right. Let's make this a bit bit top the cloth. Let's move topological. I make the shape that it had before. Is the diurnal shape All right. Shape. Perfect. He also shape. Perfect. Let's shape these parts a little bit over. Let we remove. These polygons here. They are not that good. Alright. Right. And let's shape this part, also, Yeah. Right. But we have missed the Important stuff and design. These two Djanal stuff should be aligned. I almost forgot that There completely in existent in this side. Let me move this part more to the side so I can make this a bit more the jabono and try to make these two ones match with the line. All right. Maybe around here. I think that's good enough, maybe? Alright, perfect. Let's reduce the inflation. Now, let's save. All right. Now with the syn motor, let's do extrude all ligans. All right. Lips you can sing this little piece is a bit on the air. All right. Let's add some creases. Let's reduce the crease level and crank up the subdivision level. Yeah. Subdivision level. Alright. Perfect. Right. If we can add a metal material to that part. Here I just pick the fel material. You can do that by just clicking the material tab and just dragging the coser to the material that you want to color pick and then just relieve the the coser. Now let's do a fill object with the material channel activated. All right, this part also. All right. Go back first the basic material. As you can see, we have the jacket. I almost forgot to put this bottom. Find this part sp just real quick. We can do some creases with a crease of two, as subdivision of four, we can add some oligons here. Support better the shake. Hereoso maybe. Yeah. Perfect. Maybe this part is a bit Jona. Try to make this bit great. All right. And maybe now which cannot here where it sit. Big is here. You can at this off and make it like some butane color pick pin colour. Then just apply it there. And they do something here. I think we have the stuff. M made air. Right? So I think I will leave the video here. In the next video, we're going to continue with this dress part and maybe start the waist trap and even try to start these bandages to see you in the next video. 29. 04 Refining The Jacket Part2: Alright, guys. So in this video, we're going to continue with the lower class. Here the screen one. And also, maybe we can continue or start making the straps. Also, I have noticed that I forgot to add these tubes that are behind the forearm though we need to make them also. So let's start. Let's start first, making the back tubes that are here. Alright, let's use the curve tooth where it said C tooth, all right. And let's write to make them. Or something like this, maybe should work. I would like to make it a bit bigger so we have less resolution. And then we're going to do a split musket point and then flay them to make them thinner. Around here, maybe. Alright. You see, this is around sport. I have activated the level symmetry. It will be around here. All right. Maybe a bit on the sides visible on the silhouette. Maybe with some negative space can be nice. Just read better the SiluettOr. Maybe this could work. Oh, right. We're going to copy this and make the other tube. But it's just in this arm. So I have deleted the tube on the other arm. All right. All right. Maybe something like this to be nice. Y. Right now, we're going to copy. We're going to copy this. Make the second tubes. All right. Around here. This is kind of under the other tube. So let's try to make it like that over kind something like this. Maybe this tubes going around here. All right. Perfect. So I'm going to color pick this gray and fill with that gray that those tubes and also I am creating a new folder. Put inside the robotic arm and all the pieces that belongs to that. So now let's create these little cylinders that are connecting with the arm. That would be really easy. Let's get this rush and maybe the cylinder. Yeah. And then it's just dragging them and putting them in place. Alright. Let's make it motor place it where it will be nice round here, maybe. Then we can tweak deposition of this tube. It's duplicated before duplicate it, I'm just going to delete some loops here. Because I want that amount of geometry here. Alright. I don't want that amount of geometry. Let's do split match points right. And now we can duplicate this to the other part. Maybe before that, we can do a bubble. Run here, maybe. Let's duplicate it. A run here also. Let's put it here on top. All right. Around here. And in these parts too. Perfect. Let's put this in the middle of the tube to make this part. Right. We can make it a bit longer. And around in the middle. Perfect. We can also add another pebble here. Perfect. And then now we can duplicate it to the other tube around here. Nice. So now I want to tweak the shape to make them go on the tubes. Do they match the tubes location? And n These maybe. Right. Perfect. And we can use the most topological brush around here. Perfect. All right. Nice. All right, we have these tubes here in place. Maybe we can do pick. I really like that reddish color. So I'm going to color pick one of these. Alright. These are better. Perfect. So the save. And then we can start making the other the other part, refining the other parts. Right? Let's continue with this here. Let's do some creases here. And creases in level two, with a dynamic subdivision of four. Now we're going to clean these unwanted creases that may be generated in some areas of the mesh. I don't want them because those cows pinches that are really annoying to work with. Right. So we can start. We can start dividing the mesh, maybe making the refinements this bar. All right. There is some compression here. This is going under the strap. All right. Perfect. This concave convex. Right. Try to avoid this round off in this angle. Right now, I'm using the keeper for the move brush. You'll be able to move more precisely the class around. Right. Oh, as you can see, I leave one of the creases here. But they're ready made and pinches. All right. And what? Let's make these falls a bit sharper. Is a bit. Maybe. Alright. Let's start with this part also. Let's do the same thing. Res with subdivision of two. Let's see. Let's now remove the unwanted crises. Alright. Perfect. I will apply the subdivisions. Just to abolish by fetters. All right. Perfect. Now, we can start working on this. Oh, g. I forgot to remove the one from here. Al night. A shaping this it in the concept. Something like this, maybe. Maybe this is like this. Perfect. Trying to mimic the shape here and the star here. Also, let's try to add some mother changes, plan changes here, maybe some subtle plain changes. There. All right. Perfect. Now we're going to make the other. Here we can make maybe some some whip cloth by pulling this like this. And we can pinch the sieving. Or not forming too much the geometry. Alright. I'm making them like this because I forgot to put them in the in the lower subdivision first. So making them like this. It easier. Also, we have to be aware of the deformation and topology. We will need to make some topology of this we cannot use. The low subdivision has our low polypology stage. All right. It is something like this. A bit oddly. Well, now let's start making the Let's start making the fold here. They do alto groups, right, so we can hidelyPolop. Poly sorry. Alright. Now we can start making folks. Alright. Maybe some compression here. All right. Let's mask this. All right. I think I just going to remove this one. And with the edge bodies and just adding again, it's flat. I think the sickness part. Because with the smooth brush, we made them by accident, round again. But I don't want this part to be round. I want this part to be flat. All right. So now let me do some fast here. All right. Perfect. And now we can try to make this golden stuff here. We can try to make them now, but we can also make them in the texturing part. So let's see if this doesn't work when we're going to start texturing, we are just going to make them straight up in the texturing part with some pro strokes and all that stuff because this maybe a bit pixelated, and that will not be good. So, but we can try. We don't lose anything. Just trying this. So let's see. We can make the masking or let's use the mask Rush let's start making the pattern around here. All right. This will be cut in this part. Alright, maybe we'll go like this. All right. I'm not respecting the upset from the border. Alright. Let's continue with this. Aby spar can be like this. All right. All right. I'm not sure if this need to have one here. Maybe we can. No, I don't think that will work. Let me think. All right. So I end up doing this just drawing a bit here and a bit here. Like, if this is cut, but this is a bit of a weird shape for was like this to have this kind of pattern, took some liberty and draw it like that, just to make some of illusion, maybe. Now we're going to extract here with zero thickness, Strack. All right. And from here, we're going to make a ser mesh. It maybe a loaf solution, maybe one would be nice. I think maybe another another We're having some wanted stuff. Let's do auto groups. Let's start. Item parts. And right now I'm going to delete these polygons here because I don't want them. Polygons here are right here also. These ones. And these ones here are perfect. Here, too. These ones are right. And here it is nice. No less delete hidden. And then we can do an inflate and start shaping the dove right. I'm just doing some refinement on the shape. All right. Perfect. So refinements on the shape. Hard, maybe cost. And like that, let me pick this yellowish color. Maybe you can take this with this part maybe and bring this down a bit. All right. Let's add some polygroups. All right. So let's make this like this, baby. Perfect. All right. Let me remove some more guns there. Let me remove these middle ones. All right. And also here. I think that's good enough here in this part. All right. So we can do some extrusion to make the thickness. Here extrude or right lip. Then we can do some creases, the creases risier with a crease level of two and smooth subdivision of or or white. Perfect. Right. Perfect. Right. If we can try to add maybe some metal. Where is the metal? Metal? What is it? Measure metal one. Heavy metal one. Yeah. Ws here with MRB that we apply the RGB color and the material. Let's do a field object. Right. Perfect. Let's do the ones that are here. As you can see, we have two of them, a tiny one and a bigger one. Let's try to make them. And right, let's isolate this. And this will be wight forward. Maybe we can duplicate this we delete higher, delete higher or right. Delete higher, and we can grab this edge loop, maybe two of them. Right, let's grab two and delete hidden. Now we're going to make some group by normals that R in the polygroup section, where is it around here, groups binrmal here. So we can isolate these polygons on top. Deleiddenr. We have them let's do maybe some inflation. Right. Now, what we're going to do is to start making the ones. The bigger and the tiny ones, but maybe first, I'm just shaping this let's have better shape. So tweaking. I All right. Perfect. All right. All right now for the tiny one, I'm just going to add one loop here. And then I'm going to delete Olopie in up all right. You have the bigger one and the tiny one. Make it in just an instant. Now, what I'm going to do is make some thickness or polygons or right, flip, and then do some creases also here a crease level of two. Right. Let me move these creases here or right. Perfect. All right. All right and lines. So we have now the these lines on the clause. All right. We can crank up the solution even more. Maybe increased level of string. It seems that's better. Let's do it here also. All right. Straight to shape, better this. Let me do a freeze here in this corner. Alright, perfect. All right. So what we can do now, let's do this color. That will be really straightforward. All right. Let me make this color a bit thicker. And this sticker. All right. Now we're going to add a bit more of lopsia make it more of resolution. Maybe one would be enough. Now I'm going to apply the dynamic subdivisions and maybe with the edge polish, start doing some beating on the surface to make the illusion that this is a metal that is made by blacksmith with his hammer and hiss. Maybe in the edges, we can start adding some late arts without symmetry. Bit a bit the edges, make a bit more dilution of a warm metal. Right. All right. Perfect. Now here, we're going to do kind of the same thing. Apply the dynamic subdivisions and then with the edge polish start plash in the surface right. Now, I'm going to use the Orak brush. That's a brush that is free on Google, you can search for them, type in OCA Crush and you will find it. Right. Let me increase the intensity. Maybe the lazy mouse to it off or maybe a bit higher than lazy. Right. This has kind of a pentagonic shape. If we can make the shape of this a bit. Like a pentagon. Awesome. Maybe something like this. Where is the orcax right? Motor. Doing some tries. All right. I don't like this part, really. Without symmetry, we can make it look a bit more natural. I'm really liking this part. All right. I think I would just living like this and maybe start doing some eating here and there with the dynamic tron dynamic this time. All right. Oh, no. Right? All right, let's see what else we can do in this video. Well, I think I will leave the video here. In the next video, we're going to start making the wraps and the bandages to see you in the next video. 30. 05 Refining The Bandages: Alright, guys. So in this, we're going to continue with straps on the bandages and maybe doing some more is on the bottle. So let's start, strap. Hello, as you can see, here, in the straps, it has, like, some sort of pattern. It has some diagonal lines going across each other and creating this rhomboid shape. So that's what we're going to try to do. So let's start. Let me raise this real quick. All right. So we're going to do it by hand because I didn't find a solution to do it automatically. So let's start seeing. Let's apply the dynamic subdivisions. Let me see the chris they see that fit without creases, right, let me erase all the creases. All right. So let's apply the dynamic subdivision. Apply all right. Let's divide it a bit more. I think we need a bit more solution, a bit more even. I think this is good enough. All right. Let's increase the lazy mouse and try to do it. I think it's more inclintd. And let's try to do it with event space Let's see from this point or some sort like this. Yeah. All right, so let's continue. All right. Perfect. Hmm. I think that will work. Maybe not. Do you think this is to offset this part here, a bit of set Let me see if I do it like this. I think we have to make them a bit more inclinated let's see. All right, I end up doing this with symmetry right now because I want this pattern to be all around the strap. If we do with symmetry, then we're going to make some symmetrical stuff here. I don't want that. We were living like that. But let's see a bit more inclinated. Yeah, I think that this could work. Maybe et's see. All right. Yeah, it's working, yeah. It's more center. Let's continue with this. All right, I want to get him some books. Right, perfect. Let's continue. On right. Now let's connect. On right, we kind of have this pattern. I can work a bit more in this part. Taking this line going on the sickness part, too. Alright. The old and the bottom part. Okay. All right. Perfect. So let's do some CR, maybe some details. Apply the subdivisions. Right. Maybe a few more subdivisions. And then with the tree dynamic, we went to bid up, abate the corners. Some of bid. Bit it up. Right. Perfect. I look right. A bit, not too much. I don't want to make this part to beat it up. Alright. Then now we can start with advantages. The advantages will be really straightforward. It will just be doing some folds. So straight folds. And that will not be a bit of a problem. Folds like this to give the illusion of glass wrapping around. All right. So we have to do it with all the bandages that we have. And when we finish with the bandages, we can start quarting on the word parts and on the hair, but that will be the last thing that we're going to do hair. All right. I just doing some straight path. Straight fold. It's not too much science here. This is just to give the user of a clause. I look right. Perfect. Here. I was thinking that maybe we can when we made the low poly, we can bake these bandages in with the body. So we don't have to make extra geometry for this because this is not mixing too much of a motion fact changes. So maybe we can do that, but we will see All right. Perfect. Let's continue. Let me select here and brush the brushing the smooth directional. I think that will be useful. What smooth directional does is it will smooth in the direction of your throat. So sometimes that is useful when you want to smooth in some direction, but you don't want the other angles to be smoothed. It can be really useful. Well, right. One more forbes here and there. Perfect. Oh, my favor she's a bit buggy. Alright, let's continue. All right. Perfect. We can do some tweaks in parts or Avoid sleeping. Let's see if these bandages are flipping through the body. All right. Let me hide the dress hard. We can put it in the folder. All right. Let's put all the pieces inside. Perfect. This stuff, we can delete it. We don't need this anymore. Right. And let's hide the lower part just to see if it's clipping in some angle. Right. Let's go here to this park now. All right. Perfect. Is clipping. We going to fix that later. Let's put all the fold in the bandages before All right. Maybe something like that in the part. Perfect. This is a bit boring process, I know. A, you can skip this part if you want. No, you can stay with me doing this. It's really a monotonous process. Of adding folds here and there. Here, because this is a tension point, maybe we don't I will not have fault in this part. I mean, the fault will not reach this point here because the tension point would be something like this. You can say I'm not making the folds going to a part. I think the name is Ankle maybe, yeah. The ankle part. Perfect. In this part, we can add some more folds. Perfect. Let's add some few more folds here. I let's remove the perspective because sometimes it gives some problems with the force of the stroke. Right? Just to left to do. All right. And this will be the last for the leg. Alright. Now we can go and fix the clipping parts here with the move topological brush. Perfect. Alright, we have to do more folds on the bandages on the hand. Let's do it real quick. But this is saving. All right. Maybe we can do maybe some class here, maybe. Like this. It'd be nice to bring some detail to the advantages. Athing like that. Maybe another part A and beef. Maybe here or two. Perfect. All right. Let's add some folds here. Right, where is it? Apply the dynamic sub divion here or apply and let's start going default something like this. I moving with the directional. We have a clean mesh, maybe. All right. Perfect. Here rightight to do t. All right. See. Right. Let's do some fold. And here also. All right. We have made some falls here and there. I greasing them a bit with a dam standard, maybe. You give it more sharp look, at least in this part. I have some clipping. Alright. We can add some creases with them standard. Default, maybe. Subtle creases. Yes. Alright. And subtle creases here. Maybe that could work, maybe, yeah. Maybe not. I don't think so. Maybe just a few once. And a bit smoothing. All right. So I have something. Let's apply the supivisions and let's do some compression folds here. Any work. Let's do the same here. Compression folds. Perfect. All right. Maybe this part is a bit much. Maybe let's do some control seething. I will remove this little part. I don't really liking it that much. Right? Perfect. Right. But let's see what else is ribbon par. Maybe we can do it better. Have it were the context is not too clear what's there. I just decide to give it like some ribbon. Maybe we can see something. This is just experiment I'm doing. Let me see how this looks without the ribbon there. Something like this, maybe. The thing that comes at not to look here what's there. Maybe we can just leave it like this. Because the ribbon, I think it was looking a bit ridiculous. Just do the wings here. I would not fold. Sorry. My head's a bit messy right now. So auto groups, all right? And few folds. All right. And folds. Here and there. I Perfect. All right. Well, we have the bandages. We can do some more work. Maybe we can start the refinement of this part. Yeah. I would like to have this orange part in a separate subto Don let's do it. Split hidden. All right. And here also, st hidden. And here, I'm going to close this part with close in the edge actions and convex hole. This will create this type of star we close that part. All right. Let's do some feel object. I don't want this to be filled. Oh, I think I messed up something. Yeah, I messed up something in there. Right? Do they close hold again. And here I don't want these parts on top. Perfect. Now let's do What? Tubes. All right. Let's do all fill object with this reddish color. Now we're going to do the same thing with the cloth here. W a bit buggy. I'm a bit scared of this crashing because is tend to crash when something is buggy. I don't really like that situation, right? Here is working nicely. And let's see here, maybe we have Oh, right? I have dumb hidden stuff. What's happening here. Um, let's see, let's do a close hole. It close it there. I don't want this type of topology. Mmm. Avery now is fix it. What's happening? Sometimes Zebra's really bugging. They hate when that happens. This is not hidden for some reason. But it's deleting the other the other stuff. I don't want to fit those deleted. Oh, what? We have double bird disease. What? Maybe here with well points, a big well distance. We can try to fix that maybe here without the groups. Oh no. Seeing what we can do in two groups. All right. Let's just delete the other double. Maybe now it will close nicely, right. Working great. Perfect. Let's see if we don't have double verses here. All right, we don't have it. Perfect. All right. Let's continue with this. Here. We can do some creases in level two. All right. Perfect. Let me apply it. Now we can do maybe some bidding with the dip a bit of texture to the surface. Fitting with the edge polish, ring a bit of a bit of texture. And a bit of detail to the surface, not make it too flat. Maybe here in the corner a bit of bidding. Alright. You are too. Maybe you're not that sng the beating up? Maybe just a bit subtle. All right. It's a bit subtle. Maybe here we can make some scratches the corners. We hear seal scratches. And here also on the top, we can make beating up. We separate that it hidden. All right. We have the separated. All right. Perfect. Alright, let's continue with the other part. We separate the parto. Perfect. Now, let's do some rises, maybe. Here, please. With two and four here. Maybe that gris too much. I saking this part we need crises. So let's apply those the subdivisions. Alright. Let's try to do some fitting up to the surface. Perfect. Yeah. There's a bit, maybe not much. You at some sort of a hole. Maybe some scratches again. All right. Here, we're going to add some creases in two and four here. Right, apply. Let's do some bidding up. This is just a real quick way to add some details to the mesh When the mesh is a bit flat. Alright. All right. So we have this. We have this bus refine it. Let's see. We can start now with the robot legs. There's nothing left to refine. You have the jackets, the spars, the straps, the bandages. So, yeah. I think will be time to start refining the robarms. But that will be for the next video go see you there. 31. 06 Refining The Robot Arm: Alright, guys, so let's continue with the robot arm. No, the first thing that I'm going to do is to separate the arm into more should though I can work nicely. Also, as I told you before, we're going to use dynamic symmetry from Sibrus 2025 in local symmetry, you will find a little bottom here that says dynamic. That's only available in the Cibrus 2024 and fibrous 2025 version, I think. Do you do it. If you have a lower version, you can work from the other from here from the tool that we made asymmetrical. You can work from here and then do a merge visible and copy and paste and then place it where it should be. Let's start. Let me first let me align the Geismo where in the middle to have the full symmetry. All right. So I'm going to separate some stuff like the hands. I don't want the hands to be to be with the rest of the arm select this all right. Now we're going to do a split heading. Here we have the hand and also I want to do something with this bar so I will separate. Yeah. All right. Separate these. All of these pieces will be separate p. Is part ocean Alright. So let's separate this in another should do. In this part it and split right. So here, what are we going to do? We want to do a symergingpt. But before, as you can see, I think you can make a bit a bit bigger this part, maybe. Like maybe like this and work at bigger than here. Maybe that's too much, I think. Alright. Alright, so let's do the si mash. But before that, we're going to do something. Clean this mesh we have goods we have to do some polynp. But we're going to do the polygroups in some special way. That will be using polygrup it, this don that comes for the foul in the rush. But first, we need make the mesh white and then draw with a dark poli paint, all the corners that we want. We keep hard. Like this art here. I want this to be hard. And what it does inside the area here, this would be another polygroup. I'd be a different polygroup from this part. This is really handy to clean meshes. With this to clean the blockout the dynamic blockout. All right. Let's draw. Let's draw here, too. Bit. I think that parts can stay like that. Maybe not. Let's see. Maybe another drawing here, right perfect. So now let's do polygrup it. Here, let's select. And here see plating, poly group from Polypane. Here polygroup. Oh, it's not the stuff I want. All right. It's here a polygroup from polyp. Alright. This is not black enough, maybe. I made something wrong. Let's see. What's happening? Make sure that the black is 100% black and not a grayish color because that could cause some problems that we don't want. As you can see, we've got some problems. All right. Maybe now it should work. Group piping. As you can see, now it's working. Now, what we're going to do is to do a CR mesh that keep groups activated. Now this should work. Oh. Not liking this. Maybe we can make this stuff a bit symmetrical. And then we can rotate it back. Just let me see the number. And if I 25, right, let's do the r mesh. It's symmetry. All right. Let's see. Let's do another one. Maybe with a lower solution. Not doing good. Let me make these two poly looks the same, and then do something, right. We can move the parts do another one. Maybe it's go work. All right. Maybe we can do some Chris by polygroups where easy. Easier, and there's Chris polygroups we have hard edges and all the plyr porters. Then I make division in four. All right. Let's do polish by feeders. All right. Let's see if we do another sr mesh. This is a lot better now. Let's do the same thing. Polygroup Cris by polygropR. A here. I think this is good enough. So let's rotate it back to its position. It was, I think 25. Alright. But now we have to line that again back to the robed arm. Alright. Let me bring them to a place that I can have the full symmetry. But we should have symmetry in this piece. Something first. It may rotate it back here in the center, it should be right. The five. Perfect. I think here should be good. Or not round here, maybe. Sing nice. I think this would be nice now. Right. Let's bring back the grayish color that it has with the color. We're going to pick that. Try again. All right. Around this reddish p. Perfect. So we have cleaned that dynamesh stuff so I think that for the robotic leg, I think I will just do it straight in the symmetrical, the symmetrical subto symmetrical. I don't we need to do some CC rems and some stuff, and it will be some trouble because as you don't see, the dynamic symmetry doesn't support the C remage with symmetry. That can be a bit of a pain as All right. So let's start doing some some subdivisions and adding some pieces, right, or maybe here, we can do something. But if you have already your topo symmetrical, you can work with it. That's not a problem. But you can see I have my topo with a center line that I can align with my gizmo. You have a full symmetrical, it may inflate this bit. Right. So here, V, spring back to two, and this to four. Right, this part to autumn and four. Perfect. Maybe this part we can inflate it a bit. Okay. And right, let me bring back this right. And this part also, we don't ask Chris here. The hands, we have to do something with the hands because I think we have to align it better with the hand. All right. You can see we need to still align it better. Let's do it real quick. Let's use the transpose line maybe. Right. Perfect. You can see this finger is a bit upset offset, all right? L is No. And put it where it should. All right. This finger is also offset. Right, smask it and then bring back strach both line and move it it's aligned with the hand o. All right. And then exit this finger. I think that, that finger is aligned. But that pinky finger should not. So let's align it. Right. Let's bring back the transport line here. Right. And then align it better. Hold the right. Perfect. So we can do the same thing that we did before. Let me hide the arms back right. Here the creases in two and the dynamic subdivision in four. I think that we want to make the fingers separate subt also. I think a, the fingers here can be separate subt with the joints. It in. All right. So we have this. So let's start doing some this healing. All right. Here. It has, like, some sort of a pebble. We can do a pebble here. Let's see if this type of pebble will work. I think we can do it also with the scooting metal. It doesn't necessarily can be done with this. All right. We can do maybe some crises also. Hold this corner right. I All right. Let's apply before that. Let's be safe with a quick save pi. All right. Now, we are going to apply the subdivisions. Alright, let's apply them here. Now, with the edge polish, let's polish something here. Right? Remember to turn on the tablet, they use tablet bottom. I think that is here, maybe. We forgot where that bottom was. It should be outlet here. Here in preferences in tablet you can find it. Sometimes it's handy if you don't want the outlet pressure to work. Sometimes it's not. But because I wanted a full 100% plate with no fall off, I just turn it off. But right now I'm policing a interface. A little bit to give it some beating find this shape here. Alright. This has a tent here. We can do it. With the trend dynamic, maybe. Maybe with some tubes, and smoothing and adding some corners with the dam standard. It has some other stuff part. As you can see, it has this part, and then these two. Strike to add them. I here is big. This has another one. Around here, I think. Do some collagen quite. You can do some rat here, Aby. I'm seeing it. Like this maybe can work in these parts. Perfect. Here. I think we can leave it that part for the final. Now, let's work in this part. Let's apply the subdivisions. Now, let's start working. Alright, let's do with the edge polish and polishing. Here there. Perfect. Right. So now we can do is to add these two stuff here that can be done with the layer brush. Where is sick? Layer brush. Layer. Here in stroke. We're going to actiive the what's here? Lazy mouse, back track, line, and snap track, and then we're going to increase to 100% s intensity. I shouldn't say, we can make this type of detail really fast and easy. A right? We can also, it's not adding the pool paint. You can say, Oh, we've messed something here. Oh. Alright, now it's working. We can add the detail with some poly paint. Try to make it parallel. All right. And then do beating up here, maybe. Just the age polish. It's a bit. Open these parts a little bit more. I smoothing. So scratch around this part. Maybe another scratch here. All right. Back. It can fit a bit this corner with the trend dynamic. We add a bit more detail there. Perfect. And in these parts, we can do something. It's not in the concept, but we can try to do it. Light box, and brush, we can find a trim hole, the trim fodder, the trim bowl here, we can try to do it. So v has an indication for that to go like that, maybe. I think that could work. And in this part also. Alright. Perfect. A, let's try to translate this. Let's to see what it give us not. Right? Perfect. There's a bit more polishing in the surface. All right. We can try and add the metal material to this part. All right. We can add it here too. All right. So it seems more finished. Now here, what we can do. We need to add this type of detail. This can be done releasing. This part can be done the same way as this this part. And that we'll be making it with some masking and some extrusion. So let's start it. All right. Let's first apply the subdivisions. Now what we want to do let me bring this down. Around. Here, maybe tate is 90 degrees. I have asymmetry in this part or not. I don't want to lose them position, so I can rotate it back and have the full symmetry in this part. Right. Left mask here. A bit cle here, maybe a circle. And this will be a bit thinner. And this budget will go down. But one thing that is puggy me that is not center, I will just remove symmetry and then try to being quick here. Remove this. I will try to make it this straight. I see. Not this. Right. You can do this trick with the lazy mouse activated. So you press your cussre press your coser, and then you press chief for the masking, just prescontle for them. You have the mask brush activated, press and then shift, and then you have to release the shift button in order for this to apply. You don't see. Perfect. But now, it's not more center in this part. I think I will have to redo Oh doing something here, maybe around here. I think it would be nice. I think I would have to redo this circle. Right, let's put the circle more in this part. Perfect. I think this circle is a bit too big. Let's just erase it and just try it again. A bit less big. Alright. Maybe more like this. A bit more like Oh. Bit more like this. I think that could work. So now let's invert the mask. And one thing that we can do is to save always save a project because es can crash anytime. Oh, I don't want to lose progress. So now we can do negative inflation like this, even not a bit, so we don't have some problems in this part. All right. And we can ink that part with this orange color. Right. You see, we have that part already made. Here, we can maybe do some smoothing to get rid of these messes going through each other. Right. So smoothing. Perfect. We can do another subdivision. Perfect. Right? Now, we have to make these pots here. What? We're going to make it. Let's first stay from worth target. Now let's use the lazy mouse. Press shift to have this line maybe with a bit less. Let's see that a work. Let's bring this all the way down and let me save the size of the brush. Let me save it. I'm just taking a screens of it because I want to do that exact line in the other in this part. And I want the line to be the same thickness. So now let's use the morph brush. What is it morph? And get rid of center because in that part will be this hole maybe around. Maybe around here. Me in the mid maybe around here. Alright, now let's use the same brush, the layer brush. What is it? Layer here. Right. And let's do the hole that we had. It some black or in it. All right. Oh, I think that line in this bar will not be necessary because we have all these tubes. Alright, perfect. So now we can do some He polishing and start binding up a bit the surface. Yeah, I'm doing this biting up with the trin dynamic. Let's use the He polish. And now let's do some stuff here on the surface. Alright. Perfect. All right. Let's apply the subdivations in these ops. Also. Maybe do some bubble here. All right. Perfect. Now let's apply. Division, give me a second. This is a bit long. Mass are complete. O here, I will rank this up a bit. Alright. What? Oh, let's apply the subdivisions. Right. Let me move this. Maybe we can add even some til with a dime standard, something like this, maybe it can be nice. Here also. Let's do an outer group, so I can let each All right. Perfect. Let's do the same thing with the part. Let's do some creases, with body group, level in two, and it in four and apply. Let's color pick the material and apply it here, too. Alright. Well, we are having the robot arm made really quickly. Nzing. All right. The remaining part is the palm. It is really straightforward. All right. So let's start the pam. Let separate these two, it hidden or right. And now we have just these pieces. I want this. I want all the pieces to be separated really. Is part to be separated. And this knuckle stuff will be also separated. Perfect. Now here, we can apply the subdivisions without worrying much with the other parts. They do some polishing here. Perfect. We can do some stuff here, maybe not. Just folishing this. In this part, we have some indentation. Let's do it. Look. B grab is the mask rush with back face mask activated, and then draw the shape that it has in this part. Around here, maybe. Yeah, maybe a bit more pointy. I mean maybe like this, a bit bigger, maybe. I think like this can be nice sell this part. Let me raise this part. Maybe it back just a bit Sharpen. It sk. Right now, let's do here we can use the move rush maybe. Just a bit like this. Maybe the bo I hand. Let's smooth this part. Alright. Perfect. Et's see how this end up. Perfet. All right. We can do cress here to make this part a bit more flat. Right. All right. So now let's make these two presentation here. You can do it the same way as before. With the layer brush here. A bit wrap this very stone and dry dry. A big bitter. And in the other part. All right. David. Update. And there. I think that Image should be nice. Let's see from the far. I think that's nice. Perfect. All right. Now we can do some place for the novel to be doing this. All right. Let's do it again. Perfect. And again. And the last one will be here in the pinky. Perfect. So it's it's the metal material back. I plied it all the pieces in the hand the fingers and knuckles. Right. The spot is missing the metal material right there. So as you can see, we have the hand. We can do a few tweaks before going to the robot leg. But it's basically done. I forgot to be here. We can add maybe some little. The eb here. So extrusion with polyp. Insert in the middle, right. Now, here in the insert. Let's remove these two and then add some supporting ginybe that work or maybe not. I don't think so. C, and just leave it like that. I think that we can leave the robot harm here and start doing the robot do she join the next video? 32. 07 Refining The Robot Leg Part1: Alright, guys, so in this video, we're going to start refining the robot leg. Oh, let's start. The first thing that I gonna do is to make start refining the tight part, the tight part I'm going to separate. Yeah. Let me do some alta roots. And then I'm going to separate. All right, split heading. Perfect. In this calve a part, I will work on that in the symmetrical here because it needs to be s remeshed, and dynamic symmetry doesn't support the s mesh right now. But this piece is not it's not fully symmetrical. So here I don't care about the symmetrical topology. So, let's start making this. All right. Let's see. I what we can do is we can mask and strike, or we can use the polygrupt. Let's use that right here with the black color. Let's fill it with white first, and then some black color. I disable the tablet though it's fully black. It may increase the lazy mouse, all right. And now I'm going to draw some lines on the corner to make my polygroup area. All right. Now here, too. Right? Alright. All right. It. All right. Here. Perfect. Now we can do a polygrupt here polygrup from polypint Alright May I say? Alright let's see. Is this work. It doesn't work. Why? This is kind of boggy sometimes, or it's not working there. All right. Plyrupd from popint. I still don't get the poly drops. That's where right? I don't know why this is supposed to work? Yeah. Right in fact now it's working, right? So we're going to we're going to erase this part here on top the leak. I think I will keep this other here. Right, so now we're going to do some Let's see remesh. Let's say, keep groups around here, the same maybe here. That would be nice. Oh, I just realize that we maybe need some more polygroups here for these corners. All right. Now let's do the Sri meshed. Let's wait, fill this finish. Alright. So we have this. Let's fill with this dish cuner and right let me use the symmetrical of. All right. All right. Smoothing. Just a little bit. Let's see how this looks from the back. Um, I the dress green cloth or fright. Looking good. Now what we can do is to do some extrusion to make some thickness with this bad. Extrude lip. And now we are going to do some creases here. Perfect. Freeze of two, and dynamic subdivision of four. Nice. Let me remove these wraps. Where are they I All right. Acceptance. All right, perfect. This is creeping through. Not good. All right. Let's continue. All right. Let's do some polish by feeders. Perfect. Here, we have some rubble. Me just move this a little bit to not modify the outside and make this a bit more rounder. It doesn't have the crises. Let's do a res by polygynic here. All right. Let me do something real quick. I will delete these polygons. Oh, this is spiral. That's not good. You have in your mesh. Um Iy mesh, sometimes do that. That's not good. Then I will just do this. All right. It. And now I will do a close convex hole, though I don't have that interfering pool there. Now I have this stuff going on here. I really like this. Making some pinches. Maybe this should be nice, you know. Perfect. Just polishing this a little bit. All right. Let's make this a bit wider avoid the clipping. Perfect. Now, as you can see in the coset, we have this kind of green orange yellow piece here. So let's do it. It's just a really easy one. We want just mask here. Really easy mask. And then we extract it. Strate with zero sickness, right? Perfect. Where is extraction? That's right. Let's do a serum mesh with the lowest solution. Let's do another one. Another one. Let's not giving to co salt right now. I save, gives us a good result. It's kind of put. Let's remove some polygons here. All right. The slide is. Perfect. Now I will inflate it and then shape it as Cindy comes it. I will shape it like that. Right. Losing. Now we can do some extrusion. Perfect. A bit bigger maybe. All right. And now let's add this yellowish color and some tizzes to keep it sharp. We all right, two and four here. All right. Really easy one. Maybe we can do some bebo. Here, we can do some bubbles here. This is sometimes it's a bit annoying how the Bble works inside Crush. Let's add Criss manually. All right. Chris we person. Here and here. And the bars to Criss. EarthctPolish by features. And here also we'll add a fool I will delete these polygons and add them again. Great. Square doesn't have rises. Perfect. Now, it has some crises. Now let me add again these body parts. All right. I'm here, too. Perfect. So, we can bring back the under flat and the accessories, the cylinder stuff. All right. Let's put the same material as in the arm that metal material. We left it. All right. Let me copy the arm color. Right? So let's apply the subdivision so we can start working on policing the Nicely. I. I'm just using the edge polish to make its parts a bit more squarish. Make like a corner and not make it a round. I forgot to turn on again the tablet. That's why I was getting that wrong response of my brush. All right. He polish. Here I'm there. Alright. Smoothing. You see the cosets? If we can make it a bit bigger. Maybe more like this. Perfect. Just a bit of heating up on the surface. A little bit will not be that bad. Make a bit more interesting the surface. A bit of smoothing. Not that strong right. Now, let's start working on the calf and the knee area. We're going to start making this part of the robot leg. Well, let's start. I think the knee is basically on here. We separate the knee. Alright. Big. Perfect. I will start working on the clf here. This would be really straightforward. I'm just making another folder. For this arc. And what we're going to do is to separate the sides from the main object and then do some polygroups with the polygrup then from there start start refining. Let's mask here. Masking All right. Now, we're going to do a split and sket point here, split musket point, all right. So we have the side stuff here. Now, let's do a mask by features bolder. I think this is in the masking the masking tab here. You see? Yeah. Well, I'm just self selecting bolder and then do a mask by features. Then I will do some thickness. The dynamesh to work nine. All right. Now, let's do some dynamics here. Maybe some smoothing, some edge polish this part. Maybe some close holes. Perfect. And let's go back here to the main body of the calf. And now let's do another mask by features. Right. And now let's increase this part here and push it in I'll be like that. Now let's do a dynamesh. Let's do the same thing with the age polish. Do your polishing a bit. This part, maybe some close holes if needed. Alright. Perfect. We have the two parts separated. So how we are going to clean that will be really easy. Let me just refine more the shape to fill the gap. Right? Maybe a bit more of polishing on top. All right. So. Now, what we're going to do is to do another polish by fetters, a polish perfuse. Poly group it. All right. Let's use the brush to draw some black color here. Let me make a bit bigger solution for the dynamesh. All right. Polygroup here, I want another polygroup coin around here. All right. All right, let's see, I think we can work with these two ones. I think so. Let's do poly group from Polypaint it's not working. Good. Let's recast this lag stuff. My do another one. Now it's working. Let's just select these two ones. Then do a delete hidden. Maybe you have select this. These two and the's hidden. All right. Davin, let's wait just a little bit. All right. Now, let's do Oge by features, and with the lowest subdivision, some syms by groups, maybe a little bit higher. Perfect. Um Let's do another one to see. Right. It's not very good. Let's see here mainly. This is kind of decent. Let's think we can work with this. Let's do a polish by feeders. Right. Abe another mesh. It a bit lower. I think this is better. Perfect. Now, what I'm going to do is to do some extrusion with all poisons. Yeah. Perfect. Now I'm going to slip the normals, and then with the geese book, I'm going to make this part lead. Here with local symmetry. We'll make this part flat. Oh. Alright. Perfect. We have that art let's do some creases. Brees with two and four here. These were polygrops? Right. Yeah, we're going to do some polygrooks here, too. It'll be kind of the same process with white here. Dum Dum colors. There. A bit of black here in the corners. All right. Perfect. All right. Let's do another pollen root here. All right, baby. Another one here. Perfect. And here we can make this like this. Alright. Perfect. Right? I think that's all. Let's do some polygrops. All right, where is polygrupPlypnt. And it's not worked. Is wired or not polygruped. Let's do some dynamic with a higher resolution. And now let's draw again the plaque here. Et's do another plt grouping. Now it's working. But here it doesn't work. Alright. Alright right. Let's do another one here. A. All right. Here some more. And here also All right. Let's do another poly group it. I think now it's working, yeah. Alright. I just going to make some slice here, separate these two polyprops. Right, and here also. Then merge around well. All right. Now, what I'm going to do is let's check something here. Not in the center. What I'm going to do is to do a Sri mesh with a bit high resolution. Y. Let's see how this is working, maybe another one. And this should give us some good food. As you can see, this is it's pretty good, indeed. You can work with this. Now, let's do a pres by polyops. Write another tres. This level two, and this Oh Perfect. But we have now the net with some good topology. What more detail. All right. I'm just trying to make the fabric wider for the joint be able inside. All right, perfect. Now, let's apply subdivisions. Let me just let me not. Let's apply the subdivision nub. All right. Now, let's start doing some stuff here. I want this to be like a plane in this part. Maybe a maybe a bit of smoothing. Bit of age polish. All right. Let me make some orners there. All right. Bit of polishing. All right. I met more edge polish. Perfect. Now, let's do the stuff here with the orbed cracks. Here that scrunk up the seam density. All right. And here in the back ocean. Oh, I would have to leave again. I just messed up. I brush size. Right in the back too. Perfect. A bit more of edge polishing. Now, let's do the lines that are on the side. These lines here as what we're going to do now. But first, it seems like it's a bit iron, a bit more narrower. A bit nacer here. This is a bit wider in that part. Maybe something more like this, this part can Perfect. Let's do some lines here. All right. Perfect. We start doing the lines on the side. Let me store more target and prepare the layer brush. Make this part here. Where is the layer brush. All right. And in your lazy mouse a track line is not too pass. It's on 100. Now it's working maybe a bit less. Yeah, I think that should be enough. A bit, maybe a bit stronger.'s a little bit more. I think that this maybe just a little bit. Alright. Let's do the lines. It goes around around here. Maybe something like this. A bit wider the line. Alright. Now, let's use the morph target, morph part and be able to use the snap the layer brush. A bit higher. Maybe a. Perfect. If it's here, we can add another line. Right. And this part, maybe it can be also with a plane change. Something pure. Y. Perfect. All right. So we have the main body, the calve. Let's do side one that will be really straightforward. Let's apply the subdivisions. And now I think a bit that we can do the lines right ahead. O cracks. And these lines goes something like this shape like this. Try to replicate it. Something like like this, maybe or more target. Alright. Maybe not. Maybe not in that part. Try again. Maybe. That could work. Alright. Perfect. Let's do that detail here. Little layer brush again and some black color. It's on the sides. Maybe we can just get rid of these corners with age coolish. Maybe. All right. It's a bit of edge polish, a little bit. All right. Perfect. Now we can add that tail around here. Ithing like this. A bit more Diana. And right? I think this would be enough for this part. Squash it in all angles to see if there is something that maybe need will be refined. All right. We have that part. It's pretty made. So we need to start defining the fed part. But that will be kind of a long process. So I will leave that part for the next video. So see you in the next one. 33. 08 Refining The Robot Leg Part2: Alright, guys, so let's continue with the fit. The first thing that I'm going to do with the fit is to separate each part into a different sub doo. You can see this is just an old piece of mesh. But what we're going to do now is to separate the piece that conforms this mesh and make each part that is conform the fit. Alright. So let's start. Let me separate this first. I'm just going to mask it like this. Going to mask it. All right. A quick mask here. And then I will do lit sket points here. Perfect. And the fit is here. Let me put it in a folder. All right. Perfect. Now I will do some mask by features with the borders selected. Then I will move the borders just a little bit like this for the serial mesh for the dynamesh, sorry, w to work well. All right. Perfect. Moving. Now, let's continue with the other parts. Here, this front piece. I'm thinking about doing this front piece a different different piece of geometry because that's what seems in the con set. Maybe we can do that. Let's make it another piece of geometry. Alright. I musket points. Now, let's do this part. This will be another piece. Perfect. Just a quick mask. All right. Mask. Now let's mask this underpar. Let me use the back face mask and right. I I'm looking for is there any white area left in this mask right. But let's do a split mask points. And right now let's continue with this piece here. Perfect. All right. Separate masket now is just left this part to separate it right. Another mask point hidden. Now, for this part, they're going to do is mask by feature with borders. And now let's drag the borders. No, I left this part, right? Something like this. Just for the for the dynamics, work a bit better? So it can make the close holes that the dynamesh does. It better, right. Now, as to the dynamesh Alright. Let me can this part with some slip brush. Or with the knife brrush we can do it. Knife brrush here. All right. Let's clean this part a bit more it a little bit more here? Or right? Not working metrically. A mirror and weld. I see if the fit is doing that same thing. All right. Here we are well. The last one is this. Alright. Now, let's continue with this part. Let's do some edge polish. To clean this part. Alright. Here do. Let's use age polish to create some planes head there. Alright. That's close holds. Alright. Oh. Let's start cleaning these parts also. Yeah. We're going to do the dynamesh. Dynamesh right? Perfect. And after we do the cleaning part, what we're going to do is to do the polygrupt to make poly groups and then do the final re mesh. Wait. I'm doing some much polish here. Hey, we try to make this uneven space and the thickness parts. Right. Let me do some Let me a slip brush in this part. All right. Now it's working nice with perspective. Flip brush. All right. Right? Let's do this dynam here. All right. And tames. And now we have also that part there. Alright. Concept, we can make this part of it. No, like that. No. Let's clean this part with H poise. Alright. Perfect. All right. Let's do the dynamesh here. Mass by features with plans pivta. All right. Let's do the dynamesh. Perfect. Let me clean this part with a clip rush here a bit here, and this part also. A little bit here. Perfect. Alright. We can make better this plain change. Alright. Perfect. We can mask this part and then do an inverse clip. Oh, this geometry here to that part like this. Perfect. All right. I may clean more this part. All right. Let's do the Dyna mentioned this part. Perfect. All right. All right, perfect. Let me leave more this part here. Oh, we have probably some trouble here. Maybe we can fill this gap with a clay brush and then do more cleaning again. All right. This better. Maybe a bit of edge polish would be nice here, too. Edge polish. Perfect. Now we have the stuff separated. This part is empty in the coset. So we can rim that. Perfect. Or right. We'll have each part separated. Well let's continue with this part that part will be easier to do. We can just do a selection with the labs let rush and then do a split heading. And that will be it for this part with hiding and dynamesh, and it's part to some dynamesh or right. We can do mass pack features, write another dynamesh. Perfect. Now, let's do the Let's do the poly tropes. Here, perfect. All right. Oh, I don't have them on each part. All right. So, let's fill this fill this with white off the tablet. And then let's start drawing the black color on the corners. All right. These parts, maybe. But I think in this piece, we don't need those poly groups. I think so. Maybe we can do just a straight up Siri mesh. That should be good enough. We can do a projection. All right. Let's do a projection history here. One sold, project project history, another one. And another one, maybe, yeah. And then some smoothing. And this is enough us It's just this part going Perfect. Spots. I want to keep some planes. So I will need to do they polygroup it. Here, I want the polygroups here, so maybe more here. Another one here and feel more in this part. Perfect. And here also. And this should be good enough to give us different polygroups perfect. Now let's do a polygroup a safe mash, kid meat. Alright. We can do another one. Perfect. Well. Let me do another one. All right, this is better. Let's do here a Chris polygroup with a Cris line of two and dynamic subdivision of four, now let's polish by features. Perfect. You can push this Alright. Let me mask this part. Push these parts back. Perfect. All right. Let me see. But we can make this like in this part right. It's more polished by features. It's now a bit concave. I don't want that. Alright, let's see what we can do. Right. We can make this a bit charter, this edge a bit more of what is my fetters. Alright. Perfect. We can turn down the risk level. I think this should be good enough for now. Alright, we can start working on this piece now. Let's do some cleaning. Perfect. We can feel this again. I'm cleaning more with a clip brush. All right. Now he's saving. Give me a sec. Give me a saving for this Dave. Perfect. Some close holes here. Oh, it's not working nice. This is bad. But that can be fixed with more dynamesh, as you see. This part also, let me mask this part and then do an inverse clip here. Perfect. But I want this to be Tayana. Nice. All right. We can write to make a bit of a plain change here. I'm pushing this a bit in All right. What I'm doing now, I'm just trying to define the planes of this piece. All right. I think this is good enough for now? I'll start doing colors here. I want that holy group here, another one here, another one in this part. Another one here. So more here in this part. Nice. A little bit here. Another one is this part. I'm just drying the black color on all the corners of the shade. Now, let's do a polyrupd. This should be enough. Nice. These part is it doesn't want to draw put the polygroups right. This should be good enough. Let's do a polygroup. This image with key groups, right? Perfect. Let's do another one. This kips. Oh, I saw some error here. Alright. In this part also, there is a bit of error. Let's do another polygrap. So all these pieces should be different. Let's do a mirror and weld. And now a SR mesh. Perfect. I think this is good enough. Yeah, this is better. Perfect. Let's do crises with the Cris polygroup. Let's leave this in one and this in four. And now let's do polish by fetters. Maybe this can be in two, increased level. Right. Let's see how this is working. Perfect. Right. Nice. Let me do some clip here to make that part flat. All right. Now we're going to repeat the same process on the other on the other parts. But I want this just to be one edge here. All right. Let me mask this part. All right. Now let's do it. Come. I'm sleeping. Make this part flat. All right. We can take this a bit, bring this up a bit. And let's try to fix this. All right, perfect. Better. Now, let's do the same process here. Let's draw the black color on each corner. This is just a repetitive process. I'm just doing the same process and all the pieces. Perfect. Another polygrap here. Another one here. Another one here. Perfect. A little bit here, and this one here. It should be good enough. I Perfect. Let's do the polygroup. All right. Now let's do a serum mesh we keep polygroups activated. Alright. Let's do another one. I think this is better. Give another one. Nowadays one, it doesn't work in nice. I like this polygon here. Let's see how we can fix that. Please stitch the here. Let's see if we can do another only group if we stitch these two. Another right now it's working nicely. Polygroups they seem maybe two, and this seem four, or this is in one. Let's put this in one, perfect. Let's do a polish polish by features. Now, let's do a lip here on the sole. Alright, perfect. Let's do some eping with this parch. Perfect. And a little bit here on top. Let me mask this part here. All right. What? I don't want to wear mask. All right. I should work nicely. Let's do another poly group. Or right here. What I did was another polish bay feeders. Perfect. All right. We can do this easier now. It will be really straightforward. Draw the color around the corner. Perfect. Maybe we can do some leaning here. Perfect. A bit bigger strokes. So the polygrupd doesn't make books. All right, let's do the polygrupid. Right? Another Siri mesh. Another one. Is it working nice? Let's do a crease here. It is in two in four. Maybe it is maybe one or Right. Perfect. This part is not centered. All right. Now, here, what we can do, give me a sec, just to see if this work nicely. Perfect. Maybe we can erase these polygons here. Perfect now. Fine. All right. Now with this piece, what we can do is just do a weak mask on the surface and then do an extraction. And some sir mesh. All right. Tough mask here. Perfect. All right. Let's do the extraction. Right with zero thickness. Accept. Now, let's use the slice brush. Make some different pole groups. I want a different one here. Let's do mir around weld. Alright. And another one here in this part. Perfect. Well, I'll be stack. Nice. I merro weld again. So, let's flu match with keep roots activated. Maybe this is too low of a solution. Mlle not. Alright. Let's put this back in place. All right, perfect. I forgot to turn on the the symmetry. Perfect. So stuff here. A All right. Perfect. Nice. Don't forget the back. Tablet. Now, what we can do is to hide the other one and then do some extrusion to make some sickness. At some extrusion with the sea modeler of polygons and make some sickness here. I sleep. And then add some crises with two and this in four. Perfect. And here should be a creas also. Nice. Here two. Another cris Perfect. Let me shrink this part here. All right. Perfect. Let me bring back this a bit. And now let's put some creases in these polygons. All right. This part. Let's do I cleaning. With a toothbrush. All right. Maybe it is a bit more like this. Alright. Cleaning here? Perfect. Nice. A bit here. Nice. Perfect. All right. So, let's add more color on the on the corners to make more polygroups. This is saving again. All right. Let's do some colors. In these parts. Alright. But Here a bit. And here also just a bit. All right. Let's do polygroup it. Now they should give us more polygroups. Let's do another polygroup it. Now it's working nice. Let's do the syrmsh the kip roots. Right. Let's see. Another one. Maybe a bit lower. With subdivisions. Bit lower. There's the solution, right? It's a bit lower. I think this should be good enough. Maybe not. Something is weird here. Something is really weird. This part is not making the polygroups of that is here. Let's see. I just want right now, it's working. But this piece again, doesn't make the polyups the polygups right. Perfect. I want this part to be more flat. Perfect. Now, it's working nicely. Not working nicely. Look up here. But what's happening? All right. Now should work nice. Alright. I don't know why this is happening in this part. Alright, this should be good enough for now. We have some clothing pieces. Still hidden. All right. Let's do some crises. Two. And this is four. Let's apply some manual crises here. And then some H and polish be feeders. Maybe this is let's leave that in one. Alright. Let's bring back the used tablet. Now this will be good enough. For this piece All right. Maybe this part. A bit. W? What if I will make that is your curf. A bit. Let's see what he's looking. I don't like too much. Well, let's leave that part flat. Alright. So all the bay feeders. All right. We got almost all the pieces. Let's do this last one. This will just be some quick masking and extraction. Just a quick one. All right. So masking with zero sickness. Zero segments? A right Let's do some polygroups with the slice brush. All right. Now, let's do a remesh Wi Whoops. All right. Perfect. The sin and bring back the corners. Nice. Here's some lip. Now, let's do extrusion. Maybe we can stitch this part together with two polygons. Now, let's do some crustion here. Perfect. Let's hide the other one. P. And this should be good enough. Let's do some creases and crease polygrps. This in two, this in four and polish here. I forgot to make some freezes here and maybe here also. Alright. Now should work nice. Perfect. Oh, I forgot that this was intended to be more like this. I should be more like like this maybe. Do some refining of this shape. My bit more like this. As you can see in the cam set, the shape is more like I'm doing now. Alfect. All right. Alright. A bit more edge polished. Um, I miss the polish wake fitters. All right. Another polish by feeders. And now we have all the pieces made. So in the next video, it's just applying all the subdivisions and doing maybe some scratches and a little bit of edge polish, some parts that will be it for the robot. So next video. 34. 09 Finish Refining The Robot Leg And Sword: On Radke, let's continue with the robot lake. In this period, what we're going to do is to finish the refining of the robot leg, and maybe we can start refining the four. So let's begin. What I'm going to do first is start adding the colors that it has in the coset. So let's color pick here. Let's color pick the colors, right. Maybe a little brighter, maybe this one. This one will be for this part and maybe a dark for the sole right here. This color should be the same in here, here, and here maybe a bit pink I think this should be good enough. Perfect. All right. No, this grayish. But these parts are right. I think the same color is here also. Let's put the color there, and let's put some grayish color maybe this one will be the same here. Apply also the material. The material is the metal one. Let's apply that material here also. And right Perfect. Let me seeing other part is left, apply the material. All right. Here. And here. Perfect. I want this to be more gray. Maybe a bit more grayish, or, a bit brighter. All right perfect. This should be a little bit darker. This pesier maybe a little bit darker and like this. Perfect. And this should be a lot brighter. This part here will be a lot brighter. Maybe these colors apply this brighter color and on the ps. Now let's apply this orange color. Let me color pick from other part of the model. Let's see away from here. Perfect. Let's select this part and then apply the colors right. Let's do some twits here. Maybe some smoothing. I think we did too much of a bit forgetting up on the surface. Now, the surface is a bit lovely. I don't like that too much. Oh, let's smooth this a bit. Make it less less uneven the surface. Alright. Here is something that I don't really like. I will push this part more to the backside. Alright. I think this will be good enough. Alright. Now, let's see if I can bring back this corner here. Really will redo this part. L. Did higher, and I will redo that part, maybe polish my features, erase all the sins that were left. And then the lit higher. All right. Perfect. Now let's redo it. Let's apply the dynamic subdivisions. Now we're going to make the lines the or cracks. Let's increase the intensity, maybe just a little bit and the lazy mouse. And now let's try to draw the pattern that it had in this part. Is is something like like this, baby. Perfect. All right. Now, let's add the detail, the capsule detail. Your brush. Let's increase it to 100 her lazy mouse. Let's put it in backtrack line and snap to. And let's put the color in black. And now it's this should be should work. It's not working. Why? It's not. Now it's working. That's where. What? Maybe the brushes bugged. Let me do a receipt or brush. All right. Is this doesn't even work. Let's do the same thing here, straw. But track, line slept. This is working weird now. It is working. This doesn't work on the other subtle for some reason. Mm. We let me see what's happening. And then I will continue with the video. Alright, guys, sadly, I wasn't able to figure out what's happening. So what I will do is just to use Alpha that I got from there. This is just a simple absol Alpha that you can find anywhere in Google. So let's write to place it. Is this one to work? O. Oh here. All right, perfect. Let's reduce this focal shift. All right. Maybe increase a bit the intensity. All right. And maybe add some color. And this is a bit faster than the other than the other way. Maybe a bit bigger. They think a bit bigger is good enough. All right. I think that's good enough for now. But first, let me store it is more tired and then store another one just in case, all right, maybe a bit more like this or write. So now let's start applying the dynamic subdivisions. All right. You geometry dynamic subdivisions. I will do apply here. Apply, apply, apply more applies. Write. Apply and apply. I think everything should be applied now. All right. All right. Now I think we can leave it like that. We do some heating up on the sole because the sole part is always in contact with the ground that will make some bits on the corner. Here, maybe some scratches. A few scratches here. Another one here. Just few scratches. Maybe even here, we can still adding more beating in the corner. Here, too. Just a little bit not too much. All right. Perfect. Oh oh. B. Right. Here living like that and here. Just feel rates also. And some beating up on the corner. Perfect. All right. Maybe not that much in this art. They just a bit. All right. I think this should be enough? In this partir, this is too much that picking up is too symmetrical. Let's remove that symmetry. Alright. I think that should be good enough for now? Maybe some age bodies here. Nice. All right. Which plane is he here? Just to refine that shape. I here also. Make this part a bit more flat. Perfect. All right. So I think this is good to go. Let's do a merge visible. But before, let me hide this tight bar and this knee bar. Right now, I will do a merge visible. Here merge merge visible. And here we should have our feet. Alright. Let's do a copy here. And then we're going to back to our model and place it Taste. All right. Let me add a folder for the fit to be. All right. We have our robot leg? Let's move it in place into alge with the other one. Let me move the other one and just trying to align with the knee. Baby here. The thing here should be nice. Alright. It should be good enough. Let's try to refine this. This will just be really straightforward. This will be just here, copy this color and the color and material, I will apply it. And then I will apply also the orange, this yellowish orange color here. Let's hide these polygons, Let's select this polyttle pair and then do a feel object, and then we're going to apply the same We're going to apply the same color here, but I think that should be a black color. So let's apply a black. All right. Let's select these polygons. I will make it another polygroup here space. Polygroup single poly. Because we have this selected that will apply a new polygroup the white part. And now I will apply the black color, all right. Perfect. Now, we can do we can apply the dynamic subdivisions. In here, we have our model. Perfect. Maybe here we can add another detail because I see this field a little bit flat. Here, what I'm doing is just doing some edge polish. Quick one. Alright. Well, I'm trying to see if I can level up this change I just want to make it cohesive with the red doct form because we have this plane and then this turns into a core stuff. And that's a bit weird. All right. Let's see. I don't liking it. Let's do a control He. All right, let's see what we can do? Maybe we can do some plans here and here. H. Alright. Let's see how this look with the rest of the fit. It is not looking good. We'll do another controversy. Well, I think we will leave it just like this. If it is hoop work. Then or maybe not. Another thing that we can do maybe is just to turn this corner into a curve to removing the sharp transition that it has. Alright. Sing this inner solution for that part. All right. I think this should be good enough for now. I'm just smoothing the surface. All right. Now here, maybe we can add a bit of a detail with the cracks, maybe line that goes around the feet. There is some line here that goes kind of like this. Maybe maybe we can make it more angular here and then sharp move something like this to see if this will work. Mm. Et's see. Because I want something there, 'cause I feel this is too empty. Maybe will work. Yeah. I think this is good enough. Perfect. All right. We have almost all the pieces fine. What is left is the sword and the hair. You let's start making the sword. All right. So let's start the sword. Let's apply maybe the same material, the same metal material. Here. All right. We all up yet. Well here fill more films. All right. This is for visualization here inside of fs. Well later we're going to make a better material in substance fainter. All right. So let's apply the subdivisions. First, let's apply them here, because this has some patterns that we're going to make right now. Let's tune off the symmetry, and then we're going to use the lasso, the leg The lasso is a lasso. And then we're going to make these shapes with so the first shape is kind of let me use the lazy mouse. Kind of like. Like this, maybe? Yeah. Maybe, yeah. All right. Maybe something like this. Let me just crank up the resolution a bit more. All right. Perfect. I just shaping this. Much better what I want. All right. Let's do the other shape. And the last one is just a tiny one. Maybe like this. All right. Let's now use the mask pin to do a better job here. Let me do something. Ah. Alright. There was a method, too. I forgot that. So let's do with this the mask pen right to refine the shade. Yeah. I mean, right? A bit less. If you sport. Oh. It's not the same. I should be symmetrical now? All right. Do you see the proportion of that? From the far bow. I think this should be a bit thicker and this should be a bit more parallel with the diagonol a little bit more thicker. Alright, let me use the lazy mouse on the mask brush. I bit more pattern, a little bit more. I think this should be good enough. Alright. All right. Let's continue. All right. Trying to make this straight. Straight as possible. All right. It's not very straight. Yeah, we can do some up here. Little bit here. Let's clean this part. This part also. Alright. Et's inverse the mask, and now what we're going to do is let's try to do this here. Scale with all press in the Y axis. We're going to drag the mouse to make this scale. Alright. But since you can see something is happening, it's happening. Let's see. Maybe we can live it like this. Spot. I think, yeah, that looks good. Maybe let's hide a little bit this arc. All right. And maybe do some smoothing on the corners. The edges here. Perfect. It should be good enough. All right. Trying to make this a bit sharper in this part. All right. Let me try to make this a bit better maybe put a planar brush. What is the planar Planar here. Alright. That doesn't work very nice. All right, let me just use the H polish here. Perfect. So let's apply sub divisons here. Maybe maybe no, not nomo. Let's increase the poly density. Just a little bit. All right. Or let's do this just to have more even edges, insert multiple edge loops. All right. Now apply here. This doesn't need much refining. Let's do the same thing. Here. Maybe here we can add creases. Where is the res or right in 24. Maybe we can add a bit more of edges Perfect. Here, too. A little bit more agents. In this part also. Maybe not here. I forgot to apply the same metal material in this part. Right. Okay. Apply the subdivisions here. Here. And now let's do some folds, maybe. Represent that this is something that is wrapped around the handle. Something like this. Maybe it can be a good symmetry that will not be too much as All right. Let's do some variations in the shape. Perfect. All right. Here, too, as a subdivisions. Here, maybe we can add some ratchet because it is a sword. We can add some scratches here and there. It should be colliding a lot with swords. I will make some scratches. Why not add some few scratches or start pending to get a weapon? On fright, I will do something here. I will use a plum in that called cleaning tool utility, just to apply all the dynamic subdivision on each subtle visible subto. Wow. What happened? This something very strange. Okay. Let me first save. I don't want this to crash. Then first. All right. Now I will delete this one. I try to do another right now this is working. So we have all our dynamic subdivision applied. All right. I mean not too much. This should work. Enough? Here, maybe we can add a little bit of rise. Here, maybe some bubble, then some extrusion here, insert. Then delete these two soups we have these little rise there. I All right. Perfect. Let me do something here. All right. How it should be nice? Oh. No, it's nice. But what I did here. Right. A weekend add some subdivision. Maybe put some fitting up the corners. All right. The sword doesn't need too much of refining path. Of refining paths, sorry. All right. By here. Is has some blind tear. Maybe with the earth cracks would be nice. Something like this. Let me do some morph morph target. Alright. Let me use the morph brush. Where is it? Morph brush. Here. Morph these parts and clean the line a little bit. I all right. There is one little piece that is I forgot to make that is a little a little capsule shape here. It will be really straightforward. Let's to locate this. Now we're going to delete the higher subdivisions. We're going to select these oligons until it's heaten and do some extrusion here. All right. And now we can do the Let me see. Alright. We can do here some sliding with the S modular. Now it's working nice. Let's add some supporting edge look. And then let's apply this arc lar Here we can each these polygons. Why not stitching each here. All right. Here, also I want this polygon to be stitch here. All right. So now we have big capsule shaped made. Let's do some babel. And then add some supporting root here. Perfect. Maybe we can build the supporting soot. Let me just select this and then do a scale polygroupO polygon center just to scale down this red polygrup Maybe not and leave it like it was, and that should be nice. Maybe do some activations. Alright. We cannot the babble by hand. Yeah. All right. Let's do some polishing. Anything that I say like that. All right. I think there is not too much of finding that we have to do sores. Maybe here on this part of the handle, you can do some bidding. A bit of bidding up here. Maybe a few scratches this part. Y. All right. Now, what I'm going to do is to do a merge pricible and then up this into the where we have all the pieces of our model and then do some taste here and just moving it the side I do the size just a bit. And here we go. Let me just apply the epo material to all the soil. Alright. And there we go. We have the sword and the leg. The last thing that is left to be refined is the hair. The hair, we're going to refine it in the next video. So see you there. 35. 10 Refining The Hair Part1: Alright, guys, in this video, we're going to start refining the hair. So let's start. Let's hide slow. And now, how we are going to make the hair will be really straightforward. I will use the core tubes. And then I will scope over the tubes that we are going to make. So I will make each strand as a single separate tube. So let's start. Alright. Let's start with this first. Then you go to pick the color of the hair. And then it's just placing nicely where this hair strength is. I'm smoothing to make it Barder more pointy. My we can also do some All right. Maybe we can also we can make some split hidden. Perfect. Just let me do something here. I will group the hair in one folder. All right. And grouping this and now here we have our your strength separated. Like we are refining. I will use It curve to get a bit better fall off while using the mouth brush. Alright. Perfect. Oh, I will do another Wolk. Yeah. Perfect. I will do a little one here. Let me put it in place. All right. Around here, maybe it is a bit quinty With the bench brush, we can make it a bit pointy. All right. Perfect. Let's make the other one. This yellow one, I think we can just duplicate this one and then just put it in place end up like this. Now I'm using the inflate brush to inflate the tip. All right. Let's do auto group. So I have different poly drip in each hair strength. I will hide just a big. Just to see. Always looking a hair without a loot underneath. Alright. It's a bit ticking a bit. All right, let's do the other one. It will be a bit bigger hair strand here. Maybe not a big. Maybe here would be in Airs. Right. All right. Then once we place all the tubes or all the hair stands, we are going to start sculpting on top of it to give it the detail of stylized hair. This is a method I like to do this type of stylized hair. This is kind of the one that I use in my project all the non All right. We still need to make more bs. I think this this place is immeasurable. I think, yeah, I think here, let's not use the symmetry for now. All right. All right. All right. We'll put this here. I'm using the dynamics subdivision to see how this looks with divisions. Make it a bit smooth. Alright. That little here. Perfect. That's the meal. This size, and then we're going to start making the other side. Here, we can use the symmetry. Yeah. Well let's use it. A. Alright. This makes the hair strand that are on the side these ones. Perfect. I think this is a bit bigger, right? I think this should work. Let's use the aqua cools. Perfect. I have removed the aquacul again. And now I'm just trying to place it nicely. Ran too much, it comes in and the blockout. Well, right? I think we missed one Erstrand. Yeah, this one Longo symmetry. Is Erstrand here? Perfect. Right, let me split this because for an accident I made the tooth with attached with the subto So what I will do is to merge this hair strand and all the hair strand together here, merge and merge down. Okay. So we have it. It should be more like this, maybe. It's a really straightforward process. There is nothing fancy here. Just adding flower tubes and then scolding on top of them. Following the flow of the hair also. In fact we hide the front part of the hair. And this one's here. We can try to make some spoting without subdivisions just to make some lanes defined. We have to find them a bit more. Let me find the a bit. Perfect. Let me pinch this more. Alright. Let's make these cards with dynamics edition. Perfect. All right. And we can make here this type of line, make it a bit more angular. Now, let's start making the hair strand for the back of the head. It will be a bit difficult to make. Since the hair, the back is a bit spiky, as you can see. But All right. Let's start. I think I will start with the main with a big one. We kind of this. I will place it around in the middle. Then they split sket points. Then I will place it around here, maybe. Just to have this point right? Now, what I will do is to start adding the air strand on top of it. Maybe this one I'm also following the concept, not just the blockout. I'm trying to follow the concept, Irvine. Right from this view, we have another air strand that goes around here, a big one. And they use the age curve, it kind of like a bit sharp in this part. But the silhouette is merging with this air strand. And I don't like that. One day the slid will be mixed. I think that's why I make it like this. Or maybe we can make it a bit more noticeable from the side. Not too much because the arette on the front is not very good on this part. All right. Perfect. Let me see. Maybe we can also change the position of this her son. So we can have more freedom with this tier Alright. Let's make the ones on the side. Here, I'm going to use the asymmetry. Maybe its ones here. There's a fuel here. Perfect. Let me hide the block out there. And then I will just write to shape it. And write seeing All right, perfect. All right. Let me make this a bit more like this and then start adding more hair strand here. Maybe a little one here. Alright. Let me see without the blockout All right the half. I'm saving it. Let's continue. We can make the one. Um. A bit smaller. Oh. Mineral world here. A bit symmetrical. And and let me merge it with the rest of the hair sta here. Let me write this do not lip the ear. All right. Start making these ones. Let me hide the jacket because I don't have too much space to work with. Al right here, I will not make it symmetrical because if I make it symmetrical, will be too noticeable the symmetry. And I don't want that. Myb we can make a bit one molar and then one bigger. I or got again to merge this All right. There's been one here. Hang up, please. Perfet Now, what will make one bit bigger in the middle, maybe. Let me make it bigger here. Perfet a bit fuller h. Well, right. Let me make the lower one a bit the base a bit higher of the lower one around here, maybe. A bit higher. Around here should be nice enough. Let's keep working on this. Let me make known one here. Form. Maybe it is a bit smller the other one. Trying to give it a bit of variation. We can add another one here. It's too big. All right. Here Perfect. We can make it. One thing one thing outside. I like this. Yeah. Perfect. Let's keep with this. Let me make a bit bigger ones here. I think you can reuse some of them, I will separate these ones with split hidden, and then I will do a mirror and weld or I have I have symmetrical and then I will merge that one again and then do Autograps. Let me remove the lockout. You see them better and then do more variation here. Perfect. I Alright, let's try to make some little ones here. Maybe just a few few ones. A bit little here. I took a bit more sal web. We a hair. Oh All right. You can refine it later when we got most of the strand placed. We can do one here. Maybe we end of like this. Perfect. We make this a bit. Bigger hair. We'll make another hair strand here. With a giving trying to give it a bit more filled. I just reposition tioning some of the hair strands. Here, we can make another one. I I'm thinking like this, maybe, it'd be good. All right. Let's make a few more here, maybe. Maybe a big one. So we can close the edge. Here you can do something. I'm just trying to close this batch here. All right. Let me make this a bit more centered. From here, maybe. Because this is too much push to the side. I want this point in more on the center. Perfect. All right. I think we can make these things a bit bigger, since because something like this to hide a bit the ears because the ears are not showing too much on the concept. Alright, let me hide the one and then mess them. Perfect. Well, maybe that's too much. I don't like the silhouette on the front. I won't live the United States. Maybe here, we can we can do something with this out here. I think, yeah. Perfect. Let's do one more hair strand in this part everyone that is going from here, from the origin point of the hair, kind of, something like this. N here, let me add another edge loop on on this tube to have a bit more resolution and make some cold All right. All right. I will do more twigs, maybe. Perfect. A bit of ticking in this bar here. Trying to get interesting salts. I don't really like the silett giving this hair strand hair. I will push it a bit down 'cause I don't want that silver looking weird. I think something more like this should be nice. I can push it a bit more. This one here, maybe just a bit. Let's see again. I've been doing some contl C. I can push it down. Oh. A bit here. I really like this hair strand, but it's in the cosets. See what we can do with this. I think that with a bit more sharp shape, it's working a bit better. Yeah, maybe we can leave the video here. In the next video, we're going to start making more refinements to the hair shape. Right. S with a jacket. Where is the jacket. Here jacket. Perfect. So on the next video, we're going to do more tweaks and maybe start the school t of the video. So, see you in the next one. 36. 11 Refining The Hair Part2: All right guys in this video, what we're going to do is to keep improving the shape of the hair. Don't let it start. I was experimenting a bit with how we can make the silhouette better. And then I realized that if we move our hair more to the middle like this, maybe, this would be better, maybe. Yeah. And also, we can move this a bit to the side, a bit, something like this. All right. Let's make this a bit. Bring this down a bit. Perfect. It should be a bit more angular. Alright. I think it's kind of better. Also, we need to do more twigs to the overall shape of the fat part because it's looking a bit messy. But before, let me do some twigs here. I just a bit. Alright. Perfect. You know, let's try to do some twigs and the shape is a bit messing. Not too pleasing to look. Alright. Maybe we can move this just at it like this. This one here. Maybe it can go with a bit of fur up here, maybe a bit more like this fact Let me hide the jacket. Jacket. All right. And also, let's add a bit more of small hair strands here just to fill those empty spaces. I was a little bit of those here and there. This can be a bit longer. Is a bit shorter. Sack out roots here. All right. Maybe it's a bit shorter. Perfect. Also we need more hair strands in this part of the hair do. Maybe we can duplicate this one, make it smaller, and change the shape of it. Well, right, let's see from this view, what this is looking I'm doing this because it feels a bit empty here. All right. Maybe it's a bit water. Perfect. All right. Let's see what else we can do here. And we can change a bit. The way this is learning. It's like this. Here a bit more curve this one here. And let's mount to groups. Mike? But now I think or not. I was thinking that we maybe will need another hair strand to fill this gap, or I think that will not be necessary. What I see is like in this part, it has maybe a little hair strand coming out around here. Maybe we can add add it. If this is not too overcharged I think there is no space for a little hair shut here. Or maybe. We need to stem. Making silt on the side of its rounder. Maybe can maybe we can not add this hair shine there. And we can keep it like it is right now. All right. I think trying to do more twits. Maybe here we will need to fill this cap this part. There is a bit of a cap there. On right. This is deforming too much like eight. Maybe this one and just move it like that. Oh. Alright. We try to refine the shape more as a whole. We sailing. Or right in this soon. Looking at it through. All right. Here we can try to make stuff, a bit more pointing with this big point, a bit more Earthquake. All right. Let's see. All right. The move this a bit back. This part maybe should be a bit more like this a bit more thick on the lower part, right? A bit bigger here. Perfect. If this strand here is a bit too similar, we can change the shape. Something like this should be nice. This one here. I point is flat that will cause some trouble later on. Ib we can use the ace curve. E. All right. I think now we are ready to start the sculpting. But what I'm going to do before start the sculpting, I will do maybe some s remesh because as you can see, we have two elongated oligons that will cause trouble. Why would we try to school on top of them? So to avoid that, what I'm going to do is to do let me separate this one, when this is on the front part, let me merge with the back part here. Is the back part, and this is the other one. All right. Let's merge down. Perfect. Alright. I think this would be nice now. So here, let's do some subdivisions. Then we're going to delete lower and maybe try to do maybe a yu mesh in 1.3, maybe. Let's see what this give us. Right? It's quite decent. Perfect. In this back part also serum mesh. The lower, maybe a bigger solution I all right. I think that should be nice. Let's do nautogroups and here also togroups. Now we can start scope them freely with more even polycons With not too much deformation. Let me make these ones one polygrup because they are symmetrical. Well, let's start subdividing now. There's a few subdivisions, maybe? No, the brush that I'm going to use for this task would be the I forgot the name, where sit slash Rush here. I think the one is lunch I think it's this one. Yeah. Let me see. Oh, it's not the one that I want. Or it's this one. Yeah. It's the brush that I like to use, most of the time when when I'm clting the hair. Let's start maybe doing some strokes. Alright. Right, let me use the lazy mouse with a bit of big lazy radius. And let's make the size of the brush a bit smaller. Possible for the smooth brush. I will use the smooth diectional. Let me see. Smooth directional is this one. Where is it smooth directional here. Perfect. And this will smooth in just one direction, the direction of your stroke, you can see. Perfect. I have clean stroke here. Maybe let's do another one. I was. I think this should be nice. All right. I also use the edge polish and the standard. Just to refine more the shape. What I'm doing here is just using a bit of freedom. This is not exactly like the coset, but I think it's looking nice. All right. Start shaping the ones here. Maybe we can make it a bit lower the resolution and start shaping it more like this. Taking two planes on the side. Let's do it in all the potions. I mean in all the air front here. Here, I want more than changes in this part. Alright. Let's say Hot is looking. All right. Let's do the one here. I will do the same thing here. I want a plane change in this part, too. Right, maybe we can use the damp standards to refine more the corners. Let's do the same thing here. There some dime standard. So things here and there. All right. Perfect. Let me find more these parts. Just a bit. Alright. Let's keep providing this. Just a little bit more. All right, here, too. Perfect. A bit more refining. Yeah. In this part, I would make as in the other one making planes on the side like this. All right. Just a little bit. All right, perfect. Let's Refining a bit more with the damn standard, but let's wait till this rush stave. All right. Let's keep refining with the damn standard, this lane change. This corner. All right, here, too, a bit little. Alright. All right, perfect. Now we can maybe start experimenting a little bit of how the hair strength, maybe will look. Then some strokes maybe that would work. I'm using the dam standard now. Maybe we can use also the last last slash. We can just buzz and see what gives us the best result. Alright. Let me see. Now, let me see with the standard. Yeah. All right. You can add a little bit here. Is a tiny one, maybe another tiny one here. Maybe not. Absolutely. C. Let me do some control C. Alright, let's repeat that part. I mean. Let's use the slash require. We can mix the two of them. Alright, let's see here. What we can do in this part. I like that was looking with a latch. I'm just trying to follow to follow the flow of the hair strength here when I'm adding this rolls. Here, we can use the the age polish. Perfect, maybe we can add a little bit here. W right. I think that's looking nice. I'll let's do the one here, a bit more of age polish here. Make it a bit sharp. Maybe we can leave it like that or maybe not, let's see. If we had a bit of a standard here. Just a little bit here. Login. Alright. Yeah, I think that's looking nice. And here, let's refine a bit more this part. Let me move the Acucuve for the move rush. Over here, we can also do more wigs with the standard. All right. I'm just trying to add again this thing change here. But with the lower subdivision, the detail is not affected. I think that will be nigh enough. O. Alright. Let's make this little one here. Let's subdivide it. The lid, add the lid lower and do a little symesh it is with 0.1 of resolution in the sy mesh. Yeah, this is nice. Let's subdivide it. And let's try to make it more like the coset. A something like this. Yeah. I try to imitate the shape here. Maybe standard here to make two planes and also here to make that plane, I'll separate these two planes. Alright. Perfect. Let's keep whining. Let's add the color of the hair because this doesn't have it. Let's do a feel objet. We feel up and feel up. Let me add again the jacket. Jacket here. Perfect. Alright. I think that part can be We can leave it like that for now. Now, let's focus in the park. Is would be the longer. All right. So subdivisions. Now what I'm going to do is to define a bit of planes like pins with a dam standard. I let me see the fold of the hair. Let me maybe move this one a bit up. I think this would be nice. Yeah, maybe. I think that's nice. Alright. Let me do more stuff here. A bit more stuff. All right. Each one here. If you try to do a stroke and the stroke doesn't apply, it's maybe the mass is invisible, though you have to remove the the mass by hand, and maybe that should fix that error. Perfect. Let's do a little warm. Alright. Perfect. Here, two. Trying to follow the flow of the shape of the hair sand. Perfect. Here, too. It's here. It's a little one also have it. Alright. Perfect. Nice. I think that's what is left is this one and the big one here in the middle. Let's do some dap just in case. Just in case Zebras crashed. All right. Now I want to try to do the big one. I think I will divide this big one in two planes, something like this. This is looking in the rest of the the heir strands. I'm doing it because I want this date to be point. All right. Maybe a bit more like this. And now I'm doing some H polish. Make a bit more flat. These planes here. Let me see with the rest of the hair. All right. Now we can maybe start doing some stuff. With the slash brush and with a slash brush. And with the damp standard, let's see. As looking. Perfect. Anyway one more subdivision ne. You are toes see how we can put it. Maybe not there. Maybe here. No. Mm. I don't. Maybe this part should work. Maybe here, we can add some damn standard. Yeah. Perfect. Here, let's use this slash brush. It's too big. Alright. Make do some he polishing here. Perfect. Reto. Is lash brush. Maybe just a bit shorter than usual. Like this shops. All right. Maybe in this part also, we can add others lash. Perfect. All right. Let's try to add more lashes here. Until I face. All right. Ittle bit of age polishing. Perfect. I think we can leave some once without the slash. Rush? I think yeah. Also, I'm repositioning some stuff. Maybe here we can add a bit of dump standard here. Perfect. Without fresh punishing. Lot more planes there? All right. Yeah, maybe we can make this a bit longer. All right. Let's see what else we can add maybe a bit more of lash here. Hey. A bit. This is a monotonous process. So it's a bit boring. I know. All right. I just trying to add that detail. If you don't want to add that detail, you can just you can just do sometimes standard here to define some planes, and then do the edge polishing. I really like the detail of that gift is lash brush. It kind of give more complexity to the hair. Is the method that I used in my project called the nun I used the process for making the hair. Alright. But then here, we can add a bit of slash h. All right. And also, we can make this a bit more pointy like this. We give more silhouette on the side, more interesting silhouette. Perfect. I think this is nice. Et me do the last one here. All right. Let me see hair with the jacket. Maybe with a sword on the side. Alright. I think the hair is looking good enough. If there are any changes, I will make another video of doing more the shape. But now I want to add a bit of a basic skin color just to see more finalized product. And also I will give a bit of thickness to the eyebrows here a bit of thickness. And you can add just a little creas here. Ss. All right. Maybe in one and this in three maybe. A bit of alfi features. Alright. I think that's looking nice. Now, what I'm going to do is to add a bit of color. I will color pick the skin tone that she has in the com set and try to fill it with it. Maybe just steak a bit of color. All right. A bit more brighter. A bit with a bit more of red on it or not. Um Bt hard. Wine the perfect or I think we just a little bit darker. I mean a little bit darker. I like this? I mean, not looking too too dark. I think this one should be nice. A Or may use this material skin shade to see better the colors. Right? I think this skin color can work for us now. Now, let's use a bit of red. There is a really interesting reference that I will use now. Let me see. Where is it? The reference that I want to show you All right, I will use this reference for making the color of the face. As you can see this is how that the colors are distributed around the face. You can see that the red is more on the cheeks and the meaty part, as you can see, is more on the meaty parts. Also, the yellowish is in the placed and are more close to the bone. And this bluish tone is like where the bear will be, something like that. I like to use this yellow stone also on the shin because there is the shin is close to the bone. And also, in real life, the colors are a bit mix. It's not like a solid red and then a solid yellow and then a solid blue. It's more like a mix of all in some places, there is a color that is more predominant than the other one. I will color pick this color and make it a bit reddish. And here I will select the spray, and then I will remove this slide here. I will make it zero. And then we're going to start making maybe reduce the algae intensity. Maybe add a bit of red on the cheek area on the ear also. All right. Here, maybe. This is just a basic extreme for the face. In the substance painter, we're going to make a bit better better texture for the hair, for the face, sorry, and for the hair also. Let's add a bit of red on every part. But the red should be a bit predominant on the cheek, a little bit on the nose maybe. All right. A at O. Um let me add this order to the white spots here. All right. Let's continue adding the red on the middy part. Maybe here in the breast, a little bit on the shoulder, a little bit more, the bicep. In the latissimus doors I here a little bit everywhere in the goats. Here, just spraying this reddish stone all the model a little the miki parts being a little bit predominant. I focus focusing too much on the body because it will be covered by the flaps. I want more focus on the face. Now, we can this a little bit. Now we can use the the Let me do something. I think the places skin color is a bit reddish. Here, you can find a tab that's called poly paint. And here you can adjust the colors. What is it? Adjust colors. Maybe moving a bit. That reddish tone. I think it's better maybe, Yeah. I remove it just a bit more. A bit of red here. Now, I will make my color yellow. The star spraying this yellowish on the bony landmarks, the bony parts, like here in the forehead, a little bit, in the shin, a little bit more on the clavicle. Maybe not that strong. All right here on the elbow on this art there on the knee, maybe. I think I forgot to make the nails of the feet. You have to make it it's the same process as h in the hand. All right. Add a little bit of glue, maybe. Is a little bit. Be it's looking. It's a little bit of blue. I don't want this these red stuff here in the shake to be more too much dominant. The set. Where is the mset Alright. Let me see with this material. Let me make it a bit brighter. Here in modifiers. We can make it a bit brighter. You see better in the corners. Let me go wipe to stein shade. Let's make the leap color. I mean, is something like this the color and comes it it's too too yellow. I don't think that old war pruned here. I right. Let me remove that rush in the spray and go back to dot. I do add this lip stch of cutter. Maybe not. Let's make it a bit on the red side wrong here. This is looking way better. One thing that you should have in mind when you're making lips, painting the lips is in the middle part here is a bit more darker the color, a bit more dark like this because there is a bit of shadow and stuff makes the lip a bit more dark in this part. All right. We can diffuse this a bit. Alright. A a little bit of red on here and there. On the eyes. Let's add a little bit of file liner. And also will make the eyelashes a bit darker, like this. Then I will add a little bit of fine liner here. It increase the lazy mouse. Maybe we can add a little bit of file liner here. All right. And maybe not. Maybe it's up the eyeliner that we need now. It's a little bit of maybe it's a little bit of eye shadow. Let me remove the hair for now. I will hide the hair. Lay that little f shadow here. I think this should be nice. Alright, perfect. Et's make the laci mole part a little bit reddish. A bit more pink and reddish. If something like this should be nice. Perfect. We'll make all these bars at the same color. Alright. Let's bring back the hair. We can try to make also the color of the eye. That will be really straightforward. Subdivisions. Here in masking. That's where is the masking. Let's make this white. Make this white. Go. Now here, I'm going to mask again. All right. Now, I will invert the mask and add this orange the darker one. I will cool picket tackle one here. Let me save as in case the crashes. Alright. Maybe I little bit less a bit more circular. Alright. Let's filled with this darker color. At a bit darker right? No, I will color pick a bit brighter color here. I still bright for male? Makes this color a bit brighter here. A bit more tar, maybe. All right. Now we'll spread the color like this with a lighter one. Not in light. Right here, maybe it is working better. I will make end of this light here. Make a bit of dilution of this of anidea Maybe we can make this a bit brighter. All right. I will not be the final eye also. This is just a playholer that I want to have kind of to visualize the final product that we get at the end. And now here will make this color a little bit dark. And then I will change this to drag make the pubio around here, maybe. Maybe we can adjust the colors. Make it a little a little bit more saturated, maybe. Maybe not a little bit more saturate. Or light sin be better, maybe not. But see Just a bit more of contrast here, maybe. All right. Let me do something before making the p. I will make it again. A bit more centered. Not good. Looking a bit scary, a bit uncanning. Um a bit more uncanny. I will place with this rack dot without the lazy mouse. See around here, maybe. Let me see where WPP was around here, maybe. I do mixing. Yeah, something like that. Now let's add. Let's just color here, maybe a little bit more intensity and RGB conference. Alright. Let's add a little bit of tar of black color. It's not a perfect circle. That's why I was getting some weird distortion and weird stuff. Other ones we make the final eyes that will be a perfect circle. And we go back these two dots. And now let's draw a little bit of this bit occlusion of the eye. I All right. So I think there is, you know, more twigs, maybe. I think we can start working on this hypology part. But before that, we will need to do something to prepare the mesh to be imported in a treaty software because right now it's 9,090 million polygons. It's quite heavy. So well 90 mill polygon, sorry. So let's see final look. The fab. Mm. Maybe I think the eyes are a bit too much randll. Let me see something here. The ice, let me make them a bit less saturated. Maybe Little less saturation. I think that's working better. All right. Let's see it with the sword. A little bit of tricking on the eye position. All right. So I think that we are ready to go now. If there any change, I will make another video just working off on those changes. I'll see you in the next video. 37. 01 Preparing For Retopology: Alright, guys, in this video, we're going to prepare the model for exposing to our three package. In my case, I will use the lender is a free program that you can download for free Internet. So what we need to do first before exporting, as you can see, is around 19 million polygons. So we have to decimate the model first. But before that, I will export a version of this model with no with the lowest division of all the pieces because we can save some time. Releasing some of the pieces that we have made by hand, like maybe some of these pieces around here. These hard surface stuff, we can reuse them. Why topology, reuse this, maybe this can be reused. Is clean topology. We can use that. Maybe here, here and there, we will have to do some phytopology there. Here in the Sword, we can reuse almost everything on the sword. So I'm going to do is to export everything. Maybe I will export the model without the sword and then I will export the sword separately. So let's start, right. Here, I will go here and see plating effects export and visible here. Now I will export the the model with the lowest subdivision. Alright, create another five here. I will call Fd gear Lowest sub division. And I will export that. All right is exporting it. Alright, we have our model exported. So I will go to the fe tool set right, and I will do the same sync with O here in this bottom. And I will export this in its lowest subdivision. Let me just see. I would like to put this on ten because that would be this will set the scale of the model in real life scale in centimeters. So let's export this to Right. Well, let's wait for this to export or right. Now we can start making the estimations. Right? Oh, hi. All right. So let's start. What are we going to do with the estimations? I will open this plugin tab. I will pin it here. And here on the simation master, I will click and use and keep poly paint because I want the colors that I have made to be saved to be used as maybe an ID map later. And I will just thing. Now what we need to do is to pre process all the models that we have. This will take some time so the best. Basically, what I'm going to do is to go through all the models and click here in preprocess current because the preprocess O is very buggy. If you have a model that has the same name here, it will not work. So I prefer to use the preprocess current. So let's do it. I will do a few ones, and then I will pause the recording to do the rest because it's the same process. So let's start here in the body with this use keep polypin. Let's do some pre process current. All right. This is analyzing the mesh, and you will see this bar filling up As a thing that I think I forgot is to go here, do something. I mean, wait for this to end. Before that, before doing the IP process for the detimation, I would like to go here and Trim tool utility. I think that's an ad that is also free or Sirus. You can search for it in. And I will do a dynamic subdivision to subdivisions. I will click here. That will make all the dynamic subdivision that we have. I will convert it to subdivisions to normal subdivisions. You can see our model is bring up on polygons. All right. So we have a really heavy Mil maybe. So now we can keep going with the process. Alright, I have preprocess this. We'll preprocess this one. All right, here. The process. Perfect. Right. This is height. That's just the blockout. Here, that's the robot leg. Yeah, preprocess. Maybe will take a while. All right. Let's wait for this to finish. All right, it's almost finishing. I may do all the pieces in this folder, and then I will pause the transmission, the recording, and I will do the rest of the objects. Let's keep going. And now this the last one s squaren. All right. Perfect. Now, I will pause the recording, and I will get back to you when I finish duple process O the model. Alright, guys, so I have pre process all the model. So now what we're going to do is going through all the subtolsth all the measures. And now this time doing decimate current. Here in the percentage of the estimation, you can change the percentage that the estimation will go. Like here, we go to around 20% of the of the polyicon that the mo has. So this is 2 million polygons. This will go to the 20% of 2 million. So let's start doing the process. I will do a few ones, and then I will pause again because it's really monotonous process. Yeah. All right. Decimated. All right. All right. Let me something. What I will do, I will delete the parts that are hidden because I think that because of that, this didn't work. We delete them. Maybe we can just have maybe little stuff here. Just to have a bit more of a clean cut. Just to have a bit of a clean cut here. All right. You can sing. Alright. Let's do a delete hearing. A night I deleted, I will do another preprocessed current Because we have changed the topology. All right. This is almost finishing. Al right now, let's do the decimate current. Now, it work. As you can see, from 2 million it go down to 400 as the but seeing you guys the apology a bit messed up, but that will not be a problem. This will just be the source of the detail that we're going to make. So let's keep doing the same thing to the all other parts. W right. Isimat current. Here. That's items the Blackfoot mesh. S, no. Oh, I press wrong butt Alright has finished to process. I present that for action. I was meant to press the current one. All right. I'll decimated. Let's keep going. Desimate current. Decimate current. All right. Decimate decimate. This is really, really faster than the previous step, the process is really faster. Let's stick decimating. And in this way, we made the model lighter though our program doesn't crash when we import it there. Like, maybe the splendor doesn't support much polygons. That's why I decimating this. It's already decimated, I think, yeah. If I see something, Your Honor. Alright. Let's keep doing this. Oh, what happened? Oh, we have the same name here. That's a problem. I don't know why Crush made soup tools with the same name. We'll have to process this again. All right. Now let's do a decimation. Perfect. Let's see if this is going well, its not we do another I rename this we process and then decimate current. Perfect. So. A right? What? I did. Ah. Let me look in mash. Alright, I will do another process here. Decimation perfect. Here, let me see if this working or M is working nicely there. All right, let me see where it is advantages. I'll have to make another process. Alright, now I decimation current. Right here more decimations. Let's see what part this made. All right. Let's keep doing the same thing. Oh, now you put it again. All right. What is the All right. Desi made current. Oh, here preprocess. All right. Here, too. It's thick. All right. I work nightly. This has another this name. All right. Another process decimation. I made another folder. I got to rename All right. You processes made current. Here will be the same stuff. All right. Where I was was here. Yeah. All right. So, I will do the same stuff in all the measures again. I will and I will get back to you later. Alright, I have decimated all the pieces here. So now we are going to do the same thing with the sword here. Maybe maybe we can leave it like that also. S I will do something here. I will do the toal utility, clean all the dynamic subdivisions. All right. Oh, here, I'm not. All right. It was around her Here. I will do some high. And now I will do the dynam the painful utility here. Ryan will go all through all this stuff. Alright. I think that we can leave the sort like it is. It's not too heavy. Alright. So now, what we're going to do is to export this high poly mesh to our treaty package here in so sport. Let me do something real quick here. W. Lo deep. Yeah, no, I don't want to play this. I will move all of those there. Alright. Save this here. If this a bit too heavy, 13 million solvents, this will take a while to save. I will pass here, and I will back when this finish to save the file. Alright, the model is already exported. Now I will exports sort here. Sort here this sugar now. Right here visible export, right. Here word. Perfect. I will pause again right now I have exported the sort and the model. Now I will import it in the treaty package here in Blender, 4.2 0.1. I will go here, import FBX. We'll go through here. Where it. Give me a sec. Alright. This will take a while because it's a bit heavy, so this will take the minutes I will pause. All right. Though now we have our model in our treaty package ready to be re apologize. I also have imported disorb so let's prepare the scene to re topologize. But what I'm going to do is make a new collection here. While call this high, and then I will put the high poly stuff inside, and then I will change the color to red. Is it for more organized. Now, I will make another collection here. I will name it low. And now I will put the ring color to the collection. Now I will make another collection inside that one. And now in this one, I will name it to re reusable. Yeah, reusable. Usable stuff, maybe. All right. And here I will import the measures that we have the lowest subdivision that we have exported before. Like this one, it will be imported real quick. Let me make another collection here for the for this mesh to be more organized, right. I will make another one. I will call it so four X here is forth. All right. Let me put it here. Perfect. No, as you can see, we have the low subdivision of all the models here, and there are a lot of things that we can use. Maybe we can even reuse some topology of this jacket. Or maybe not. Maybe we can do the interior topologize of the jacket. If you want to say fine, you can use you can reuse some topology of the yu mesh jacket. It just needs few cleaning. But I think that I will do it from scratch. Here, too, I think it's a nice topology, really. Maybe if you clean up and it's ready to go. Here also, maybe it's really dense dense mesh. We need to do manual work. We need to do the topology from scratch. The thing that we can reuse really are the strap as you can see, is a really nice topology here. These ones, we will need to make them from scratch, maybe it will not be too hard to make these pieces from scratch, really. These cylinder can be reused as they are now. They are because we make them by hand inside sebush. That's the benefit to make the poly moodeling. We can reuse the same mesh as we made at the low poly. Yeah, we need to make from scratch all the robots. Yeah. I will make this from scratch also. Yeah, I think maybe we can reuse some of these bandages or maybe enough. I think that I will reuse all of those. This part will need more maybe, this we need some pyspology the hand part, the arm. We can reuse this model here. The joints can be re used also here, you can see it is really nice topology. The joint here, Awesome. These tubes can be reused. Awesome. Yeah. Just maybe some removing of some edges here. But I think this can be maybe um I think I will make from scratch the topology of the piece here, of the entire arm here. Let me see. This piece, maybe I think that we need somepology really. And these pieces here, maybe just some cleaning up to reduce the polycunt of these pieces, and also the joints can be reused. All right. Yeah, there are a lot of things that can be reused. In the body, we need to make the topology of the body from scratch. I will show you how to make a topology of the body next video. So see you in the next one. 38. 02 Face Retopology Part1: Alright, guys, in this video, what we're going to do is to start the phase topology. As you can see, I have done some rough drawing of where the essential loops are. The son loops are the edge loop that will serve to support the face deformation on the plan shapes or in the face rib. So let's start. As you can see, we have loop that goes down around the nasal label fold, another edge loop that goes around the mouth, another one around the eyes, a bit there on the eye also. This goes around the two eyes, like a mask, something like that. This go around the entire face and the go around the ear. This really easy. So what we're going to do is to go here. I will make another collection. I will call this and we topple. And now I will make a plane plane here. Sec. We're going to make a plane. We're going to make it smaller. All right. Let's bring it forward. I'm rotating it. Now, what I'm going to do is to put a mirror modifier on it. Here, we're going to mirror. All right. As you can see, we have the mirror playing the other side. Now, I'm going to press clipping. Here on top in this top bar, I will press this magnet icon, and here I will select face and face project. This will enable the face to stick on the surface that we have. Now here, I will click in this icon, this square icon, and f display, I will press in front. Though our mesh is always in front. So now, what I will be using is an addon that is called speed fretboOlessing that I will do. You can do it in blender vanilla, but this is a good add on that saved me a bit of time of going through this icon and then pressing here and that stuff. I have all my options here so I can quickly access to them. Let's start and we'll make this shred. Edge first is always a good thing to start with big polygons. And then we will add more density if needed. So let's take some polygon here and pressing E to extrude the polygons. I think, right. Perfect. I will make polygons that are around these parts. Alright. All right. This would be a really monotonous process. I will show you how I made the face and I will explain you how I make essential edge loops that are on the on the body. And then I will do some tie lasses because this is a really monotonous process, and I don't want to bore you with my with my weird narrations. Sogeni All right, we have our nose. Yeah. We have our superb. Now, I will make the e one. Something that you need to have in mind when doing the topology of the eye and of the mouth is to have the same number of polygons on the top eyelid and in the lower eyelid. So when the eye is closed, everything match perfectly, and there is no gap. All right. I'm not paying too much attention for this to be connected right now. I will fix that later. All right. All right. Let's see. We have one, two, three, four, five, six, seven, eight. All right. We have eight ones here. One, 23, four, five, six, seven, eight, and this should be a stitch here. All right. Let me see. One, two, three, four, five, six, then, eight, one, two, three, four, five, six, then eight. Perfect. It's perfect. They move a little bit. These pllons match the corner of the. All right. Perfect. Now I will make a big one here, another circle troop. What we can do is just to elect the border and just extrude them like this. All right. Perfect. So we're having the other up here. Perfect. So let's start making the nasal label fold here support that part. I will extrude this one. And then maybe maybe not. I don't want these to be each now. All right. I will separate them. And then I will start making the topology of the nasal label fold here. As I said, I'm not paying too much attention if the edge loops, the poly count of the edge match because I will fix that later. I should want to at the edge loop or we Perfect. All right. So we have now our edge loop here. So I will make the edge loop or the mouth around here. Ling Alright All right. We have around one, two, three, four. All right. One, two, three, and four here. All right. But we have the so that are around the mouth. So let's start making the one that goes around the face from the shin here, oh. All right. The shin here, I will make a big boy bums here just to save time. We can add more density there anytime. All right. Perfect. All right. Now I will make the poly the poly loop that are around the ear, around here. I would like to have a polygon here in this pot to support better the shape of the other part of the ear, maybe around here, maybe. Perfect. All right. You can see the drawing that I did this really rough. Not very precise. I will do something here. I want this like this. Um it's months. Alright, let's continue. Perfect. All right. Around. Let see W this rounding spot. Perfect. All right. Now what is left is just to fill these phases. I will remove the annotation that I did. So now we can start fishing these and filling the gaps. I think that we can pitch this around here. All right. Now, for the topology of the nose in this part will be something like this up. I will make up a su that goes around the around the nose. Now I want another extra here. Perfect. All right. Ah. I'm getting some error, we think. Ping. All right. Something that I forgot to mention you, if you do not have this addon activated, this atom comes with a blender. It's called to activate it because that atom will allow you to just press F by selecting a pertex and you will make a face that's really helpful, as you can see. All right. I want it to be more easy in part all right. At last at last, and then fill this gap, all right. Now I want a bit of a edge loop here that goes around the nose, the nose sell. Alright. I think that's a bit too dense. All right. Yeah, they are a bit dense. We'll stitch these once, yeah. Arm right. We'll remove the, maybe. Perfect. Now, I will add another edge loop here. The purpos what I think when I do de rtpogy is to try to get most of the silhouette of the mesh as possible. As you can see, I had a bit of the silting going out of the mesh that we are making. And I just added a syrup here to try to catch better that salt. All right. Let's try to feel this. Maybe we can do something like this, but I don't really like it. Because we have some problems. Alright. 39. 03 Face Retopology Part2: Or what, guys, let's continue. So in this spot, I will add another edge loop here. Maybe I will add a few more stuff here, fill that gap, and maybe we need another edge loop there. We have this closed. Now, in order to connect these ones here, I think that I will just add few more stuff here. As you can see, I added two. So I will add more around here. Yeah. Perfect. Now I will breach this stuff here. Now we can start adding edge loops. Reach these two polyops A right. Let me feel this gap here. Perfect. We have a lot of geometry going through the nose. And that's really much, maybe. Let's see what we can do about that later. All right. Let me bring this perfect. Let's see. Let's start bridging these oligons here. Maybe another one here. You can add more Eggops here. Perfect. All right. Let me add another up here. To reach these two here. All right. So I will need to this part being something like this. And yeah, I think we have too much polygons going up, let me do something here. Maybe we can solve this one. It's a bit too necessary. Let's see what else we can delete. I think that's enough, maybe. I will do something here. I will extrude this in word, like nameset. And now I will click this in statistics to see how many polygons I'm selecting. As you can see, I have 18 verse is not an equal number. Maybe we can add another one here. Now I have inverted selecting. So we can do something here. We can go here and then do a great fill to close that gap. I think this is enough. Alright. Perfect. Alright. Let me fix this real quick. I think that's enough for now. All right. Let's continue here. So in this part, let me make slides a bit. All right. All right. And here we need to do something about that to create another oligon here. All right. This, I will extrude it. And this one, I will start to make this shape to reduce the polycunt from here also. And I think that's enough. Yeah, that's enough. I will slide it down and then add another edge loop here. We'll be able to close that. Perfect. All right. Let me move this to make a bit more squarish the polygons. All right. Okay. Something that I would like to have is this part here. Maybe we can add two polygon here so I can I can have this shape of the topology. Perfect. Alright. Let's slide this a bit. So now, I will start reaching this piece here. Perfect. We need another edge loop going there. Maybe we can do this. And now we have an end on there. Let me think about what we can do here. I mean, we can delete this. I'm gonna bridge the perfectly. All right. Let me kind of relax the polygon here. All right. Salting think that we have much polygons on the else. Maybe. All right. Let's keep working on this. I'm just filling the gaps between the seige loops. And to follow also kind of these edge loops. And then, like in this part here will be just a feeling just put polygons there to fill the gap. All right. We can do this here maybe. We'll do something here. We'll add another one. So we have places where we can connect these polygon. Perfect. All right. I will close this part. Let's add another issue here and another one. Maybe hang out. Yeah. Something that is really helpful is the smooth brush in the scoot mow. Yeah. This is just a normal scoot brush in the smooth brush in the scoot mow that you can find here or going in this icon here. You can select scoot mow and then select the smooth brush just to smooth the vertex and relax them. And what I did to have the wireframe display on my school mode is just going here and then click on wireframe. You can see this will activate the wireframe. All right. But after moves the birds, you will have to stick them again to the surface because they will be not stitched the surface, so you will have to do it again manually Well, let's continue. I think we can have another polygon here. Perfect. All right. Here, what we can do. Let's see. Let's see what we can do here. All right. Mm. How many parts is this has? I don't really like this maybe we can add another edge loop and try to I see. Let's see. And the nice most. I don't really like it on my this part. Et's see what we can do. Doing the topology is kind of like doing some puzzle. Yeah. It's a bit tricky sometimes because they need to cigure out the best way possible of doing that part. Most the just fill up quick. All right. Now I will stitch this again to the surface. Yeah. Perfect. All right. I think we can add polygons here, and that's it. Yeah, it's looking a lot better. Alright. So we have supporting age loops. All right. So's continuing with this. I will merge the two. Maybe add another. Let's look here. Another one here. You can see I'm just doing some genetic filling here, adding polygons, because in this part, it's just that there's no there is nothing fancy there. Let's just fill this out with hooligans. All right. We'll add another polygon here. Perfect. Another one. All right. Now, this has kind of something before adding the subs. All right. Around this number. I'm gonna at that. And now I have a problem. I will dissolve that one and stay with this. Maybe we can dissolve a few of these to have a bit of better polycon there. I don't want to go too crazy with the polycon here we have a lot of it. Mm. Let me see what we can do in this part. Maybe we can redirect this polygon here. All right. Let's see. And add another one here. What I did. I added two poly ice creams. I want to add more polygons in this pot. Alright. I think this is better than before. Yeah. Let me smoothe this real quick. Perfect. Then I will stitch this again to the surface. Now here, I will start connecting these ligans right. Perfect. I just sliding this. We have more space to add more egg loops around here. All right. We need to smooth this also. Maybe we can add another Egg loop here. All right, another one here. We can close this. Not like much that art we can do a merge. There Perfect. I will do some smoothing. We need a lot of smoothing in this part. Something that you can do also is to add a string crap modifier, shrinrap modifier and selecting the eye poly body and put this above the surface. So you can this will stitch again the polygons to the surface. I will apply it. All right. Maybe we can do something here. I will do some relaxing vertex. Here, if you click the right click and select the smooth vertices and rank up these to 500, will be smoothed in this really nice way. Perfect. Let me do maybe we can do the same thing here, selecting these hooligans, and then do the smooth vertices again. And there we go. I here also. Perfect. All right. I can HD in the center. All right. Let me see if I can remove this polygon here. We had a lot of polygons going on the nose. And I don't want to have that many polygons there. Okay. Maybe we can put this again like this. All right. I think this should work for now. Oh, what? Alright. Perfect. Now we have better body count on the nose. So here I will do this inset the lips a bit. Maybe something like this. Um when this are right. Perfect. We have one polygon x right here. All right. I can put this like this. And then I will add more here. But we have the topology of the lips. In the eye will be something similar. I will do some inset, make the eyelid thickness. Perfect. All right. E. Here in the eyelid, we can do another inset, maybe another one, and I will just do a poll here, a big star because that place will never be seen, and I will do submerge at center. This part will not be a problem because that part will never be seen. I don't want to increase the polycun in this area, but we can do that ink there. All right. Perfect. Let me bring this here. All right. Alright. All right. So we have the topology of the face. In the next video, we are going to keep going with the topology of the head to cover this up. And then the video after that, I will talk about the essential loops on the body and then will be a time lapse of how I do the filling between the SAN loops because that will be the same process all over. The same process that I did here will be applied to all the body. So see you in the next one. 40. 04 Face Retopology Part3: Alright, guys, this video will be a really straightforward one. I will just be continuing the topology of the head and maybe doing some work here on the neck. So let's start. I will just extrude one here, and I will cover the head around this part, right. Also, I will tune off the in front upsion but. Because I weigh this atom, it give me the tipleshading. I don't very sure of how to get that without the atom, but you can work nicely with the in front option. All right. No, I will here is a bit much of polygons. Maybe we can do something here. I don't want to bring that much of a polygon there. Let me see. We can bring this up a bit right. We have less polygons going up in this area. Maybe this would work. Yeah. Let me do some moving here. Alright. Okay. Right. Now, I will just keep filling this gap here with more polygons. All right. Well, not another atrop here. I will connect the ear with the rest of the face. Alright. Something like this maybe should work. Mm I should work right. Now here, I will start doing dipology of the year. The year is a bit complex place. To do dipology is really complex form. So let's see what we can do with that. Hopefully it will turn out really well. All right. Now I want this to be up here. Right? Alright. I will try to get the form of this shape here. I will add another elope in this area. I add a little ones here. I will strew this part and I will be this. I'm just trying to get the shape right. I think it should be nice one now. Now in this part, I'm gonna do kind of the same thing. All right. All right. All right. Here, I want something. I want some polygons going around this place to take the form of this Y shape. Maybe, I think that's nice. Here all want. So polygons we around here. Perfect. We'll add another edge loop. Maybe it's a bit not too well. All right. All right. Now, I will insert this, make the topology for this cavity here. I will keep making more oligons better catch the form and the salt of the shapes. All right. The ears are really complex one. I will or maybe not, maybe it. Maybe just add another edge look here. Perfect. I will want another edge in this far. This I will merge it, and then I will make another phase in that area. Look here right. Perfect. Alright. I'm just trying to get everything without using angles. All these for the but the body, the triangles and the topology for games, are they are used really mostly for the really low body stuff, but also for the A games, it uses the triangles. The thing that you need to be aware when if you are using triangles on your model is that you are not placing them on the sizes that will deform. Like, example, the elbow or the knee or places like that, you should not have any triangles in that part. At least you need to have a clear edge loop. If you're going to add maybe triangles in that area, maybe to get some folds that are happening in the elbow area and you need to add triangles to get the shape right. Then you should at least have a clear edge loop. I mean, a clear polyloopF that to deform well. Alright. I will continue with this. Trying to figure out the best way to make this part work nicely. Alright. Maybe another one here. Yeah. Perfect. Maybe. Ithing here. I will add another up here. Perfect. This one will be like this. Alright. Let's see what we can do in this part. Let safe. All right. All right. I need this to go around this area. All right. And now maybe we can feel this. In this way, we adding another edge here and merging these two. I think that's nice maybe. I don't feel like that far too much. All right. Let's see. Let's see what we can do. I think interface, the ear is the most difficult part to do difficultly. A bit complex and very tedious. Make it. Alright, I will just close this hole. Then I will do some great fill. Alright, great feel. I think that's nice enough. Oh, right. Let's see. Mm. We'll create another polygon here. And in this part, I think I will just keep going with the polygons. All right. We're having some wanted tiny polygons in this part. I want this hooligan to be happening. Let me think what we can do. Mm. Let's go to one other area. All right. Maybe here. And that I mean, u That same. Alright. I'll merge these two. Perfect. Now, I will merge this this part. Alright. I just want to kill these two edge loops here. All right. Every time go around this area. Perfect. Et's see what we can do, part. Let me. You'll need that phase, and then I will just add more phases there. It's part. It's not an equal number. An even number I mean. Alright, let's see. Maybe we can add another strip here. Maybe not. That's much in that place. Maybe one here. And then we can do some fill just to fill that gap there. Maybe we can do another great fill. Let me see here great feel. Additional more possibilities. All right. Let me try to make this apology a bit more even by hand here a little bit more even. All right. Let me save go quick. Alright. This part is a bit complex to do. We have tiny polygon here that I don't really like much. Maybe we can. Oh, I don't know why, but when I tune on the in front, the magnets, this magnet stuff doesn't work really well. So I tune that off. I think I will do some reduction in this part of polygons in this way. All right. Let me think. Maybe we can get this edge loaf going through here going through here and then merging with these two. I think, yeah. Perfect. Alright. All right. Perfect. We're having a bit of nasty imagery here. Let me try to bring some pieces here. Trying to move the thing that we made another place. Maybe Sia should be good. And this and this should be everything what? In that area. Perfect. So we need to close this gap. I will do kind of the same streak it did before. But now we are having a six edge vertex. I don't want to have that six edge. There there should be another solution here. Do you think we can do Maybe I'm seeing like this. Nice. Um, this part is a really complex one. Just need to close this gap. Lets see with the great feel. What this gave us. Oh, this will a better solution. Same Blender. I think we should work very nice. All right. I think that should work nicely. Now we have to make it back of the ear. All right. You make one here, maybe another one here. All right. I will need another polygon here. Perfect. All right. And here another one here. You all the got? Alright. Perfect. Now I will just merge this part. We have a edge look that can go around here and I can add another edge in this part to have more geometry to get a bit better silhouett here, we can add a bit of this streak, reduce the polycunt Alright But they are having some trouble maybe and not a polygon this part just siluet. But we are having a triangle there. But the body, I don't want triangles. The only triangles I will use for the body will be just these ones but for the close. Maybe we kind of use some triangles on the folds. It will not be a big of a deal. Alright. Let's see what we can do. Alright. All right. That we have the ear and let's apologize. I think that should work. Icing see that we turn off the object wireframe. Alright. Now, let's complete the phase. We'll just bring this down real quick. Then I will add more polygons. This part, I see that is really dense. It's really dens par. A, let's see. What happened if I leak? We have an end gun there. And I don't want that end gun to be happening right. We don't want that end gun to be happening. So let's do some control seeing. Alright. Let's see. All right. Let me try to get better this part. I don't want that many ligans in the back of the head. All right. But we have quite a bit. Algons In this part that I don't really want. Maybe we can do some production like this, maybe something. All right Perfect. That we cannot maybe to war this car. Just be on the cab. Perfect. Let me do some mouse. I'm smoothing here. But I think I still think that we have a lot of pool on the back of the head. Alright. I Alright. Let me sing. I am ling like that for now. Let me focus on closing the head completely. I will grab this and make it a bit lat and just feeling this part. All right. I will merge these two. We need to feel bring these parts. I want to fill that right. Now, I need to I need this to be better. I I viable. But I need quite a few ligans going on here. Alright. Let's see what we can do. I we have some places that are really dense and then some places that are not a tense. I don't really like that. I would want these to be even number on the back of the head. But we have a bit of a big tense of polygons in this part. I don't like that. We can do another injunction. We can remove these ones. Yeah. That's not ideal to do. But since I just want to make this done. It can be helpful. Mainly just to sex time and not to hurt our heads tige maybe some smoothing. Yeah, a lot better body count in that area. Give me a sec and freezing the body was selected. Alright. Now we are having too much poly bonds going down. In this part will be covered by the hair. We can do some reductions here, too. Maybe we can delete digs. All right. I will extrude this. Then I will do this in this part. This type of expression, it will reduce the amount of polygons that are going with the head. All right. Now we can close this. Let me make this a bit more even. All right. Let me try to make this part a bit more even And these part also they are a bit rectangular. All right. We are having a bit of a trouble this part. See if we can solve it. All right. Perfect. Is right. I will want some hooligans going. Even if I can just close this. I want some polygons here. All right. I will do shrink crap here and find it here, but I will click to shrink crab these parts. I can do some smoothing. Perfect. All right. It's smoothing. I think maybe we have a lot of plecans around the mouth. I'm not a big fan of that. But we can of that later. All right. I will apply the shrimp crap. Now in the middle part, I will just move it to the center for stitch again, see if we can fix the amount of polygons that are going down with Mu. I don't really want that amount of polygons there. Maybe we can delete a few of those. All right. Was right. I don't feel like not having a matching number of polygons on the mouth. I think I will just let like it is or now. Or the back of the head, I think it is good. But All right. Now, let's try to make the neck. All right. The amount of polygonrad will go down. The sing will be a lot, so we have to do some reductions there. Were having this polygon. I would want better this to be in this part rather than being in the other part. Alright. Perfect. I think that should be good enough. It makes them off here. I will just try to fill these with some polygons. Alright. We'll have to do some prototion in this sa. Because we're having a lot of polygon going down. All right. I think I will do the reduction in this area here so we can bring these up a bit and just connecting these two bird eggs and then dissolving the middle ones. Be sure that you have a pole or a project with five stars in the middle Edge op. That's a bit of important thing that you need to have in mind. So you can add a really nice eggep in the middle without any trouble. Alright. Perfect. Let me see in front what this is giving us. Maybe it's good, yeah. I think I will do another reduction in the middle of the night or maybe here near the flatc. All right. Here. It's Nice. So I will do another shin crap and then add some polyen here. Quite a few egg lups. But the stitch to the surface, and then I will do some smoothing. Abe Uh, Syncrap. Alright, let me do something here. So smooth vertex in 500. That's better. As you can see, we have a lot of polygons going down the face. I'm not a big fan of that. Let me accept Shnrop. I'm not a big fan of having that amount of polygons on the neck. That's not really good. I will just some polygons here. What is this? What's really ness. Maybe we can do I smoothing. Try to see if those polygons are worth it. Alright. Perfect. All right. I think I will do some production in this area. Maybe we can do another one, maybe in sport. Moving to polygons here. H. Alright. This is turning better. Maybe we can even move this adoption here. I think it is way better. Alright. Perfect. All right. So I think I will leave this video here in the next video, I will explain the extensionless H loops on the body, and then I will do something of how I theretopo on the body. I the same process I did on the face and the head, it will be applied to all the body. Maybe in the hands, I will write it again in real time. I'll see you in the next video. 41. 05 Body Retopology Part1: Alright, guys. In this video, I will show you how I croplogize the body. Also I have done some really rough drawing again of where the essential edge loops of the body should be kind of. Let's start. Let me duplicate a polygon from the base here. I will separate it having different objects. Let me call this head for now. And then from this, I will start rooting some vol guns right. I will duplicate this again, and then I will try to make this loop here. This will be a loop that will be going around the shoulder to give proper deformation when this is shrigedTs a really important one. You have the topology, this loop really important. If you want to keep your rigor happy, I commend you to have this type of topology here. All right. Let me see. I always like to keep this chicle stuff, cylinders and circle stuff with an equal number. Like 12 here, we have 12 verts. I think that's kind of nice. Maybe we cannot be more maybe one here and one down maybe just to have a bit more density. All right. All right, perfect. Let me as this a bit more. All right. Perfet. Now I will just verge these two. All right. Reach them. And now I will make this loop here. This is a loop that goes around the pectoral in the male body. But since this is a female body, we have the breast and we need to do some special topology there to hold the shape of the breast. So I will put the topology under the breast. Right, and something like this. And this polygons sup here will go around the shoulder also like this, to pour a bit better in formation of the shoulder and to get the most of the silhouette of the shoulder possible. Alright. Now I will continue the sub All right, perfect. Here down. In the waist part, we need another up that goes around the leg and the gluts. For the same reason, we have this edge be going around the shoulder. I be the same reason here. I support better the formation of the leg. So, as you can see, I'm just making big polygons, and then I will just start adding more topology if needed. Yeah. Alright. Perfect. All right. Here we go. We have a bit of big Polons here. Let me see again the te sound right. So, let's start frilling this up with some polons. We also need to merge the head with the body. We will do that later. Well, I think that would be a good practice to have that now. Just to not break our heads later when we have everything set up. I think we better make it now because we still need to make mortaplin Let me see. Yeah, we apply the shin grab I will merge these two. Alright. March. Now, I will see how I will merge the head with the body. As you can see, we need maybe another edge appear. Maybe this can go like this in this part. Here in the clavicle. We will do some production. Using the same trick I have using before doing this, something similar, yeah. Perfect. Maybe I add another beer. Maybe we can merge this. Alright. Perfect. Now I will merge these two. We'll need another slope here. All right. We have to delete these colons. I think we have some podge extra that I don't really like much, to be honest. This can be good. It's. I really want that polygon there. Maybe we can do some reduction in this part also. But because I don't want that many polygons going down there. Every here in this part, we can do something. All right. I'll get. Perfect. We'll make this a bit modern. Then we have a bit better body count here. All right. Perfect. Let me think. So I will start making more polygons in these parts. Maybe another shape here. Perfect. All right. Let me see that we need to close this part. Maybe we can bring these like that. Maybe merge these two. So we are having some troubles. Maybe another strip here, perfect. Alright. Making the a bit moder We French. So what we have here. Mm. Let's see. Alright. Correct. This part is really H. I need another pounding on here because that part was too rectangular. Alright. Maybe we can delete this one and maybe bring these down bit. All right. So we have I don't like this. Here. I don't like to do too much reductions, really. If I do this, maybe we can do something like maybe we can do something like this in this part. Here come Wong. But I still have a bit of a trouble in this part. Alright, let me see. I will go to my feed stop and we'll just most these a bit. Then add a shrink crab modifier. You can find it here, type Shin crab and we open, and you have to put this mode above surface and select the target mesh that you have. I mean, due topology. Your high pod All right. I think this should work nicely. All right. We have merged the head with the body, so we can continue working on this. It may do the holder. Alright. Perfect. Let's see sing. I need a polygon, a polloop goes under the armpit around here. Alright. I need a colligan here. I polian Like Perfet Then I will just add another one around here. And we can merge these two, right. And here, I will merge, reach, I mean, these polygons here. I have a completely closed look. That area will apply again the shrink crap polyfier. We do something here. Sometimes the middle let you look messed up. All right. I will not do edges here. And then with the Perfect. Here, we add three. I mean, three, yeah. Perfect. Right, I will save. All right. We have a lot of polygon coming out from the back, but little ones coming from the front, so I will add two more. Let me see, we have 16 polygon here. I don't really like that. I think there is a space to add annole more here. So we have 18. But we also need more polygons in this area. I will add two more maybe. I just want to have an even number here in the vertex stuff. So now we have twinning in that area. Well, let's see what we can do here. I think that we can merge this one. All right. Maybe at maybe three and start filling this gap, something like this. Here, we have nine. I will also do the same thing here. Y. All right. We have 11. Alright. Let me just keep filling this. Alright, maybe we can delete one poly on there. But we have eight. Here we have six. And see, maybe we can make this a bit down, bring that a bit down. All right. This part can add another here. But we have eight involves of the parts. All right. We can close this. We can see how we can connect nicely this part. All right. Add another one and just fill this close the gap. Then I will do some smoothing. Here. Perfect. Actually made. No, I will add another hincrop because I want the stuff to stick to the surface. When When you're using the smoothe brush, the mesh tend to just separate from the surface of the high body. It's a bit annoying because in another programs like Maya, that doesn't happen. But I just prefer blender. Use blender because for me, it's more comfortable do the things. We'll safe again. All right. So let's do the impressed area. Maybe we can fill this here. All right. We can fill this. This will be just really straightforward stuff. A here. Alright. Perfect. And we'll add another edge look here. Perfect. We'll add another one here. All right. Maybe some more smoothing. All right. Let me remove this mate to manipulate it in the middle edge look. Alright. So here, I will show this and I want to have ice loop that goes around the body in this part. They something. Let me apply the shring prep. Yeah. Okay. Alright. Okay. Right. No fit. Here. Now for the breast area, I just want to have edge loops that are like a circle. And the circle lopes, you will see if you example. I will just want to have this type of edge loops in the breast area just to support better the shape. Alright. Then we can add another edge loop. I mean, maybe connect this thing. And then I will just keep connecting the edge. Looks Perfect. Here also. Maybe we can add up here. I want the middle up to go through here and connect in this part. So here I will just start separating the edge root. All right. Let's see if I can catch this shape nicely. Alright. Maybe another shape here. Maybe we'll need to two here. Nice. Other one here and maybe closing the look in this part. Alright. Here, we can do some pebble. Maybe not. Maybe not a pebble, but we can add trp there let me add another shrinkrab. Perfect. All right. Adding more polygons. A All right. I'll save again. Now what I want is to connect the middle ones here. And now let's see how we can connect this. Aye here we need to roots and then do some connection here. AdopT area. Perfect. Now let's connect the breast. Let me apply the Shinkrab. All right. Let me do some smoothing with a shin crab. So we have better behavior. My here, we can add another egg up. Yeah. As part, we can add another one to support better the formations. All right. Let's see here. You can do something set like this. I will apply the shin trap again and activate the magnet. Here, I want this to be a perfect circle. In tools, I think, where is it? In Eddie we have the loop tools. This is a addon that comes with a blender from default get set make this better. We have something here. Here in preferences, you type Lokuls and you can find it. If you don't find it and you are in the 4.2 0.1 version of flinder, you can type it here in get extensions Los and you will find it to so that's in edits, and you can press circle, and that will make the Vs that you are selecting a perfect circle. That's really handy. It saves you a lot of time and give you precision on what you're doing. Super handy to have that All right. I may just slice, light this edge. Right. Here, we have 14 vertex, so I can do some grid fill. It may increase. It may here maybe this oft can make it vertical. All right. Act. We have made it a body for the breast. My add another pair. All right. Safe again. And now I will connect Oh, press the hi Poly. Something that I suggest you to do that I haven't done is here where I sit here in this filter icon select this courser icon here, so you don't select by accident, any of the Poly but you got to see I have selected it. But in theory, that will save you from selecting the high poly and maybe crushing your lender if your high body is too heavy. Or here, I will just keep extruding. I will tune off the magnet. And then here in speed, I will add another shin crab. You can add it here too, also. Add another shinrab. And then I will just extrude down because I don't want to do polygon by polygon there. All right. Let me see in fuzz. Like, listen. All right. Ah, I mess it up again. Here. Alright. Oh. Alright, perfect. I will do some pebble here. I will add a few edge loops. Maybe some smoothing also. Wake up smoothing. Alright. In the middle A. You see the face just in case we have messed up something up there. And now I want a niche loop that goes around the pelvis, going from here and connecting in this part. I will do that exact same thing without thinking too much the polyca from there. I will apply the shin crap we have messed up something here. All right. All right. Let's continue doing this. I will activate the magnet again and just keep making extrusions. And then I will connect up here. Alright. A safe. All right. Sing. We can connect here. We at a polygon there. Ozone. See here. Polygon here. Perfect. I right. See what we can do. B part. I don't want to bring that poly cool there. I will just work on the back side. All right. Another edge here. Alright. Just reach those. They have a lot of falls in these flowers. Let's see. All right. I will ct these ones. Perfect. I will make this a bit narrower just to have space to work with these polygons and the parts. All right. Perfect. We'll add another issue here to have better better play con there and here. Alright, let's work on the back side. A little shrip here. Perfect. I'm just connecting the stuff. Baby here, we cannot. No shop. Right. Alright, we have something here I don't really like. And we can solve that just connecting, adding shing here and a more and just connecting this. Maybe Oh, maybe some smoothing and then shrinrap here. Just smooth well. All right. Let me apply the shin crop. We remove the magnet again. So we can work condi meal troop better. All right. Activate again, the magnet. And remove the in front, right. All right. So we have basically the torso done. Let's work on making the legs in this part. Let's see. Maybe here, we can do something with something like this. We'll add pogons All right. Let's see. All right. Try to get kind of shape. Is part. All right. Anyone can bring this a bit. Something similar to this. Maybe just maintain around and then deactivating this another crop and adding few egg loops in this part. He were having too much ages I think that will not be too much a problem. Let me do some smoothing again. Smoothing? Well smoothing. A right. More smoothing. All right. I now we apply the shing crab and just keep working on this. Now, without the shing crap and with this deactivated. I will again extrude because the leg is basically just a big cylinder with some polygons. The most of the polygon will be on the knee area because in that place we need more density. But the gan the rigor can deform well at area. On the joints, usually we have more dennty up polygons. I don't worry too much about having the other leg because that's can be removed later when we finish with the topogy, we can delete those parts. All right we a shrink crap I'm having this stuff there. I don't feel liking don't like this. What? Let's see. We can solve that just by adding few ships. Um, We're having some trouble here. Maybe I can burn this d off just to focus on working on this leg. All right. Now here, I will apply the shin crap. Right. And here I will want this edge here go around this area, the place that will be beform Alright. Not having the in front. Oh, yeah. A Perfect. Will not another. All right, I will slide like this. It's big. And I want to move that. I will add another sub down. Here and the knee, I will do inside with bottom. I mean, the y bottom, all right. I forgot to right. We're having this A in. Let me apply another shrink crab. Snrabr. Maybe some smoothing. Here. I want a bit of smoothing. Maybe not too much in area, oh. Alright. F fights. Mice Another issue here? Another one here, maybe. Yeah. Maybe. This. Another smooth thing. As Maybe here, we can Emilik do some more smoothing. W just strain to be high. Alright. But here, we have a lot more polygons that we have than the tie Maybe we can remove you. Maybe this should be enough. Alright. I think the ties are good as they are right now. Maybe you can delete just one or maybe two of those All right. Let me just me the par a bit. Real quick. All right. Perfet. And we can remove another one here. We're trying to keep all the count as close as possible between the height and the col. Alright. I just using the wrap bra from blender Putin. Alright, I think this should work nicely. Maybe we can add another mayor. Alright. I think that is more than enough for the work there. All right. The hand would be the arm would be the same process. The same process I did here would be the same on the arm. So maybe I will do that off camera, and then I will go back to you once I going to start making the leg and the hand those'll see you in the next video. 42. 06 Body Retopology Part2: All right guys in this video, we will continue with the body. As you can see, I have the arm. The arm was the exact same workflow I did on the leg. It was just extruding from here from this edge loop. I just extrude this to this point and then add a shrimp crap modifier, and then I added some polyleps Here, I did an inset on the elbow. So what is left for the body is to make the hand, the feet, and the mouth bag that we haven't made, but we're going to make them at the end. So let me just pick something here. We'll pick. All right. Perfect. I see one part still have much polygons. I don't really like to have that many polygons in the cf area, but I will figure out how I can fix that. All right. So let's start making the hand. The head is a bit of a complex area to do the topology is really complex. I will just fix something here. So now I will make five cylinders with eight faces right here, a cylinder will make it smaller. Oh, I forgot to change the phases. That's here a cylinder right here. I will put the eight. We make this molar. And then Okay. After slipping, right. I will move them to the fingers. Alright, something around here. All right. Something around here. Perfect. I will delete the caps here, and then I will start extruding the polygons. Here, right. I would like to have them. You have a pase pointing to the round of the finger. Now I will start struding in each joint. All right. Run here also. Perfect. All right. Maybe just a bit like this in this p. Now, I will make this finger like this. Then I will close this. I will do a name set on to this. And then I will do a grid fill let me add two edges here because I want to clean Alright. That's not what I want. This is what I want. Alright. Now we can add a shrink crab modifier to this, and that will shrink to the sulfa Alright. Let me fix these lions that are sticking in some places that they are not supposed to stick. All right. So what I will do now is start coping the finger that we have made with the other fingers. And let me turn off the shrimp crap. I will do the exact same thing here. I will duplicate them. All right. All right. Here. Aye here I can change to normal to try to flatten this out. Alright. Perfect. I will keep duplicating this. All right. And amar. Yeah. A P. This is a method that it saved me a lot of time instead of doing each polygon by hand in each finger that usually take a lot of time to do. I don't like to do that. I just copy and paste the finger, one finger, then use some train crap just to stick the polygons to the surface. Sorry, that's what my dog. Alright. Let's continue. All right. I make haste the here, maybe we can change where the joint will be around here. Perfect. All right. So here, I will duplicate this one, and then I will paste it in the tmp Here. And I will delete these phases here. Perfect. Allright. Really nice and quickly finger pathology here. Now, I will p the shin crap because if we need to do some fixing, the polygons are sticking in some weird places. Very, very weird places. Yeah. But here with a bit of fixing, it should work now. Alright. Perfect. Here, we have this weird polygon. You need to make it good. You don't have this in front, right? Perfect. All right. So now I will start making some bubbles in the joint arb. I will I will make a babble of around here. Perfect. Oh, we're having really, really weird stuff happening. All right. And then I will add polygons in these areas of the finger. Just one edge All right. Just to hold better the the shape. Now, I will connect. I think that we and apply the shrimp crop. But let's see what we can do. Before that, I want to stick reach the faces here. The faces that are going with this middle edge rope that we have created, it's really important to have this middle edge rope because that edge loop will serve as a sem line when we are making the UBs boy and you can see I misplace those polygons. This would be around here. It should be these ones. All right. Now I have them. And here, it should be nice. All right. Really clean. Perfect. These two. I will add another rope in the middle in the middle around here. Perfect. Now, I will extrude this like this. You can see. Perfect. And this part also will extrude it. And then I will keep extruding this part right. I will reach this gap here. All right. Perfect. All right. The thing All right. Try to make the polys. You are a bit closer together. Maybe. All right. Maybe in this area, we can do inset to have more polygon there to work with something like this. It may do something form here. Ping this polygon. I will activate topology, this will do that. Only the connected topology will be affected. Something like this. I think that's nice enough for now. And here, too. All right. Now, I will keep selecting these polyons and I will add some inset just to have a bit more resolution in the knuckles of these fingers. Something like this should be perfect. Maybe some smoothing should be nice. This place. Maybe a bit of zing. A bit smoothing here also. All right. Or smoking. But though we also know where the naple are. It will be helpful when we start making the rig. We will do a basic one with the difi to pose, you know, to pose our caracter. We'll do the same thing here, of the inset perfect, and then some smoothing. Alright, perfect. I will save. All right. So now what we going to do is to start start making some reductions on this topology. I don't want all the topology going down to the forearm. What I will do is to merge this polygon center or something like this. At center here at center, perfect. Here also at center at center, and at center. Alright. I will delete this middle edge here, not the edge loops. I mean, this middle edge. I will do some dissolve edges here. It will be a quad. It will not be an angle or a triangle. Here also will delete it or in this case, dissolve it. We have a bit of extra apology to work with between the hands. That's always nice to have. Alright. What? No, right. We have to make something weird. Now, I will catch it. We have some nice edge looks around. That's pretty nice to have All right. So let me try to make these polygons a bit better. Say something like this. Alright. All right. A bit better like this. Perfect. Now, I will connect the middle edge of the coins around the end to this middle edge of the thumb. All right here, bridge Bridge sps right. We'll add maybe a few more edges. No, it's just matter of I start filling the gaps. We have basically the important thing that is the fingers. So I will make some polyp like this to hold better these fat pads on the head. Something like this will be nice. Oh, I connected in the wrong place. All right. Here. Perfect. All right. So I will start filling the gap between them. No. Alright here. Let me do something, okay. I did a merge by distance just to see if I had some were vertices around my model. So double verticas that's really bad to have. Alright. Let's keep checking this. I will bridge this lion ski. Mm. I need something here. I don't want this here to happen. But we need more to pull in those areas what we can do. Let's see if we can solve this awful I really need a bit of tag in this area. But it's giving more density around here. I think that's fully bad. I see. But this is still is not giving me what I want in place. Maybe we will need more density. I don't want to keep adding more topology there. Maybe around there or not. I don't want that. Maybe here. I think this should be nice in this part. All right, let me push this around here. All right. You started distributing these edges. Maybe some smoothing in the tip. Maybe an in front. Empty form here. Oh, having some bugs here. Am purchases with 500 would be nice. Oh, we are having some stuff. Really bad stuff happening. We can do some. We can apply the shin crap here. And try to fix those by hand. Oh. For some reason when I put the mesh in front, the magnet just bug. I don't really like that. All right. Just try to fix the tip the finger. So here, we can start making more polygons to fill this. Here, I want another maybe another polygon to support this other edge root, this other fat pad, the side of the hand. It would be a really basic one. Let me see where is this poll loop going. But I don't want to close that there. Maybe this will make some vital. I don't think it will be too bad in this area. Let's see it is making a bit of vitals. But at some time it's really inevitable to have a spiral, where you don't want to have spiral or in these cylindrical arts, that you can see, I have clean edge loops going around the mesh. If I had a spiral and I add an edge loop, this will going up and up and up and up like spiral and will fill the entire model just by adding one edge, and that's not really good. That's a really bad thing to have. So let's try to just not have spirals on the cling carpus. But here, maybe we can have a sum. If that means you support the shape feather in the spar, well, we can take the risk. All right. Perfect. Now, I can build this. Oh, let me remove this one. It. Alright. Now, what I will do is to connect these two ligansO another o here. Let me connect these ones. Maybe start adding more polygons in these part. I'm here. Another one here. Ly start filling this. We have some polygons in this area. Alright. Right. Let's see what we can do. Let's make again, Alright. It's already safe. Here we have one, two, three, four, five edges. Five. And we can start posting them. As you can see, we have a lot of stuff going down here. That's really good. We do something here we add more etches, maybe around here. Because I want more more density there, maybe. Yeah, let me add another shrink crab. The shing crab, shing grab, where is it here? Shrinrab you can find it here. Thing here, we need to feel this also.This will be just a really straightforward. We'll be just adding edges and edges of orleans. Alright. We can delete this. For now, we have here one, two, three, four, just four edges and two edges here. All right. Let's start filling this. Perfect. I always do some quick fill here. Perfect. And here also, I want to fill the I will like this one because I want clean edges. Do edges here or start filling this? We're going to do some smoothing right now. Let me finish merging these ones. Here. Perfect. So, let's start making some smoothing aria. All right. More smoothing here. We need to feel, try to fill this gap. Really bad. Be more smooth. Really anyone. All right, turn off the in front. Let's see how many polygle this have. It has 12 polygons. Let's safe. Maybe we can do writ field. Let's see what this give us. What the resolution of the writ field is Let me see this. I don't really like that. It's too big. A nice, let me see. Oh. But I don't like that part. Mm. But I think that should work. Maybe. I think I will leave it like that here or any vertex I have. And here I have 13. That's not an even number. I don't really like that. I don't like non even numbers on my edge loops, where I can add another one without destroying my mesh. Let me here. Here, also, I have now I have a number in the hand in the leg. Let me do some smoothing. Around this area. Perfect. Well, why is this not making my topology step. Alright. Perfect. I smoothing here, or I have 14 edges in this part. That's nice that's safe again. Now, from here, we can do some reductions. Alright, I need to do some healing to make this flat to try to align these to the forearm. Maybe add another shop here. Perfect. So where we can add oligons we can produce them. Here we have 14, here we have 22. In total, we have to reduce around a maybe around seven polygons, I think. The mats are not my strong pot. Well, let's see. We can start by reducing the one. Take place. So we have now 20. Alright. We need, let's see, what else? Maybe here also. Now we have 18. We need to produce two more organs, maybe here on. Now we have big steam. And let me keep filling this. Maybe here. Now we have 14. This is perfectly made. Let's do some smoothing. All right. This is perfect. We'll add another slope here. Right to have a bit of more density in the joint of the grist. All right. So we need to make the ***** topology. Let me save. Maybe we can do I can add another another shrink wrap here, another edge loop in this area. The some smoothing, additional smoothing here. Maybe we can here, we can delete one of these povitns that's the benefit to have Oh I'm clean edge up there. I have my edges nicely made. I made nicely. We got some weird stuff here. I will delete this segment because I don't really like the way this is pin. I want this to stitch around here. All right. Let's see what we can do here. All right. I still need some oligon. You can add another one here. Okay, feel this. Real quick. Maybe deleting these ones and merge the here. I really like that part. I need more density of polygons in this area. But how we can achieve that without adding extra as there I Alright. I don't I don't really want to add more. It just goes up. I want to keep this clean. Maybe this should work. Oh, this is really messy. Maybe some smoothing. All right. Let's see. For me, the important edge loop is this one. And now we are having a good topogi in this area because this one was going much inside the palm, and I don't want that. I want this to be separated in the Ubisth this can be grab it nicely. And we have weird stuff happening in this area. Maybe we can delete this and this. And this also. Alright. But we have a triangle here, and we have an gun in far. I don't really like that gun. Let me do some control seeing Alright. I think I will leave it like this, maybe. I don't really like to have this rake in the edge rip. Oh, boy. Oh, boy. It's too much thinking. This part. Let's see if we merge these two at center here. All right. We're having a pole that is really big, big edges there. I don't want to have sit at six edges. Uh I don't cut it like that. Idea. Mm. Let me delete all these parts. Just to have a better idea of how I will achieve this. We can do some It's really complex. I want these to be stick together. But I want this edge look. But I don't want to have a thick edge here. Let let that All right. Let's sing and add another iglop here. Can we merge these two. Art adding more polygons. All right. Here, we have the polyny. Let's do a grit view. You see what this gives us. It's kind of nice also. Re nice, indeed. Smoothing? All right. But here, we have some problems. Let's see what the grit field dog does. It's kind of nice, yeah. Is mousing here. But I don't big fan of having that. There, we can do some reproduction. It's quart, maybe. We can merge this. And here we can close this. But I got gain the six full edge. Look. Maybe in this area should be nice. Six. Another 61. Oh, boy. I may do something real quick. I will just move that part to this point. And here I will make different option per ft, maybe so smoothing. Alright. I want an etop that gos around this part. Maybe we can delete this goop. And I see. This is just trying to make nice. The best way to hand possible. But I want some resolution in this part. This too flat. All right, let's see. We have seven there. We got seven. If we do this, we got a riango All right. Got apps now. I just want one. All right. Let me smoothe this at. All right. I hate when that happens. Alright. Here. Maybe let's see what we can do, maybe a great deal. You see what this give? Yeah, that's nice. Perfectly De. Some smoothing. That should be it. All these parts would be good enough. We have nice edge loops in this area. We pour the formation a few more in these parts. A few more in these parts, I mean, here, all right. Maybe some more smoothing. Perfect. All right. I think the hand is good to go now. So the next thing that we're going to do is the fit, but we will make them in the next video. And also in the next video, if we have time, will be making the mouth. It's really easy and fast stuff to do. But we need to do something inside Zebras also. We need to project back the model into this new topology because I really like to have the high poly with the nice topology inside Zebras so we can do some modifications if needed, also we can open the mouth to avoid some weird baking errors around the mouth. So I will do that. In the next video, we're going to continue with the feet and the malt pack and do some fixing inside the brush. So see you in the next video. 43. 07 Body Retopology Part3: Alright, guys, in this video, we're going to make the topology of the fit and the mouth back. So let's start real quick. Let's start here. Let me see how many polygons I have here. I have 18 vertets. So what I going to do now I was thinking that maybe I can reduce the ply edge flow around this area by doing some productions, maybe. Here. I can do some productions. Alright. Because I think that was too much tensity in that area that is not really needed. So give me a second. I have this activated. Alright, I should work now. Now I should have 16 vertex, but I want to reduce more in this area also. Let me see where I can do it. Let me. Maybe not. Maybe maybe, I need to reduce. Maybe these two around here, maybe, yeah. I think this will be nice. Now I have 14 regs left. All right. I think this is better for the resolution there in the cla. So it's more even the polygons. All right. All right, so let's start the peak. I will start by extruding some of these. Here, I'm going to make kind of this shape to hold the ankle shape. I think this is called the ankle, yeah. I had another one here. Here, I will do fame. Let me see on right. I will do the same here. All right. Per. I think I will add another oligon there to have those shapes well done. I will extrude these down. I will add another edge. All right. More polygons here. Few more, maybe three. And that will be nice. Reps here and three more here, and then just fill the gap between those. All right. Perfect. I will merge or bridge these polygons down here. Maybe with two edges. I mean do something here merge by dicen All right. Perfect. All right. Now I will do some inset to have more density in this part. The So inset here. We'll delete these ones. Alright. But I think that I'm going to do maybe that in the end, at the end, maybe. Or not. I think it will be as it is now. So I will keep rooting the polygons. All right, maybe something here. Perfect. I will add another polygon in this area. More polygons here. Another one here. Yeah. Perfect. All right. All right. Let's keep going with this. All right. I will add maybe two more. And then I will strok this edge more here. All right. We need more space here. All right. I will add another groups and just fill these gaps. Here on the so I will do kind of the same thing. Alright, I will add more collidons where I need more collagens. Alright, you're filling these with F. All right. Perfect. We have here 16. We need to do the fingers. I was going to make the fingers would be kind of the same thing that we did with. Well I think I will make the cylinder here by hand. And then I will duplicate it, right? All right. All right, let's keep going. Maybe these are around parts. Let me put this back to Global. Maybe another gl here and just fill in this gap on the finger. Here I will do some what fill. All right. Now, I will add a shrimp crab. I do something here. All right. I will add a shrink crap. What I did was just to select again the reference update that is my high poly in this atom. If if you are not using this atom, when you add the shrink crap, you will have to select the reference upjate. I will show you. Here, you can see target, you select your reference upjt. So let's keep going. All right. This is pretty fast topology and defeat. All right. I will deactivate defeat opology I mean, the the shrink wrap modifier. Sorry. Maybe making a bit narrower and a bit better shaped. All right. Another one here. And this I will tupicate it around the other finger. All right. Around the other finger. Like here, for example. And the final one pinky finger. All right. Let me align the polygons. Alright. I will activate again shin crap. You can see we have something that we need to fix before applying the Shing crap. In places. All right. Here. All right. Alright. Let's keep finding this. I will add another edge loop here. Lo pour better dish around this shape. All right. And also. But remember to add these supportss looks. I mean, yeah, in the joints, a finger. Around this area. Perfect. We'll keep adding more polygons on the fingers, just to hold better addition. Maybe here on the tip. Alright. Let me connect them right here. And this should be right. The middle edge loop that goes around the fingers in this is the thing edge rope that I want. We have thoughts that could be a thin line once we start doing the Bs. This is making me the face in a way that I don't want. Alright, now it's working. Perfect and feel safe. Alright, let's keep going. Let me fix this tip of the finger looking weird. Alright. Perfect. A All right. Let me try to keep this a bit rounder. All right. Maybe here we can add another egg op. Yeah. All right. I will apply the shrink wrap now. Let me do some more fixes. Yeah. A All right. Well, let's apply the shrink wrap. Now I will merge. We'll try merge or bridge the fingers with the other part of the fish like we did on the on All right. Yeah, another one here. All right, perfect. All right. Also here. Perfect. I will add another edge look in this area. Try to merge these polygons. Alright. Perfect. Enough here. Let's see what we have. Right? This can be merged. Alright. A You know, right, very nice. We do some we add or a another shrimp crap. I will add more eggelops in this area. And now I will do some smoothing. Alright. Perfect. Here, we need to add also more pegans. We are having some stuff and we are stuff. It's pan out the All right. Let's see. Now we have this amount of polygon going down. We can do some reductions. Let me think I want this and this to be here. Wait a minute. Let me sing. All right here, this can enter. And this one will be around here. Perfect. Now I can do more smoothing in this area. And now we have the fit topology nicely made. Nicely perfect. All right. A more smoothing. Perfect. Now, let's start making the mouth back. Will be really quick one will come here. I will apply the shin crap and ask if again the mirror, check for the middle edge loop to not be messed up, all right. Now I will select the mouth edge loop here, and then I will extrude it inward and then I will scale up in the C axis. If we do some manual work, we find more this shape here, All right. You find a bit better shape. All right. Perfect. All right. And now I will keep putting maybe make this one in the Y axis and just keep struting the inwards maybe one more Just one more, and then I will make it anwere and then do the losing here these parts. Alright. All right. Aenter here and a center here. Perfect. We'll add more polygons in this area. Maybe you can do some smoothing. All right. A bit of smoothing in this area just to give it a better shape. Maybe an inflation here. All right. All right, perfect. I was using the draw brush to make a bit of volume with the control bottom rest. Well, let me fix again the middle edge. Alright. So we have, basically the the body made. Here's a you have the body made. All right. So basically, when we start making the UBS and we make the UBS for the body, we are going to be exporting it back to ibrush and then projecting the details to have the high poly with this topology in brush, so I can do more stuff like opening the mouth in both the high body and the low body and avoid some weird baking issues that can happen. Let me do maybe here. I will do some Ebo. Alright. A bit bigger one. All right. So if you have your mouth closed while you are baking, it can happen some weird stuff. No, that's what I'm going to do. I will when I made the UB, I will get back the mesh to brush. So I think that we can start working on the clothing. Let me see what we have here. Let me hide the old body. So there are things that we can reuse. Really. I think that for these, I will just merge them or it's not too necessary here. They're not taking too much space. What we need to do really is to do some cleaning because for the low poly, we don't need those supporting edge loops. This is good. And here, the one are good, too. You will need to do the distoble of the jacket and the red part the robot leg and the robot arm. Maybe here for the joint of the robot arm. We really need to do here the finger and the joint, we really need to do a lot of cleaning here. It's too much polygons. A lot of polygons here. I don't want that many polygons in this part. So I'll see you in the next video in the next video, we're going to start making the topology of the clothing and the cleaning of the meshes that we are going to reuse. So see you there. 44. 08 Body Retopology Part4: All right, guys, in this video, we're going to start making the topology of the clothing, and we're going to see which meshes we're going to reuse. So let's start right. I'm not going to use these type of meshes because they will be baked in the texture. I'm going to use maybe I didn't know about this, but I don't really know what that pieces. I see the hand. I don't want the robot hand, the robot arm, anything of the robot arm. Maybe maybe we can reuse some things here. Maybe just doing some rita p. This is really clean, though. This is pretty clean. I think we can reuse that maybe just doing some cleaning because it is maybe we can kind of hole here. That's a bit of cleaning. Alright. Little bit. Also the fingers, I think we can reuse them doing some cleaning, also in the joint area and on the finger itself, because they have they are really dense. I don't want that amount of density there. Let's see, I don't want this stuff. All right. I don't want the rubber leg right now. Because I will make I will make a fully opdy for them. Let's see, I think the joint of the knee on the robot leg, we can reuse them. Okay. Let me make it visible. I don't need this. Also, this stuff here. This stuff, bandages. I'm thinking what I'm going to do with them. And I think that maybe we can reuse them. Maybe not. A bit tricky question. Use them or not. Here, I don't want this piece. Maybe another thing that we can do is just to let it bake in the mesh, but they are giving some salt. I don't want to use that salt that make the bandages. Mm, this is a tricky question. I think we can reuse the bandages. Maybe just doing some cleaning and removing the inner bars will be good enough. Maybe not. We'll have to see here. Also, Here, I think I'm going to do topology in these two badages. See this mit, this is very easy. This can be reused. Yeah. Just to merge. I just need to merge the middle stuff with the rest of the mesh. This cylindrical stuff also can be reused. I'm just going to clean some vertex and some edges there. All right. Let's see here. I don't want this forearm. I mean, this can be used, but not art here. I don't want this. I need more oligons this area. Maybe like bi a mound. I think that should be nice. Here, there is too much of density. Of polygon, we need to do some cleanup. Also here, there are a lot of density in these parts. I think we can do a full ptopology on these tubes to add these cylindrical metal pieces. Alright. Here. Yeah, we can leave it like that, removing the middle part. I mean, the inner part. And this can be lit like this. And this, I will just filt this dug the bot because there will be bake in Alright the hair a tricky question, because we can leave it like that, maybe. And also, we can do some topology there. Do a full topology and making the old hair strand a single mesh. That can be also an option. Or we can leave it like this and start making the UVs for each individual hair strand individually. That can be an option, also. Alright. I don't want the thread part. Here, maybe we can do some cleanup. In these parts, I will also do some cleanup. Alright. This can be reused. Maybe just do some rework, some fixes and the topology. In this, I I will have to do a full topology of that part, that piece. And here, let's see, maybe we can use it. Maybe we can use it as a base and just do some cleanup on the topology and the knife will use the strap. Alright. I think we are being a good place to start making the pre topology. But here is something that is left. I want this trap. I just need to remove some edges. Alright, let me say. And now I will select everything and I will move it another part. Alright. We've got a lot of things. I don't really in there a lot that many mass are really necessary. But I don't mention it. All right. I don't think I will reuse that d. Well, do some pretropology instead. And here, let me do this real quick. Alright. Uh All right. Let's see. Let's do some control sting, and now I will apply the edges around this area. Then I will delete the middle and then I will do maybe some refill. I don't really like this. It's not flat. Maybe we can make it flat and see. Is normal. A here. Here, D and then Zero maybe that will make this flat. That's making it flat. I don't really like that for either. Let's see what we can do. I want this to be flat, so we'll make it flat. Another option that we can do is just make this a pole, and that's it. You know, we can make some triangles because this will not be the form. And I want to keep this optimized All right. And then just legans then the cap. Let me see. Here some properties. Here's split normals. All right. Let me see. I really like it. Alright, let me do another thing. It's kind of funny because it's not really easy ease. Maybe a center. I don't want to I don't like that type of smoothing that this is giving. Maybe. Let's see. We can do some moss Mob angle. I see. Let me do some magnet here and put it into vertex. Make this stuff the height. Those polygons. Right. Oh, my. This is a more complex area that I thought at the beginning. I will add this stuff here. Oh. U. All right. I don't like that. I'm still hating. That's hating. Right. H. Maybe we need to do some physipology of that piece. All right, here, let's go to this wrap. I will delete these polygons. I said yes. They are extra density that I don't want. This all be deleted. All right here, I start working on this piece. Maybe we can delete this one and this one There are extra pieces. We don't really need them. And maybe here, we can merge these two to keep this more optimized. Because this is a real time mesh. It will not be subdivided, and these pieces will not be the form. We can use tangles to make this stuff better and more optimized All right. I'll delete this. This one also. I could go here. We delete the middle ones. We don't really need them. All right. Perfect. Maybe not. The I think I leave the inner part, here, we can delete some stuff like all of these eggs here. All right. Let me do some here's custom split normal. All right. Maybe we can add move by angle, increase the angle. I think this is good enough. I really like that. Alright. I will not reuse that. Let's do some work in this part. This is almost completely good. But I don't want these triangles to be there. I will remove the thickness and the inner part. And here. Let's see. What we can do in this part to get rid of that triangle. All right. I really like this too much. Let me bring back the high poly pieces. Just to stitch to the surface. All right face. A chef Oh right here, I will use some mirror modifier. Remove the remove all of these polygons, then add a mirror modifier. Let's see how we can How we can fix that. Alright. Hi. This stuff. Perfect. You can reach those. Right? I need another polygon here. Maybe two. H. All right. But I still getting a triangle? Yeah, I will not get that triangle. All right. I think I will just leave it like this. I will not bother too much about this part. All right, I will apply the mirror. And then I will do I'm solidified and only the rim I don't want the inner part. Around here could be nice. All right. Perfect. I mean, here they go some split nulls. Yeah, we clean this. Alright, good enough. I think we can keep the poly count. We here, when none there. Mbe this part also need a lot of cleaning. I will remove these vertical edges to give it a more simple ol count. All right. Perfect. All right. I think that's nice. But also, let's go here. We've got a lot of lidons in this part. Right. Perfect. Yo. On right. I have selected one at Armand here in that. Let's keep selecting these pieces. On right here also. Y. You also. Perfect. I think this would go. Let me remove these middle edges. This is perfect. All right. Let's see here. I think we can reuse this lots. And so, yeah. This can be reused. Maybe just removing some live some else. I All right. A messing you can maybe remove. But I want to keep the corbatol fair. I think we can leave it this piece like that. We not too much changes. Let's see the clothing increal. There are a lot of piece of pieces that I don't like off topology that I don't like. Let me remove the thickness, and then I will remove the inside. I say, Alright, I will delete the inside, and then I will start doing some cleaning. With the class. All right. Perfect. I will delete the middle part just doing work and focusing one side. Will apply a mirror. All right. Let me merge the middle of the tube. All right. Perfect. Now, let's see what we can do in the pieces. I don't want this. It can be merged. This is good there. All right. And see? Let me also see something here. Brace. Face orientation. Right. Everything's good. I just want to see there was film flip at normals. All right. This part is good, but this one not. I don't like each part. I want this to be a continuous circle. And we have continuous circle, I mean not. All right, delete those pieces here. The meshes. We can delete some edges here and not just one. We close the gap. All right. Oh, a decent. Perfect. Yeah. Alright. In this part, we got we don't have too much density because we have a lot of density in this part, but not in the front part. I don't really like that. Try to add something there. More density. All right. Let me remove one of these. Perfect. We'll move this more to this side. Alright. This part, I will move it down maybe, all right. Now we can do better stuff here. Now it's better the density in this area a lot better. All right. All right. Let's see here what we can do with this maybe just removing this edge. I will treat this part. All right. We add some stuff here. I don't want to add this amount of polon there. Let's see. Maybe we can do something here. Or maybe not. That can be also good action. Just to keep the polycon a bit simple. Well, I'm right. This part there's not too much to drink. Maybe just lighting. I'm removing some extra edges. Here, we can remove another one. Just extra stuff. I All right. I think this is Good enough now? Yeah, I think so. Maybe just getting a bit better. The cigarette catching a bit apology. These areas. I don't want to know too much inlet. Or right. These maybe can be removed or not. All right. Let me add some shinkrab. All right, let me sing. Shrink crab. Perfect. No, I can walk a bit more easy. Maybe we can, maybe not. If you see me too much quiet this stuff I'm thinking on this. While I'm making this is a real time stuff. I'm making the stuff on the March. Alright. Perfect. I think this is good to go now. Now, what I'm going to I will try to do is to get these folds right in the low folding. I will do that using the knife, brush and making some triangles. The thing that I will not do is to destroy maybe the flow of the edge loop by doing some weird triangle. I will do some four triangles like this just to keep the shape. As you can see, the flow is still there. I just cut in half a quad. Just to force the triangulation in that area. Maybe here, we can do something catch better the silhouette of this fold. Right here, we have a and gun. It's not really good to have that. Maybe we can do some merge. Now we have destroyed the edge flow. Let's see. What we can do in this case. I can leave it like this. Another pick up a deal. Let's see if I don't have another hand gun, we can keep holding this. The top All right. Perfect. There are some fold that can be leave it like that, like these back folds. I just will leave it like that. Just do the baking, patch them. It's just on the big folds that I want to have the topology. I as I said, again, this is a real time. This will not be subdivided, so we can use triangle. Maybe another one here. It's a gun, I don't want that thing gone. Alright. Let's see. I think this is good though. All right. Let me see. This shrink crap is not working very well. I move this. I'm not another one. It's working now? I will move this stuff up. Catch better. In this part. Right? While I'm making this topology, is kind of the same of the body. Here in the shoulder, I want to have the chic edge loops, but for the formation to be nice. And this to have a cylindrical stuff without spirals. I don't really like spirals. I think this is ready to go. Let me apply the shrink wrap. And now, we'll apply the mirror, and I will add some solidify and then the solidify here, make the thickness. Perfect. We can apply it. Bata will be like that just in case. Let's see what else we can do anthropology. All right. In this piece, I think that I will just delete this part. And maybe the inner part of this. I will just delete it. All right. We need to make a full topology of that piece. See this area. We got some weird stuff happening here. Yeah. That center, and I think it nice now? I got some vertex that was not merchai center. Let's see here just a week weak crutpology here. We'll duplicate this separate it. I don't want this topology, really. And I will get the high poly high everything. And here I just want this mesh. Right. Perfect. This will be the part. And now I will add another mirror. And here I just want to keep Let's see. I want to keep the polygons that we have here. Maybe we can do sometraction of these polygons and try to use it in that mesh in selection, right. Let me bring these to another collection or I can work nicely with them right here now we can delete the polygon that we need. Because I want to have a similar poly count. In this part, what did the formation to be good and to avoid clipping. All right. Perfect. I think I will delete these ones. I Perfect. I want to have a Etch loop. Those around this hole. I will try to do that. Alright. To pull you here. Sorry, I'm too quiet. This is just really monotonous pathing. I'm just lacing polygons. I try to keep the shape of the All right. Perfect. All right. I think that I will merge with Bligan. Right. I feel peace. I think I will just leave a little triangle there. All right. Perfect. And you can delete the middle one. I mean, not. Let's see. Everything that we go I need more polygums in this really elongated rectangles. All right. Oh. Perfect. Trying to connect these parts. An. Now I will connect these two polyms Let me see then these ones. But we got We got many polymers there. We can delete the middle one here and just connect these two and then connect the rest. We are going to go with this undersup All right. Let's go to the breast area. Let me save. I want to have neg loop that goes around this breasts like this. And now I will just shoot more polygons, fill the gap. Ray to follow the troop. Perfect. Maybe another polygon here, here, more kids. More stuff. Here. Nice. Right. Fat. I think this is good. They see how this with the rest. Of the body. Where is the body? I think I missed the body. Oh, it's all head. We've got some clipping through I see. I think that instead of adding more polygons there, I will just push this stuff out with the deformed brush. Maybe just push this out a little bit. And here we need more polygons. Let's continue with theology of this piece. I need more polygons in this part. And also here All right. I think this go go. Let's keep filling this piece here. I'm here right. Mm. And keep moving the bird seed. You give it a better where you shape. Alright. I will try to have also net in this bar. I like this. I will add more polygons later. Just want to complete the loop. Quick, quick. Now I will add more maybe at the end, the we fill these caps Alright. Here, I will move this a bit. Let's see. We'll keep struding this. You have three here. Or right. Perfect. This column go down and amid these other edges here. All right. Perfect. We'll add another troop here. And more agents here to get better this part. My another one here. Maybe this can be lighted a bit. All right. I want to redirect at that top Nowhere else. Want to rect it tick? Around here. Perfect. And this is good to go now. Let me do some smoothing. All right. So smooth antics area. Why the Shrink Krab is not working now? I don't like it how how the Shinkrap behave is working out. Oh, my. I have to stick everything to the surface. A All right. We apply shrinprop. Maybe adding density in this part. Alright. I think for this piece, we don't need an inner edges. We can leave it just with the ring. Right, let me see what we have here. I see these clippings, they can be left in, maybe not. I don't want this to be clipping here and here. As these parts. And depressed also. All right. Let's do some solidify. I think I'm going to do the solidify with the inner edges. And then I will just delete the ones that will not be seen, and I will just leave the ones that are on the breast. All right, let me see. What else we can do? We try to avoid clipping in these parts. A right. Let me just add another a strap there. We'll have a bit more than sitting up All right. More authentity the brain sun. Not fight. On right. Perfect. Let me remove the in front on right. So here we have the undersut Alright. I'll name the jacket also jacket Low. We can do that at the end. But I also like to do it at this stage. Alright, here we have some trouble, Aldo me to. So pebble. And just to try to keep away those clippings. It right Right. Alright. We can do more stuff on the Bandage. But I will leave the big video here. They'll see you in the next one. 45. 09 Body Retopology Part5: Alright, guys, so let's continue with this model. Oh, that's something else. Let's see. Here, I think that I will remove this part. That's, it's not really needed. All right. You remove some more edges, maybe we can add few edges here sport a bit better. The normal maybe or maybe that's much too much only going to learn. Remove them. Something that I like to use often we get a clean mesh is to use the here edded normal smooth biango. I will give a nice a nice smoothing. Yeah. You can add manually the places that you want to be smoothed. Like this one, just click in the edge mode, link with right click and then press Mark sharp. Won't do the same thing here. I don't want these many polygons around this area. Alright. All right. Let me remove a bit of those. We got more polygons. We remove them. Alright. So now I will do these ones and we also remove. Now I will do the normo biangle we have the clean mouse, the clean shading there. Though here, we need to do the topologen. This will be a really easy one. Let me hide it and just let me do with the high poly version of that piece. Alright. Let me select one lion here. Now I will stick to the sulface. Perfect. Now, select and split. Alright. Let me let this. And now here I will just do some really quick apology for this. It's a really simple mesh. Alright, maybe some mirror. Alright. I can do this. Like this, having some edge loop that goes around the edges like this. All right, maybe we can add few more ligans to support better the round shape, something like this, maybe. Perfect. I of the magnet. Because I want to move this now without this to be stick to the surface just to have a bit more freedom or right. Now I will do some solidify. All right, here, solidify and then just increase this Perfect. It may I peaking will do something. It doesn't. Alright. Let me apply the solidify. Perfect. Now I have to get better. Oh. So you can see if you apply the solidify before the mirror, you will get internal phases. This is really bad to have in your model. So what I will do I will just delete them to get rid of those right now, I will speak to surface faces here. All right. Okay. Fact. Let me move this without the magnet. All right. I think this is good enough right now. All right. Is it shading shading exactly where. Let me move the customs with normals, and they should be better. Alright. Alf Now, let's see what else I think we can leave it with those polygons there. All right. We have do some work. So let's start making the robot harm topology. All right. I will hide the body. Then I will delect some polygon somewhere like this one. All right. P selection here. I will remove the solidify and I will use this as a starting point to make the body of the robot arm. Let me stick this to the surface. All right, let me change the name. Perfect. Now, I will select the robot arm piss. Let me do first this part, and then this maybe we can do this first because that's easier. Let's do that first. I will duplicate this and separate. All right here in the joint, we can reuse it. I will maybe just delete few ligans here as you can see we have a lot of polygons here. Those are necessary polygons. You can delete them. All right. Let's see. H Alright, let me do something. Here, I will slide this down. I will put the magnet into Vertex mode. So we have perfectly aligned this poly loop with this one. I will do the same thing here. Perfect. So now I will select this height and then delete those polygons here, then do some on hight. And then select these two polyops and then press here in edge, the breach edge ops bottom. And now we have br those polygons there, perfect. Thanks. So let's start working on this piece. This should be an easy one. All right. Let's put this but base here and project, Las project here or right. I will try to keep this symmetrical. Right. Let's add some polygons. Let's do the same thing here. One, three, and four. Let me extrude this one. All right. Perfect. He also. I just want to get this symmetrical. All right. Perfect. Right?'s extrude. Malgans Now I will just extrude this one to close those edges. All right. I will stroke this one here, and then this one and then just add more polygons in those areas. Alright. All right. All right. A. All right. All right, perfect. Now, we can do something here. We cannot solidify. Let's add it. Solidify now. Now, let's make some thickness. Now I will apply the solidify. Perfect. And then I will stick the internal faces to the internal parts. Perfect. I just want to get these polygons on the border. I'll not lose too much this week. Maybe in some places we will need to move them without the magnet. All right. We are moving this without the magnet, just to get energy part and not to lose too much seluet All right, here oso this part. Perfect. Now in this part, I will do some bebo. I like this. And now with the magnet activated, I will put these polygons into this corner here. This pebble corner that we have made in the high poly. Alright. A. All right. Let me mood this better the board, better the shapes. Alright, let me do some pebble here. A more polygons to work with this area. Alright, I think this part is done. We got it. All right. Let's start making the robot arm, then. Let me select these measures here. All right. And now I will start strding some polygons. Let me cut this in how. All right. I want this to be symmetrical, too. I'm not I know this from the mirror because we use the mirror, we will need to move this object in the object mode. And that will be a bit of a pin on that. So I will just do the stuff in each side and not worry much about the origin point and the local transformations. All right here five. W five. Yeah, I'll go do five too. Alright well drink for five. Now, I will just keep putting this. I not want the polygon to go into this hole. All right. Here are two. And we'll reach and then add another polygon there. We have swear, all right. And we have even polygon, that means that we have the matricu. Let me just keep putting this to fill this upper part. Maybe here we can do some netrop that goes around this edge. Allright. Let's keep adding more polygons. Yeah, I will add more lgn toco. Perfect. Nice. All right. Let me add this one to support a bit better shape in this area. I think that we are good like this. I think what I will do because I don't want to have too much density in that area will be just maybe use some triangle here in this part to get a bit more density. Three here will be perfect. Let me bring back this Alright. Then we have more or here. Well, right. Let's keep adding more polygons. That's extrude part. All right, nice. All right. Right. Now, I will shrew this down just to save time and do and to do these parts quickly. This one, too. These ones. And this back piece here. Let me do some corrections here. All right. No, I will just fill the gaps between those polygons. All right. Now, with a knife brush, I will raise this art here. All right. And now let's enter. And let me stick this to the suprase again. All right. They're almost there. Maybe we can add another hooligan lil here just to support a bit better this arch. B right? We have those steps in the model. All right. Let's keep going. We cannot feel more edges. Maybe or I think that would be good. And now for the to close this gap here, I will just extrude this in words, just like this. And then I will stick this to the surface and make this a bit more round there. And to follow the whole edge All right. I will extrude this in words again like this. And now I will stew it again, move it, and then press them, and then at center just to close this hole. Alright. But we have made, I forgot this part. Let's do it really quick. Alright. I like it. All right. Here. Fat I will just keep struing this close the gap Now I will just extrude the inwards. Maybe like this and do it again. I do at center at center, all right. We have our mesh made. Let's do some normal smooth biangle Maybe we can increase the smooth angle. H. Alright. I think this is good enough. All right. Let me select this and then do some sharp in the plating that I want to be sharp. Like those areas. Maybe in this part also. Alright. I don't want the sharpness in this edge. All right. Let's look the sharpness in these parts also. All right. I think I will do the same thing here. Mark Sharp. All right. Let's see what else? Oh, write the hand. We can do some productions here. I let's see. Let me just select of these solve. I want this to be merged. No, no, no. I think this part will be just easier to do it from scratch, really. Maybe this stuff can work. But we got some spirals are that are not really good. Maybe I can delete these pins and then connect these two. Let me bring back the high body. All right. Let me hi everything else. And now we can work nicely in this part. All right. We have some guns. Maybe we can add another polygon here. All right. We got more stuff in this area. Let me delete those stuff. F at least this one. All right. Let me add another edge loop here. I just delete the middle stuff. Alright, let's see. We got some weird stuff. A on right. We got some weird stuff here. And maybe we can just close this with the right angle. On right in this area, I will also saw some edges. Perfect. Oh, I need poly onion this far. Pork feather that shape. Right, so now we have a lot of engins. We can just get rid of those doing some angles here. This will be the quick, easiest and fastest way to get rid of those Perfect. Let me see if we have another places that are more than four You can go here to select and then select all by trade, places by size, and then here you select trading the form. As you can see, we don't have more and guns. But we still need to see what we're going to do in this part. I think that I will just add an extra edge here. An extra edge, right, and then just move this around make a bit more space for the polygon. Right now, it's just s. Here, I will delete this. And here I will do at center, and here also at center. Maybe we can do a bit of an inset thing. It's a little bit perfect. Then we are done with. Let me do some dear fission split normals. There we go. Here, I will try to get better this part. All right. Maybe we can merge these two. I think so, yeah. Perfect. The pack with the eye podding just to do some more fixes. Perfect. Let me do some deform. I want this to be on top of the mesh and round this part. In this part also Perfect. We can do another norms mouse weighted Mul biangle And then just increase the value. All right. I will add some harps in this area. Mark sharp. Sharp. All right. All right. I'll select all of these. Mark Sharp. Alright here, we need to do a lot of cleaning. Well Well, well, let me see. But Yeah. Let me remove this one. I will do dissolving. All right. Let me get the high pi. All right. I think that I will delete internal pass here pass. All right. Let me do something here real quick with the high body. I just want this to be inside. I feel like this. Perfect. Now I will extrude this with the magnet activated. I will stick with this surface. Let me do more tweaking in the hypoic it's supposed to be topology activated. All right. Get back. This piece. All right. Ct. Now, I will inset this again res M and then at center. Or this part, I think that will be the same. This part will be not in because this piece is, like, part of the palm. We can just extrude this and then do this again and do a merge at center that will not be a bit of a deal. That will not ever be seen. All right. We need to do something here. I All right. What did you do? Do some cleaning on the fingers where before that? Let me hide the fingers. Let me do something here I will delete the cushion split normals and then add normals mood Biamo A almost perfect. Alright. Here, A will do the same thing. We'll delete the custom flit normals. And maybe I think we can delete some stuff here. Let me delete these internal polygons. All right. Now, I will keep deleting the internal polygons. I will get the magnet. I will put it in the vertex mode and then just sliding this to get a perfect match with this loop. What was that? But I think we got some weird stuff there. A right now it's working. I think I got some internal bases there. Now I will do some ridgps here, reach and then reach her. Alright, now we have those polygons based. Let me get back the body. All right, we almost have the entire robot arm made. I think I will leave it in this part in this video. And the next video, we're going to keep working on the hand and maybe start the robot leg. I'll see you in the next one. 46. 10 Body Retopology Part6: Alright, guys, so let's continue with this model. What I'm going to do now is to work on the fingers where they are here. What I will do is just to reduce the amount of polygons that are here. So, let's begin. The first thing that I'm going to do is separate each one into its own object. Is going to separate another object. I'm pressing L let everything. Now I will press P selection. All right. So now here, I will just delete some unnecessary polygons that are here maybe. We can add another one here and delete this two in this moles thing. All right. And here also. Let's see what else. All right. I think that should be enough. Let's go here, delete these ones. Now delete these other ones. All right. I will delete this edge. Perfect. I think I will leave that there. I will do the same thing to the all the finger parts. So this will be kind of a time laps, yeah. So let's start making this. All right. All right, perfect. Let's see. What else can delete? I think I will leave that. Y. We'll add another edge. All right. Let's keep going. Perfect. We'll leave these two or not, they are necessary. Or maybe we can lead them and just make a triangle maybe here. We can make a triangle. This will be aqua? And there will be a triangle inside. We need these two. Fact. I Right. Things that I will delete the inside of these meshes. Things I will never be seen. Maybe we can delete them. Right. Let's keep doing this. I think we got another finger. Let's continue with the rest. Alright. And Perfect. Well let this middle one. And that will be enough. But here, I have an gun that we will have to address. Let me do the same thing here. I will add the gun the triangle here. We'll delete this one. Alright. Let's keep going. I'd be doing the same thing in both fingers. Alright. At. Right? No, we have more guns here. Be aware of that. We don't want to have an guns in our mesh that will cause troubles. And we try to make DUBs and other stuff. All right. Perfect. I think I would like this. All right. Let's keep going with this. Let me add the triangle here. All right. We'll delete one. And now I will start to delete more polyms. All right. I All right let me put some triangle here. I think that's enough, maybe. Maybe this finger, we can get rid of this edge look and just put some triangle there to support the shape like this. All right. Keep going. Perfect. And now here Perfect. I I may delete with polygons, also, maybe. I don't want to lose too much of the curvature. I think I will leave them. Now, I will these ones and start working on the other parts. Alright. W delete this All right, let's see. Perfect. And let me do something again with bikin. All right. Now I will lead these ones. Alright. A Alright. Let me keep deleting these necessary polygons. All right. I think we finish here. Let's continue with this one. Perfect. But if this is too boring, you can skip this part. If you know the process now. This is completely real time, so maybe I'm struggled to think what to talk while doing this. That's not my strong point, S. Alright. I put delete the inside. Perfect. Let's continue here. Alright. Perfect. Perfect. And perfect here. Until we delete the inside polygons. All right. If we have finished here. Now, let's continue with this. At Alright. Maybe we can delete this meal piece. Middle part. Yeah, we can delete that. B go here also. Oh, I think I have deleted the nuts. All right. I did it. Oh, I got and also kun here. I think it was this part. All right. Perfect. Let's keep going with the other ones. Perfect. No. Skip deleting maybe we can get rid of this edge loop here. All right, here, though. Let's delete this. Alright. Perfect. Perfect. Let's continue. All right. So now we have Ds. Let me just delete the inside part. It's completely unnecessary. This is just adding unwanted polygons. Unnecessary polygons here. All right. Is are unnecessary. Perfect. Now I will do the leg by trade with the X ray mode activated in the phase mode, the leg here and select all by trade. Then pass by size greater than four. So we got some en guns. Let's fix those. Right here, we got an an gun. That's a great tool to see what are the angles that we have. Which one are the angle? All right. Finish by size again. Alright, let's see. I got some weird stuff here. I think in this part, I delete the TDH that wasn't meant to be deleted. All right. So let me do this real quick. I will connect these two here. And now I will add another edge here. Then I will delete the middle one, and there we go. Let's Skip fixing the errors. Oh we still got the error. Alright. Real quick. And here, perfect. Let me selects by size and just fix this gun and now we are ready to go with this. Alright. Let's do something here. I will apply a smooth biangle and I will delete the cism split normals. Because I want to have my corners sharp and I don't want to add more legens. So I will just do this have my edges flat. Let me put some name. Alright. Let me change the name of the joints. Perfect. Now I will start working on the joints. As you remember, we got we have some wanted polygons inside this. So what I will do is just to select the inside polygons and then I will delete them around here. All right. Maybe, another thing that you can do is just to do one and then duplicate it duplicate the other side. But I don't want to do that because I don't want to reposition everything again. Maybe we can do it. All right. Now I will let this or not. I will actiive the magnet and then slide light this. Alright, and then I will delete the middle. Alright. Then do some bridge edge looks. Edge, bridge. You can skip this part if you want. Yes. You see the process if you want. You can stay here. Let me do some more refining and some more optimization here. Alright. Let me do the same thing in this part. Alright. Perfect. Here, breach edge looks. And here, breach edge ops. Where is it? Alright? That we have to do the same thing in all the other joints. Maybe one thing that we can do maybe is just to delete the rest. And then just bake one of this joint. And once bake, we can duplicate it in the other joint positions. I think that we can do that will save us a lot of time instead of doing this and then doing the B for all these joints, that's really necessary. So I will do that same thing. I will delete the rest the joints, and I will keep this one, which I'm going to bake when we are in the baking stage, and then I will duplicate it again to all the joint positions again. So let's leave it there. So now we have the robot arm made. Maybe we can do now the dress part that we haven't made these ones where are they. Alright. This this Alright let me delete this. As you can see in this part, I managed to get this good. I just I just did a great field and then apply a smooth biangleRleas it. All right, let's do the topology of the dress parts. I will be really straightforward. Alright. I will hide this stuff because we are not going to need them. Let me start with this. Alright. Let me just select one polygon somewhere. Face face project, right, and then I will borate. All right. I will now do the dipole of this part. Come on, I would delete the solidify. Let's play the polygons nicely. Maybe we can do this. 'cause I don't want to put those polygons by hand. We can do something here. Alright. In this part, let me Alright. Let me apply the mirror. Here, perfect. I will strok this while this is not working. Right. Now it's working here we can do a triangle, board this shape a bit better. Oh, wait. I want to get this stuff, maybe. Alright. Let me see. If we can get it. I think, yeah, let me do a triangle here. All right. Here I want something like this met part. Alright. Perfect. So we can add another lidify to this part. All right. Here solidify. Perfect. Let's select. Oh, where is it? Oh. Alright, perfect. I will apply this solidify now. Nice. We have this middle stuff. I will do the back part. All right. Let's do it. I backward here. I will duplicate another polygon and separate it. And then isolate the objects. I would delete the mirror. Alright. And now it's just extruding. Get the shapes right. Perfect. All right. I will do this type of big screwings because I want to get this fast. And then I will add more density later because I want to get this done. Alright. Perfect. All right. Maybe here, we can get this thing in our topology. Alright. I'm thinking like maybe something like this. Oh, here. Perfect. Here, I will do some just a triangle to hold the shape. Perfect. Let's keep going. Alright. Perfect. All right. Oh, right. Let's keep going. I'm just trying to get the folds that are sculpted in the topology. And then I will add more density once we have the entire piece in our topology. Morris and Perfect. Maybe here, we can add a little egg up. I will just do some pangolvia in this part of all the shape. All right. Perfect. Let's get going. Alf. Here, I will add another edge. Every can be good as a quad. All right. We'll add another edge here. Perfect. Now, let's just keep adding more and more polygons. Here I can add another one. Old better the shape. Now I will add more polygons in these parts. Alright. And now I will do some shrimp crap. Perfect. Alright. Well apply the sycrap and I will add a solidify solidify here. Oh, di fun. There we go. Let me delete this just real quick. And then I will pitch these two. Just to add another polygon to close that gap. Or right, I think we have a toponge of this piece maybe another here. F Let's apply the solidify. All right. So we got dressed pieces. We've got something we are here. I don't want this piece. I would delete in this. The old one, not the new one that we have made in the video. Alright. Let's see. So I think we can start making the robot leg Or right starts making the robot leg. Let's see. Alright. What stuff we can reuse from the robot leg? Let me hide the body. We can use this knee joint. We'll name it. Join. No. Perfect. And I will delete these extra et troops. Perfect. Because they are unnecessary right now. I don't want those hooligans. Alright. Perfect. A, right. Nicely done. Let me add another smooth bianglePerfect. And now we'll delete the custom split normals. Let me increase just a bit. This All right. I think I will add some sharp. Here, Mark Sharp. Perfect. And here also. Mark Sharp. All right. In all these places, I will add some harp. Perfect. Mark sharp. We have the knee joint. And now we have to start making the robot leg. Alright. I think that we can do the robot leg in the next video or see you there. 47. 11 Body Retopology Part7: Alright, guys, so let's start with the robot leg. This will be an easy one, I think. So let's start. The first thing that I'm going to do is just to duplicate another polygon from anywhere, separate it. And now I will rename it Robot leg. By more. L. Now I will start extruding polygons. Let me delete this smooth biango for now. All right. Le start. Alright here, I want an edge loop that goes around the corner. So I will make it. Alright, let's see. Perfect. I want an edge look like this in this place. Perfect. Nice. All right. And then we close here. Let's just extrude again here to get the shape. And now I will add more polygons where it's needed connect the upper part with the lower part here. All right. Let's apply don't stop here. Perfect. All right. Let me do something here. We can close this. I don't want to have that polygon there. We do something here, all right. Perfect. Now, it's working. All right. Perfect. We can pebble this or not. I think it's better just to add more egg ropes by hand. Perfect. Let slice this line. Alright. All right. Let's see. We can do another edge loop that goes around this area. Perfect. Let me do the same thing in the other part. Make hidings for now. And here I want to get kind of the same polycn from the other part. All right. One, two here. Three, four, five and six. Perfect. And close here. I will add another up here in the middle to hold the shape. Nice. All right. Perfect. I will do the same thing here. I will slide to what a middle edge loop to fold better the shape. All right. Perfect. Now, here, we can close this. I will say first. Alright. Let's see. Em let's do some struton Perfect. We maybe can add more polygons in this part. Alright. We need one more. Perfect. Let's do the same thing in this area. All right. Let's see. We need one more edge loop. I Aft. There we go. Let me add another shin crab. Perfect. Now I will apply the shin crab. Here, we do the inset to get this thickness part. Alright. Perfect. No, I will keep spruting this to the end of this. Something like this. Perfect. Let me get in shape better because I want to close this hole like we did in the high poly. All right. Extrude and then merge at center. Maybe we can add a few more polygons, and that will be it. Or the femor Alright. We got the femur Perfect. Now we can do the cough. Let's start working on the calf. We'll duplicate again one polygon and place it on the calf. And now let's start working in this suf. Before that, let me do something. I will separate the fit from the calf. Alright. Deduction. Alright. Keep working. I could be easy we do. Alright. I will try to make this stuff asymmetrical. Alright. Let me do some more a tops here. Perfect. I All right. Perfect. We'll cut in the middle to have that middle edge. Here, I will do some inset. Perfect. Now, let's see here. What we can do in this piece. We can do more edge loop here and then do some extrusion, scale it down, and then do some great fill. I'm thinking like No. Like this. No. I don't like this great feel. It's really wonky. I want this to be here and here. Perfect. Now I will add more Los. Alright. Perfect. This is what I wanted. And All right. Let's keep working on this. This should be really straightforward. Releasing propology here. All right. Perfect. All right. Yeah, so. Alright. Let me see. I want a circled soup here. So, let's try to do it. Alright. Perfect. I Nice. All right, I will keep struding this. Maybe here in the edit here. In the loops, make it a circle. A perfect circle. And then do some great fill. Or maybe before that, we can do some other extrusion and do some great fill. All right. Now I will select this and then just duplicate it to the other side. And now I will do some lip normals here in mesh, normal flip. Let me do I do it again here. Lip, all right. Here we have our apology duplicated in the other side. E. All right. Perfect. All right, let me see what we can do. We can do this. This part to close that All right. We'll extra this again to this point. All right. I All right. Perfect. Now here, I will just keep excluding Like this. And then I will gridg these two. And then just keep filling the gaps. Alright. Another up here. Perfect. Alright. Perfect. Let me add more polygons in this area. Alright. Now our close is We'll close this here. Love quick. Alright. We're almost there. Oh, I forgot to tune on the magnet for my D. We've got something bad here. All right. Let's keep adding more polygons. Here and here, perfect. Here, I will add match loops, something. Let me add just a middle one and then two more. We close this and maybe here we can do some reduction of this piece at center and at center, perfect. We don't need that many polygons going down. We have some triangle here. I don't care too much. All right. Let's see, from this part, what we have Let me remove the magnet just to make this a little bit better. All right. But here is something that I don't want I don't want to have some weird stuff in this area. I will add a triangle here. Just to support better this shape. Alright. There we go. Nice. We have the cow done, eh? We can hide the coal. H. All right. Mm. I think we need to do a bit more work on the more. All right. Let me save incremental. Perfect. Here, I got this really big polygon there that is really bugging me out. All right. I will just confirm this stick to the surface. All right. Let's see. All right now, it's a bit better. There is also working out. We can just move this a little bit here. Let me see if there is another thing that is not really nice. Like in this part. Alright. Now we can modify the no polly accordingly. Let's stick the low poly again to the surface. All right. You will have more big ligans that I don't want. All right. I line. Let's see here. Perfect. I think this is good enough. All right. I'm just waking a bit. Yet in the vertices to the surface, sometimes here in blended we need to do that with a magnet. Because the string crab sometimes it is really buggy and the shrin crab doesn't stick automatically. We need to move the vertex, and then the magnet will stick that vertex into the surface. So I think this is good enough now. Kind of, we still got some stuff there. All right, let's sing. Let me just move those stuff out a little bit. Perfect. All right. So we got the calf, the femur, the middle joint. And now we can do the fit. You see where is the fit. I think it's this one or this one. Yeah. W rename it. All right. Perfect. I will save. And now I will duplicate again another polygon separate it with P. And now I will isolate this f. All right. Perfect. I will extrude more polygons. Yeah, I will do a triangle. All right. Per pits. More stuff, more polygons. Maybe in this part, instead of that, we cannot edge like this. All right. Perfect. A All right. Here. Perfect. Let's skip stewing this. Get the shapes right. Let me save. I will strew this again. And these two also. Perfect. I will close this shape here. Now, I will shoot it again and start working on this shape. Alright. Let me save again. Alright. Or what. Oh. Let me do something sow and here, let me delete the pace. And then the sow here. Then just connect these two faces. Nine. All right. Perfect. I will just loas that area. We got some trouble here because that doesn't supporting too well the shape. I think I will do this instead. It's making this a bit lower. And now I will bring this edge loop to see if I can feather the shape. F. All right. The ing I don't want these polygons here. Let me just put in this like that. I will bevel just to have more density work with. Alright. Safe. I will add three edge loops in this part. Another edge loop here and another one here, all right. Now, for this part, I will something here. I will screw this. And this also I will shoot this something around here. And then I will do some triangles in this part. And I will feel this. Perfect. Let's sing. Right? I think delay this. All right. This part, I would extrude this and then cry L seal this stuff here. Because I want this hole just to be baked. I don't want to do more topology for that middle stuff. And for the interior. I don't want to do that. I think it's just better let this bake. Those stuff All right. But now when it's something here, hat were hard to work with. Let me stitch that. All right. Perfect. Oh what? All right, let's see. We can maybe do a triangle here. And then just lost this here. Perfect. I think it's good to have a triangle on this part. Maybe. That right. Let's see here what we can do. I will try to do the same thing I did in the other part. Alright. Perfect. Now we can save. Alright, I think we can continue in the next video. I'll see you there. 48. 12 Body Retopology Part8: Alright, guys. So let's continue with the robot fit. So let's see what we can do here and extrude this around here. And this one, too. Here, we can add a triangle for better this shape. Let's do the same thing here. All right. And a triangle here. Perfect. Alright. Let's sing. Let's extrude this down. Something like this, maybe. All right. Lee extrude this a bit here. Then this down, too. Alright. There we go, let's do the same thing in the other side. All right. Perfect. All right. All right. Nice. So, let's continue here. Let's screw this. We do this thing quickly. And faster. A right. Let's add a few more polyme to support, better to shape. I think here we can do some angles to reduce the licunt on the tip. I think that should be good. Alright here, I will add more polygons. All right. Let's do this one. Perfect. All right. Let's do this one. All right. Perfect. Let me add few more here to support better this shape. I think I will add another edge loop there. All right. Perfect. Nice. I will need another edge loop here for this part. Alright. All right, perfect. Let's keep extruding these *****. All right. Let me take this again to the surface. I see they were not on top of the surface. Right. Let me fill this cap here. I'm just trying to get most of the shapes in the topology. But some of these detail will not be in the topology will be in the normal map later on. Alright. Let's see. Perfect. I added some triangle there to close that cap without the need to add more polyopsO polynoms. All right. If you were like a cinematic model, you will not be able to use triangles because the mesh will subdivide. And for subdivision modeling, these triangles are not really good. I'm just using triangles because this is a game ready character, not a triangle. I mean, not a cinematic character. That's why I'm using triangles. Triangles are not always bad. They are just bad if you are doing up the modeling. In that case, they probably will be a bit bad. But for this real time stuff, it will not be bad. Alright. Let's keep struing this. Oh. All right. Let me add a few more polygons here. Perfect. Now I will close this here. Perfect. All right. Let me save. Let me see something here. All right. Let's continue. Perfect. And more polygons. Trying to get most of the shades. All right. What? Let me do this ping on there. All right. Let me delete this one too. I think we will need some triangle in this part here. Get this shape right. The same thing here. Alright. Perfect. Et's add more polynons here. All right. That. We need more. Alright, let me just shroud these two these parts. Here, perfect. And here. Now, I will just keep struing this to feel this cap here. All right. Perfect. All right. Let me feel this. Then we can extrude this around here. All right. Let me keep extruding and here down also. I will do the same thing here. Perfect one and we build this. Now, let's throw more plinon sound to build those gaps. Alright. Perfect. If you want to see this fuzzer, you can crank up the velocity of the video. I'm just doing this real time. All right. I know that it's a bit boring process. It's free topology. I like to topology, but it's unnecessary evil. Alright. Let's keep doing this here. Perfect. Let's sing in this part. I'm saying here. Let's fill this gap. All right. So we are close to finish the robot leg. Let me just fill these gaps. Alright. Let's keep going. Let me safe. Alright. I will close this here. I turn off the magnet just to get a bit better this card here right now, I will activate again the magnet. Or maybe here. We can just add one perfect. Now we can keep adding phases to close that part. All right. Let's extrude this up a bit molar here. It's molar here. And then in art. All right. Perfect. And then here let me do something quick about merge by distance. Alright. Here. Let's keep adding more polygons. Alright. Now we need to get this cylinder in the mesh. Let's just duplicate 18 and then start lacing it where it's needed. All right. Let's try to get an even number here. Alright. Perfect. And here, let's see the mouth of oligon we have N vertexes. I think that's nice. OightEtrude and then inset it. Perfect. Let me add another edge look who holds better this shape in this part. But right. Perfect. All right. Now, I will just extrude again and then inset into some grit fill around here. Alright, perfect. Let me just stick that to the surface. Now, I will duplicate this, and then I will paste it in the other there here. All right. We got something some stuff here. Alright. Most of the stuff are nice. Alright. Let me do something here. We'll do some flip normals here and mesh. Normals, flip. Alright. Let's keep going with it. Perfect. All right. All right, perfect. Let me add some more polygons just to fill and net the cylindrical part with the mesh. All right. Let me do the same thing here. Perfect. Alright. Let's keep adding more polygons. Now, here I will connect. I will connect these polygons. Maybe we can add another edge loop here. All right. We can just lose this All right. Perfect. I think this part, we have a lot of polygons. Maybe here, we can reduce that by just using some triangles to get rid of those extra polygons in this part right. Let's think Perfect. I'm just adding more polygons here. Maybe here, we can also merge these and send it out. What by the distance. Perfect. Let's do the same thing here. All right. Let me see. Alright. Perfect. Merge by distance. All right. Oh, what? Oh, we have something weird here. You see, we have. Also that Oh, sake why is this not merging the polygons likely think they were merged now. Alright. Perfect. No, they're working. All right. Let me just keep adding more stuff here. Just to finish this robot feed that is almost finished. All right here. I will extrude this. Perfect. He perfect. I will add few polygons in this part in fold feather shape and to be able to connect with a cylinder. Alright. Let me delete this one. Add some more polygons here. All right. I will add another snoop here. Now we can close this. Nice. Alright. Sliding this to get a bit better distributed the polygons. Alright, let's see here. Let's see. We are almost finishing this. Let's fill this gap. A right. All right, let's see. Perfect. All right. Nice. Now we just need to connect. These ones, I will merge here this stuff to merge by distance. All right. But why am I merge by distance is not working prectly? That's where now it's working. Alright, let's see here. I will do the same thing here. It doesn't want to work. Oh, my God. Let me do something here. Let me crank up a bit. The distance of the merge because I want to see if I have more clothing practices don't wear in this mesh. I think so. I have deleted some stuff. All right. Let's see. But it have been have been deleted. I now was that. For some reason, my mind merge by distance not working nightly now. Alright, I'll just keep placing the polygons. All right. Let's close this up. All right. Perfect. All right. Now, I will add amphiangol here. And then I will just close it here. All right. We need now to close this gap here. We'll do some great fill. Nicely done. Alright, give me a suck. Let's continue. This part will never be seen because that will be under the robot of But I will just add some more polygons to close the shape. I don't have holes. That will not be really good. All right. Let's just trying to keep and close this shape here. I want here Aft. And here, too. Alright. We got something we are here. But this this Now, this will work. All right. Always be careful the way you place your polygons because you can have the errors like having double vertices and all that stuff. So non mainful geometry, that's really bad to have the non mainful geometry. All right. We'll just try to keep the shape. Perfect. Alright, we are almost there. Let me delete that triangle. All right. Now, I will do some inset, and then some red fill. Let's move the upset. Let's get this right like this and we are ready to go with the fit. Let me do something real quick. Maybe we have some weird off here. Select all by trade. Where is it? That's all by trade and non mainful geometry. All right. Me seeing all by trade, interior faces. I just want to see if we have weird stuff. Alright. I think everything's nice. All right. We have done the robot feed, and now we have the entire robot leg made. Let's see, this will be the robot robot calve. And then the robot bit. Perfect. All right, here, let's delete. Oh, we have deleted. Maybe we can add some mood Bangle. I get a bit better. The shapes on the smoothing. Alright. Let me say something. I'm going to add some harps here, marked sharp. Let me do something really quick. I think I saw something at is not really good in this part. Alright. Just trying to get this to the corner again. All right. Nicely done. Let me add more sharp here. Maybe here. Awesome. But we got something weird there. So more sharp. Did I see the merged by this and wasn't working really nice now. So maybe I have more polygons like that somewhere. All right. Let me see here. Just in case. All right. Is everything is nice. So we can finish with this more charts here. I want to keep these transitions sharp. Alright. Though we have done robot leg, I think we can add another merge biangle here. Let me just increase a bit more this angle. A, like this. That would be it. That part. That thing, Abe here also. Perfect. Almost nice. Want to do something here. I don't want those sharp lines in that brown area. I think that's nice let Dave incremental. And now we got the robot arm and the robot leg made. And now the only thing that's left to do are the bandages, the eyelashes, the eyebrows, and the hair, and then the sword. The sword would be a really easy one to do. So let's made let's make really quick the eyelashes. They will be really straightforward. Alright let's go. I will select some polygon here. I will select these polygons because for the eyelashes, we need to have the same polycon as the eyelid. So I will copy these, then do I will separate them. And now I will stick that to the surface. It make just delete those and then bring the the high poly. Perfect. Here. Alright, let's place it. Perfect. Let me save. Alright. And this should be nice enough. Let me see with the rest of the body. Alright. Let me just move this real quick, match the position of the bird disease. And that's good enough. But that upper eyelash, maybe we can add solidify here, solidify. Perfect. Let me uncap this and just do little solidify each part. It's a really little one Or maybe we can even let that as a pain and just pay paint over it. A solid color, maybe. We can do that instead of having that thickness and the eyelash. That could be an option. Maybe not. I think this part. Alright. I think I will leave it like a plane. I will leave it this like plane. Alright. Now, let's make the lower eyelash. All right. Let me separate this. Body. Upper eyelash. Eyelashes. Alright. Let's keep going with this. The lower one should be kind of the same principle. Let's start. Let's look at this. Let me do something here real quick. I will just copy these polygons, then separate them. Then using this the topology in this part. All right. I think we can solidify a little one. It's still too big. Maybe 015 will be nice enough. Maybe a bit thicker 0.7 maybe. Yeah. That should work. Let me make this a bit thinner this area. All right. We'll add the same solidify here. All right. Zero point. Let me. I'll be the number from here. All right. Perfect. Nice. We can apply the solidify. All right. And now we have our eyelashes made. The eyebrows, I will just reduce the poly count and delete the back faces. Let me just delete the other one at some mirror. All right, where is it? Perfect. And now I will just reduce the poly count of the to get better. Optimization them. And see here, select these polygons. All right. And now I will delete them. Perfect. Maybe we can delete these too. My this one of them. Maybe not. All right. Let me move this a bit. All right. Perfect. We nice. We got our eyelashes and our eyebrows. Which something here. Low. Low, perfect. Then the lower eyelashes. Lower eyelashes. Alright. Low also. And then the eyebrows All right. This stuff, what is it? But wipe my mesh doesn't have the border. That's weird. We can just start feeling this. All right. Perfect. And now in this area. Now this should be good wipe now, all right. Let's see this one right. Perfect. So what is left is the bandages and the hair. Let's see what we can do with the bandages real quick. I think we can reuse them, reducing the poly count and then reusing them. They are not really complex. Most of them are just some cylinders. All right. So I will do that. I will reduce the body count of them. Maybe here, we can delete these two. Let me add something there. All right. Let me see here. I think we can dissolve this one. But there is a thing that maybe will be bad when we start making the bakes. Is that we maybe can have some baking error, some the bandages. That's not good. Alright. Let's see. H. Hmm. What we can do with the bandages. I think that to avoid some baking errors, I will do some free topology to get one mesh with the forms because like we have here, we can get some baking errors like this strap baking on top of this one and vice versa. And I don't want that. Maybe we can do it. Also here. Maybe with this one, we can do that, too. So let's keep working on these traps in the next video so see you there. 49. 13 Hair Retopology Part1: Alright, guys, so let's continue with this model. As you can see, I have done some work out of camera. What I did was I just decided to go with the bandages, leaving, like, like they are. I don't going to make, like, a full ppology on all the pieces and making it one piece because I want them to be separated like this. And to solve the problem that we're going to get while baking, what I did was I separate all the bandages into their own agte here, as you can see, and then I name it with a low suffix here. I did the same thing with the high poly version. But in this one I name it has in the suffix. So you can see legs bandage one high. And with that, while we are baking, substance painter will be able to identify each bandage and will be able to bake the normals and all this stuff without any error on the baking. The thing that I did was just to delete the back hooligans. The one that I point into the body. I just delete them because they are unnecessary. So I will do the same thing here on the andages on the arm. So let's start working on them. So I will delete the back ligans. All right. It will be pretty straightforward. All right, Shing. Alright. Now, what I'm going to do will be make another collection. All right. Perfect. And now I will put all the bandages of inside it. And now here I will select everything, and then I will do some E and by losing parts, I will separate them. And now I will start naming them like this arm bandage one and the suffix low. I will do the same thing on all the bandages on the arm. Maybe this is not the best way to do it, but that's the way this is the way that I just figure out that will give me what I want. So let's do it. So here, we can separate these two into their own single object. And once we bake everything, we can start joining the objects to not have this amount of separated objects in the sein. Alright, let's see here. Perfect. Here's the sticks. All right. Is the other stuck? Maybe we can do the same thing on this part. I think so. We'll just separate these and just keep naming them eight. And nine. Perfect. Now, I will do the same thing on the high body. Let's go there, high poly here. I will create another collection. Our bandages. Alright. All right. I'm doing that because I want to be organized that. Just to hold all those meshes and not make a mess. Alright. Let's see. Now we can separate all these bandages, here, to the loosen parts, and here two P loosen parts. All right. We can start naming this stuff. Let me see something. This is Oh, I think I did a mess kind of. Ah right, let's see. This will be the first one. I. Alright. Let me hide that. This one will be the second Oh, right. Make sure that your name matches before the high and low suffix. If there any error on the naming, the substance painter will not recognize it and will give you an error. So you will have to rename it and re export them to Cbrush. I mean to substance painter. Alright, this is for bit too quick. Alright, here is the third one. Perfect. This is the fourth one. Let's go there. Perfect. Let's see. The last two, I think, all right here. This is the fixed one Going right. I Ai Aft. Now, let's go with these parts. Where are they B right. This is the 61. Let's see. Here the six. Er ft. Let's go with the other one here. All right. Here will be the seven. Nice. And just left these two. This is the 81. Eight. Nice. And this is the 91. Perfect. So now we have all the bandages made. So we can start maybe making the hair now. We also need to make the ice. No, let's do it. Let me sing. Let me hide the high body. And let me unhide the and the yes. Let me see. I think we have some boda yes that we can still do some optimization, maybe. I mean, not. Mm. I think I will leave it like that. So watch live, but let the hair is left and the eyes? I think so. If my head is not bad, let me unhide everything here. Hide this. Right here, we got some like duplication of the undercloth. I will just delete that. Alright, perfect. Let me see with the attributes. Perfect. You can see here with the colors I just made IC brush. We can use this as a ID map inside soups and finder. I think that's all that I need to do the hair and the eyes. We can do the ice really quick. I like to do the ices in a bit of a special manner. That maybe will not be some real time eyes, but I like those because inside marmoset, I like how they look. They will be kind of maybe physical correct. Eyes, maybe. Not fully physical correct, but just kind of like one. I think they can work as a real time game eyes. But eyes for games are made with some parallels maps and all that stuff. But let's do the eyes here or the eyes, but I can do it is just select here, I will select 11 edge loop. And now I think that's the middle? No, that's not the middle. I need the middle edge loop here. Oh, right. I see the middle. You know, still the middle. I will just use that. Then I will press Shift S cursor to select it to have each dicussor in the center of the eye. Now, what I'm going to do is just to make another sphere. They make it Bix then by eight. All right, I will scale that down. All right. Now I will rotate it 90 degrees, perfect. Maybe a bit of rotation, a bit of angle. The eyes all right. Now, I will try to make. But before that, let me just duplicate that because this other sphere will be the cornea mesh. This would be eyeball Is maybe. And this one will be I ball or Nia. Perfect. All right. Now here, I will add I don't want. Alright. Yeah, I will add some edge loop here. Get the IDs tie, maybe something like this should be nice. And now I will just maybe inset this. And with this with sphere mode, the proportional editing. And now I will change the transform orientation to local I will just move in the C axis to push that down to have kind of that hole in the is. Let me push this a bit up a bit forward. All right. I will add another edge loop here. I will remove the proportional editing because I want this to be like some f, something like this should be nice. Perfect. Let me do some pebble here. Maybe another edge loop here. Just some some stuff here, maybe, yeah. Perfect. All right. Let me do another one here. Nice. Let me see how this looks. This is can of nine. Yeah, I think that it's going to work nicely. Maybe we can just delete some edge loops. But are not really necessary. Abe this one here. Or maybe this one. All right. Perfect. I'm going to add another what? What I have changed the naming. Oh, what I just duplicate it the other I Oh, my God. This one is the one that I want to rename. I admit just delete this one. Right and here I will change the name. Let me hide this eyeball out. And now I should have, we have messed up. Let me add another sphere here. Here, I will scale it down. And then I will just rotate it 90 degrees. And now I need to match the angle. Here, we can see the angle that we have put. Angle, I will just copy it and then just paste it. I will make this a bit bigger, heat, it. But right now I will add here another edge. And maybe we can scale it down just a bit another one here. Because I want this to be Petrusion something like this should be nice. Let me select the other one. All right. Here, I will activate again the proportional editing, and now I will move it in the C axis and this should be nice enough. This will be the cornea. Ornear right. Now, I will add mirror modifier here mirror, and I will put the eye block out in the target mirror object. You have the eye mirror. Yeah, we add the same thing mirror and then here mirror object, the eyeball, and here we have it. So we have the eyes made. Let me unhide the body. And this stuff. What is this? All right. What are those are the hair. So we got here the ice made nicely. All right. For like real time game, you will just need anticorna mesh. You will put them in the middle. Then you will make the UVs. And the only that you will need is just relax map. It's just like a high map. And you can work with that. I think I will not show you that in the course because I like to make the ice like this for my personal projects. Alright. Here, maybe we can add uva and v. Let me crank up this a bit. Maybe, maybe here, too. Perfect. Or maybe not. We have to see. Alright. Alright it sink now we have made the ice. Then we can start making the hair. Or the hair, I think that I will going to make this front part one single mesh. I think so, yeah. Let me put the hair in another collection. Here. Hair. Let me sell like this one, and put it there. Let me create another collection. Um, and I will put everything there. At that cose. These are empty empty objects. Let me delete them. Alright. Here, I will just put let me delete this or not. Let me put this here. And these ones, I will put the air to here. We can hide these ones. And the ice also, I will put it there, and we can have this work. But I will use the hipolyversion. Alright. Let me hi downs. This is the high pony version. I will make another collection here. All right. I put everything there, and prefet Let me put this in another collection. All of these will be in another collection here. All right. So we can start working on the hair. Alright. Let's see. Here. Let's make then let's start working with that. I think I will start here using the mirror modifier. Once we get to the middle part, we will not able to use anymore the mirror because the middle part is asymmetrical. Let me add a mirror modifier here, where I sit mirror. All right. Let's start working on this. Let me go here to my addon then select the hair mesh. All right, I will active the magnet and be active the proportional editing. So we can start doing some topology here. I will want to get the seluet and trying to put the polygons following the flow of the hair like this. Alright, here, we can put another off. All right. Perfet Didn't see we lose a bit of volume because we need to put a rope in this area in this part. All right. Perfet All right. Maybe I can do something here. We can add another one hold better this shape. Maybe not. There's something weird that we don't. And we can add something around here to support better that shape. Let me do this. Now it's working better. Alright. Maybe here, we can also put something. We part this shape here. Perfect. All right, nice. And seeing All right. Let me cut this part and then merge this to the center. We still have losing. So the wet the hair. We can do this. Yeah. I think that will not be too visible. I think we can leave it this part like that and just let it be. That detail, now let's start moving through this side. Oh right. I want to follow the flow of this hair. So I will put the polygons in this way. Here, we can do it like this. That in. Alright. Perfect. And now here, let's see. And add another poly on the discard. All right. And this cardon let me move that in here. Another one here. Perfect. Let me put this Bango here, close that shape. Alright, we can start moving up. I would put another limon here and then just cut it with the knife brush. Alright. A fet. I oh, right. Let's keep going. I will strew this. You'll get the root of the hair. I will actit the clipping. Perfect. This is nice. Maybe we can move it. Like this. Alright, let's keep extruding. Nice. Here we can add another one. And now I will do some triangles here. Perfect. Add another a troop. Hold, better this shape. All right. Nice. And now here in the middle. Perfect. Well, losing a bit of this corbatle. All right. I don't want to add more polygons in that area. Maybe what we can do is just add some polygons in this way. Hold better this shape. Perfect. Maybe we can add more polygon here. All right here. Perfect. Nine. Let me shades. Let me seeing all this is looking. Right let's continue. Continue with this. Alright, perfect. I will just put a triangle there. As you can see, we're losing a bit of salet. All right. Let me try to get this bill right here. By doing some edge loop in this way, I will just put it here. Nice. Perfect. Alright. So we can now, we're not. Maybe, yeah. I think so. Let me say first. I will go to the backyard now. Right. And I will try to do and close this edge loop. Let me do something here. I would adjust a triangle in this part. Perfect. I don't want to have spirals here. Though I will try to not make spirals. I like spiral. Alright. This is good. Let sing here. Perfect. We have five. We can add another one here. Nicely done right. Let me close the and then add a polygon in this area. But as you can see, blended is triangulate them in the wrong way. So I will just put triangles here. All right. Now this should be. Good. I'm losing more silhouette in this part. I will just put a polygon. And then I will just stick this to the surface. Perfect. Let's keep going. Here we feel everything. All right. Let me continue with this. All right. Here, what I'm going to do is to merge attenders here because this one end into a triangle. So I will end this also into a triangle because I don't want to move that upward. Alright, what we have here, we got some sll. Alright, let me something. And let me try to close that part. Alright. Let's see what we can do here. Perfect. I think, maybe add another one here and just close them. But we have eggs. Alright. Let me just close this. This way. Per pet. I will just leave it like that. I don't want to bother too much with that stuff. Now we'll just close this. Perfect. Let's continue. All right. Let me add another atop. More here. All right. Now we can close this at last. Alright, let me not do that. I will just put a triangle. Mini. But we got something here. I will delete this polygon. And then continuing filling this with more stuff. W I'm right, trying get the most of the silet as possible. All right. Let's see, we just need to fill the gap. Perfect. All right. Let me fill this gap. Perfect. Now, I want to do the same thing here. Perfect. Let me close this here. Perfect. I'm right. Alright, perfect. Let's see. I think in this part, let me add let me add some triangle here. A triangle, I mean, a match loop. Now I will just delete that and put this. In these parts, I'm going to stitch that to the surface again. Perfect. I'm here to all right, let's try fill the gap in this part also. All right. Right now, I will just put more polygons where they where it's needed. Perfect. Now, what I'm going to do is to save incremental. And now I will apply the mirror. 'cause we got some stuff that is not asymmetrical. I mean, it's not symmetrical. Like here in this part. All right. Perfect. All right. You can see here, this is not really symmetrical to the other part. We got some weird stuff here. It's not big of a problem. If we can add leak is in these parts. Let me. This a bit up. All right. Let me see here. I think everything is okay. Let me hide. Let me move this down and let me hide the hair just to see how this mesh is looking. All right. Let's bring back the high poly. Let's see. Let's see. We need to fill the other areas like the one. All right. We'll add another edge loop here. I try get these shapes. Perfect. Now I will put with a knife Brush, another edge loop to get the sil weet here. Perfect. All right. All right. Let's go here and just lose this. Let me save. Let's go to the other area. All right, here, let's see what we can do here. This part. Let me more legans All right. I will just merge this. I add another loop with an add. No more edge looks. Um, I don't think that we need that here. Maybe I can just close this a triangle or ft Oh, just forgot to turn on again the magnet. Perfect. Let's keep adding. More politans. Here, also. But I think I just press something that I want you to press and did another phase. All right. Then we can add another edge slope here to get this shape. Perfect. Alright. Let me save again. Let's go the other hair strand here. Perfect. All right. Let's see here. Myb we can close this this way. Let's keep adding more polons. I will need another at loop here. We support better these shapes. Maybe not. Maybe here we can add another polyan not for multi triangle. Be safe again. Perfect. Alright. Oh We'll add more polygons in this area here, too. Perfect. My be another one here. All right. We'll add another edge loop here. O. Perfect. Let's go with the other air strand. Right. Here, I can close this with a triangle. Perfect here. Also, All right. Let's see. We can just note this. All right. Perfect. Neither, we're going to tackle the back part of this hair strange. I just want to get the front part ready. Then later start working on the other part. Alright. Let's see. Let me just keep adding more oligons All right. Let's see here. Perfect. Let me put some stuff here the side of this hair strand. Now, just to left. Alright. More and more polygons. We'll add another triangle, yeah. All right. Let's keep working on this. Oh, right. Nice. I think that for the back part will be the exact same process as the front part. Though that really will be a thin labs. I know I didn't make a thyme labs, but I think that will be as labs because it will be the same process I'm doing now. All right. Let me just this. All right. Let me go now to decide this part. Maybe we can do this. I think we can add another net look here. Alfred, All right. Oh, yeah. Now, let's do the last one, but we still need work on the back part. I think this back part, I will do it out of camera will be the same process we did here. Just trying to not make some spirals. Alright, let's go to the other part. Perfect. Or stuff here. All right. Oh. Perfect. Here. More and more stuff. All right. Let's see. Let me a more polygrams. Perfect. All right. Let's add more stuff here. I think here we and that in this way. Let's keep adding more polygons here. Perfect. Oh, we need now more density in this area. Perfect. All right. Perfect. Let's keep adding these polygons. All right. All right, so this last part, the back part, I will do it out of camera. It would be the same exact process that I did in this part. I would just feel this trying to not get any spirals. So see you in the next video in the next video, we're going to be making the back part of the hair. 50. 14 Hair Retopology Part2: Right, guys. In this video, we're going to continue with the hair. Starts in the back of the hair. And this piece here. As I told you in the previous video, I did this back part out of camera. It was just the same process I did this part, I just duplicate the same process and did on this part. So we're going to continue with the bad hair. I will do this hair strand, and then I will just mute and start working on this because there are not too much to rate in this part. It's the same process all over the hair. So let me do this just real quick. Right here. This will be a really easy one. Let's continue. All right. Just a little bit more. And around here, maybe we can end it. I think I will end it with a single polygon there. Right? And this to be here. Then just just extruding more extrude Alright More and more extruding. Perfect. Around here. Nice. My do something real quick. Alright. Now I will close this. Alright. Let me see if we don't lose much siluet. Maybe we lose kind of. Let me go here to the speed double. Then let this one and at shrimp crap. Alright, this should be enough for the art. Alright, I'm going to apply the shrink wrap. And now it's just the back of the hair that's left. So I will mute, and I will start working on the back of the hair. Lee you in the next video. I h 51. 15 Hair Retopology Part3: I 52. 16 Sword Retopology Part1: White guy. So let's continue with the topology. As you see in the previous video, we have made the try topology of the hair. So now what is left to do is the topology of the sword, which will be really pretty s. So let's see. Let me hide my stuff, and let's see what measures we can reuse from the robot from the sort low poly. Oh, right, let's see, because this is really very nice, indeed. Let's see. Obviously, I will have to do some ptropology on the sword here. In this part. Let me seeing. We can reuse this part also. I mean, we can reuse almost everything here. All right because it is matching the polycon we can stick them together. In this part also, we'll see, we can merge those of the one single object. All right. Here, let's see here, what? I think for this part, we can merge this stuff together. And this part will be another object. And this part is practically done. All right. We need to do some prey topology on the sort. I can see the topology of the Oh. Yeah, we need to do some topology of the sort. Let's see here the handle. I think for the handle, we need to do some prey topology also. Maybe we can reuse this one or maybe not. Right here. Let's see. I will reuse the cylndrical parts, and then this part is part of the handle the handle. I will do some topology on that. You see, I think we can reuse this stuff here or right start working. Let me copy this and transfer it to another collection. All right. Let me hide the other things. And let me put this into the sore topology collection. Alright, now, let's start working. I don't want these. I also don't want any of these. Alright, let's see here what we can do. Hmm. We will have to do some pre topology on this yes. Yeah. Let me hide it for now. Let me use yes. And now I will do something here real quick. I will delete the interior faces. Here, right. Now I will merge these two perfect. Let me do some control E and then delete these arcs. All right. You can delete them. This one, let me put the vertex mode on the magnet and then use some add another edge loop and then slide it to get the height of this part here. All right. So we can hide the other part and delete this part, all right. Now, what is left, let me put some edge loop around here. We can delete this one and also let me slice this with that art and let me delete this other one. And now we can start merging the polygons here at last. At last at last at last, more a more simple process perf Alright. Let me see here. Perfect. Also here. Nice. Here, we are almost finishing this part. All right. Perfect. Let me do something really quick here. All right. Perfect. Alright, so we have this part now. I'm ready to go. Let me delete the cusom split normals. All right. So we can work on the other part, the tank part. All right. What is this? Um, and p. All right. What we can do here, we got this piece also this piece. I don't want to interfere with the topology of this piece and trying to merge in this one. So what I will do, I will leave this piece separated from the endcal piece. So let's start working on this right. Let's see. Why let me merge. Oh. All right. Let me select this and hide it. Let me do with the vertex mode, the magnet. All right. And here I will delete interior pass. All right faces. As perfect row E, H, aces All right. Let me just these ones. Perfect. Let's see. All right. I have this in local, when this in Global. All right. Let's just start putting the vertex on the hide of the other one. O maybe also what we can do is just doing this at last at last. At last, and we can skip that other step. Last. Last. Alright, let's keep go with this. Perfect. Almost there. What? Yeah. Thanks. All right. Few things left. Alright. Alright. I think we're ready to go with this bias Perfect. Let me delete the custom split normals. All right. Let's see with this other piece, you can do the same thing. I will just immerse it and I will do some fontoE and then delete those polygons. And now I will do the same thing here. Perfect. Well delete these polygons. And now I will start merging the polygon. All right. So we don't have to think too much about doing the topology from scratch because we have made this topology by hand inside sims, so we can reuse that. There is no problem on doing that. All right, let me delete this. We have made something weird here. Alright at last. At last Oh, no, I mean, this at last, and this. Last I'm here at last. Perfect. Let's delete the cusoms with normals. So we have that far ready to go. Let's see here. Right here, we can delete some extra polygons that it has these two. They are not needed. Let me see here. We don't have those problems. Can delete those or maybe not. All right. Let's see here, I will add Oh, that is already there. Let me do something. I think, now that's ready to go. Let me let me merge it. And now I will do some deleting your phases. Phases here. All right. Perfect. Perfect. All right. So we got this. Now we need to do something here. That we don't have it right now. Is to add a polygon on the middle. Let me move it. Let me turn on again the magnet. I'm moving around here. And now I will add another polygon, I'm moving around here, another edge loop again moving around there. So now we can delete Mihds and delete these phases. All right. And around here, we can delete from here to here. Select that and just delete it. Let me save. All right. Now, let's just merge and merge polygons. Delete those egg oops. And now let's switch. Perfect, at last, at last. All right. At last, last, perfect. We will be the same process in the lower part, right? Perfect. Around here also. Nice. Perfect. Let's see here. Mm. We can make this up a bit. I mean bring that up. Alright let's merge. Alright. Let's keep merging this. Nice. Excellent. All right. I think this is ready to go now. Right? Let's see. We need to merge those things also. Nice and clear, too. Perfect. All right. Nicely done. All right. Excellent. Now I will delete the custom split normals and we have the ready to go. There should not be any problem. Let me just add real quick some subdivision modifier to see if we have any ap or any bug in this model. Alright. All right, I will delete again that fire. So we have the tank piece ready to go. Alright. Perfect. Let me work a little bit on this piece. Let's see what we have. Alright, I will add some oligon. Let me tune on the magnets. Alright, let's see. We got some troubles. Let's see. I think we can add more egg troops here and here and one more in this area. Perfect. Because I want to reuse this All right. You can delete this off. Let me see where is it? This is something control. L here. All right. I will delete these punigonsPerfect. H E, control E. All right. Perfect. Let me delete those ones. Maybe not. I will slide this with the magnets around this area. Perfect. And now I will eye this and delete its interior part. So now we can start merging this stuff. All right. At last, oh, I separated. Alright, now, it should work at last. At last, last at last. Alright. But we got some trouble. Mmm. Interesting. I'm getting something weird here. Let me match these ones. Alright. We quick. For some reason, the number of bird seas are not matching in this spot. Mm. That's weird. Maybe we can add or stuff here like the lower part or, let's see. A All right, let me delete this one. Alright, I didn't need that. Perfect. All right at last. Alright, let's see here. Oh, what? Let me delete these two. They are unneeded and just start merging these polygons. Look quick. And easy let me say incremental or right. Perfect. And now this should be working. As metlyticus split normals, and this is ready to go without problem. Alright, now we have that piece done. We can hide that. We can merge these pieces. Oh. Alright. Let's see here. Let's see what we cut here. At me the lead into your faces. All right. Perfect. Here, also. Base. All right. Well, let me start merging. I will add an edge loop around this polygon. Perfect. No edge loop around this other polygon. I but I think that there is ready to load perfect. I will delete these ones. All right. H. I will delete these ones. Perfect. And now we can start merging the right. Perfect. Just a bit more. Excellent. I see here the same process. Alright. Excellent. Let's start working on these pigs, also. All right. Alright, let's see. All right. Let's put this stuff on the hide of the risase. It is part we need to do that because we don't have local tile forms to be able to move play them right. So I'm using the magnet and sliding to constrain the slide to the height of that vertex. All right. A variety. Perfect. Is ready to go. I delete this. Let me see here. Faces. Let me see when we got here. I will do something quick. Perfect. Ready to go. It me delete the customs flit normals. Alright, let's see here. We have 16 and 16 here, perfect. Let me see what we can do this part. Let me do some inset. All right. Now, I will add a polygon with the magnet Affect. I will delete these ones. Also here. I will delete These middle ones. And now I will start merging these together. Perfect. Nice. All right. So we have these two made All right. Et's see what is left to do. We can reuse this one. Let me just maybe delete the ligans. All right. Here, we can merge this. All right. Let me see I put de leak these ones faces. All right. These faces, also. And let the last here. Let me something. Alright. Perfect. I will also leave the middle stuff here. And now we can start merging the polygons. All right. Let me do something here real quick. Perfect. And we can start merging. Excellent. All right. All right, here and here. More stuff. Excellent. All right. Here, I will just do some fill with the F bottom. And this part is ready to go. All right. Let's see. This f is ready to go from the beginning. We don't have to do too much here and maybe just delete some stuff, but I think we can leave it like this is. All right, what more? I think we can leave it the rest as it is. All right. I just rename it. All right. Is what this. Um, All right. We already have this. Let's see what is those parts, all right. We hide this. I think that we forget forgot about this here. Alright. Et's merge this also. I think that for this piece, we will need to do some stuff. Yeah. Let me do it. Select from this point to this point and just filling this. Perfect. All right. Just filling those gaps. Or what? All right. Now, Oh, we've got something weird here. Admittedly, I just forgot to do something. I just forgot to delete the interior pass. We were making no my pheometry if we don't remove the All right now, this should be working nicely. Alright, I will use some triangles in that part. I don't care. Alright. Perfect. Also here. And here. Alright. Let me just fill those cups. All right. Let me delete. I could split normals, and this is ready to go again. Alright. I don't want those pieces. Let me save incremental. All right. So what is left is just to do some stuff in this area. I think that for this part, I will just reuse this middle handle stuff. We delete those polygons here, and here I will bring this up a bit. And this one or maybe we can just delete that also. Alright. So for this part, we can place some ligans with a magnet active. We can right place to the height of these bandages on the sword to Perfect. All right, here and here. All right, this is ready to go. We can delete these ones here. All right. And now in this part, we can just make this a bit bigger. Also here. Oh, I forgot to something before that. This polygamy would be right, should be here. Perfect. Here. Also, I will do the same thing. And now I will just connect these two together just to make this topology here. Without the need of working too hard, get that piece done. Here, also, we need to do something. Let's see what we can do in this sport. I think that for that part, I will just bring sort high body. I'm right in some city. L here. I want Corbatur In this area. Perfect. All right. What I did was I S, and this will inflate the mesh. But here, maybe we need to do some fixes. Also here. Just with one. Alright. All right, let's see what we can do in this part. Let me add another oligon red chop. And then I will trace the biilut of that piece with the knife brush. Alright. We got some guns. Perfect. All right. So we can delete those polygons. In part right here, we have an angon. Here, also we got an angon. Let me do something real quick here. All right. Perfect. And also maybe not there. Let's see All right. My at center, maybe it should work. And here, too, at center. Alright. Let me put this again to phase and then face project and just try to fill that gap here. Perfect. All right. Let me delete this polygon. I don't want it. All right. Let's see. Let delete that one we put another red joke Perfect. Maybe we can do this part. And no or not. Alright. Maybe we can just close that like this. But I don't really like that solution. There's something here. All right. Also here, I will the same thing. I will just reach them. Maybe we can just fill these with some triangles. I don't worry much about that part. And All right. Maybe here, we can use this. All right. Perfect. Let me put more polonon to form the triangulation in this area. I think this or not. I forgot just to keep filling the gap. All right. Perfect. All right. All right here, also. Now I will just reach the caps. But we got something we are here. All right. So now, this should be dame Ol count. Alright. Oh, I do something bad there. All right. Aft. Let's see. Alright. This is almost ready to go. Yeah. Maybe we'll close these two holes. Or maybe not. We can leave it like that. Will not be too much problem. It's just clear the some split normals. Alright. We got the handle done. Oh, I forgot this piece. Oh. Alright. Let's see. I think I will just leave it for the next video. In the next video, we're going to finish. You the Public of sort. Finally start doing some Ubis seeing in the next one. 53. 17 Sword Retopology Part2: Alright, guys. In this video, we're going to continue with a sword. It's just the blade that is left to do. So let's finish this. See I will just copy some plain somewhere else. I will press P election. All right. Let me call this plate. Perfect. Now let me do some synth quick here. All right. Perfect. Now, what I'm going to do will be to add a mirror. All right. And I will put the axis in the Y and press this bottle. What is it? Oh, I mean in the D. In the C axis. Now it's working nicely. All right, perfect. I will turn on the magnet, and this should be really straightforward. Let's see. Let me put this in phase project. Alright. Perfect. Let me put this on in front, maybe into topology shading. If you don't have this, you can leave this in in front, maybe. Alright. Oh, this should be enough. Let's see, I will extrude it. Alright. Let me leave it around this area. Perfect. All right. All right. Let's continue. Perfect. Just feel more extrude. All right. A little one here. And then the tip of this blade. Perfect. And that should be it. Alright, let's see, maybe we can add another edge around this area. Alft. Oh, maybe not. I mean, that can be baked in in the model. In the texture. I mean, Edge should not be big problem. Let's try to add some edge looks here to fold that shape. Let's see. All right. One around here. And I need this going in this side. Alright. I will just delete those polygons. We got something weird here. They hate something for some reason, they merge by this and it's not working correctly. All right. Now in this part, it would work perfectly. Alright. Let me add another group. A ground here. Let me sing. Oh, we got something weird here. Let me delete that. Oh, what is this? Let me merge this at center. Perfect. I having a bit of trouble trying to do this. Let me merge this at last, right. I would delete those polygons there. And I will delete these oligons And now it should work perfectly without any problem. All right? So, let's keep extruding this. I tune off the magnet because I don't want this to be sticking anymore, manually placing it All right. This part may be a bit pointing. Nice, that should work. Alright, let's sing. Now we can extrude this. Let me do something. I will active again the magnet. Alright. Perfect. And I will just heap Oh, what But it's already extruded? What? Oh, we have extruded everything. Oh. Alright. Let's do the same thing here. Perfect. Oh, we got something weird here. Et's see what it is. All right. This should be around this area. Oh, let me do off the clipping around this area. Alright. Let me bring this to this point. This should be enough. Perfect. And now this part would be really straightforward. All right. All right, perfect. We can add another We can add more edge loops here. All right. And tune on, again, the magnet and the clipping. All right. And just place these polygons nicely to get the right shape. Alright. Let me see something here. I don't really like this part here. I will just delete that. Mmm. Maybe what we can do is to delete these two polygons. I will press B here to separate those polygons. All right. Now I will add another edge loop in this area. Perfect. And then I will just fill this. But as you can see, we don't have enough polygons there. And I don't want to deal with extra polygons that part. But maybe we can delete this, and there should not be a bit of a problem. If I do that, everything is the same, there's no big impact on the shape. Alright. Oh, yes, there is Let me see something. All right. Maybe we can add more polygons in this area. Just a few more. All right. That's something real quick. A I think this should work. Alright, so let's see what we can do here. I want to get a silhouette of this part. So I will trace that with a knife rush. All right. The other one. The other one also. Perfect. I will close here. The ton. Let's see here also. All right. I think there is one more or not. All right. But we still have some troubles here. Let's connect these two polygons. All right. So we can add another edge loop here and connect these two. And two more in this area and then connect these polygons or the vertex. Right? Let fix some loose of silhouette that we are having in this part of the plate right. Perfect. We still having some issues. Seeing Alright. And here we need another sup. You support that corbatu? Alright. It's supposed to stick in the middle. Et me sing. Oh, no, no, I did something to. I press F. All right. Right the same thing here. I will just add one and another one here or maybe three. Perfect. I will connect these ones. So we have quads. And now I will do some inset for this shape. Let's delete this middle one. Let me face here. All right. And now let's merge those at the center. And now we can start sticking these polyles to the surface. Perfect. All right. Nicely done. Alright. Let's do the same thing on the other areas around this. All right, let's see this and now merge these ones at the center and also placing the other off. Alright. Perfect. And just there just one left. Let's do this one real quick. Same process. Leave, merge, lace. Alright. And that should be it. Right. Let me see from the sides. We're getting correctly the shapes. All right, let me hide the high poly. And here, maybe we can delete or we have the custom split normals. We can add some normals mood biangles Alright. Let's see. Yeah. I don't really like that triangle there. I don't really like it. Maybe what we can do is just slide it up. And that should not be a bit of a problem. I will just merge this re disease. Alright. Let's see how this looks. All right. I don't want those beaches to be smoothed. Let's see here. Right. All right. Let me see something. They just increase the angle or not. I'm just experimenting right now. It's the best way of making this part. All right. Let me see. Perfect. All right. Just placing this feather. Alright, there is one more here. Perfect. And now I think that should be enough to support that shape. Alright. Now is good. Alright, we're good now. All right. So we have the sort nicely made. Maybe here, we can also add some smooth biangle working almost perfectly here, too. Mood biango we have some custom pretty normal there, right? Another smooth biango there. Maybe increase the angle perfect. Also in these parts. All right. And for this part, I think that we can leave it like that. I'm a bit lazy. I don't want to do more work on the topology. So we can leave it just like that and delete just the interior pass because they are not needed. All right. This is, and we are ready to go. So we have our board perfectly done. Let me just fix this real quick. Alright. Let me see the high pudding. Right here, we have stuff. Let me do it. C. I need to get this shape here. We'll add one here, and then we'll add another triangle. Maybe not. Another up here. All right. We can push this to this part. All right. And now this polygon and also this one here. And now I will merge this disease together. We're ready to go in this part. Or right? Let me save. Let me keep adding more smooth biangle. Alright, maybe here also. I just like it to use them because once we make the bakes, I feel that my bakes are better since I started using the smooth biangle. So I will use it here also. Maybe maybe that part doesn't need the smooth palmbo. All right, so we have the sort low poly. Perfect. So the next step for us to keep progressing in this model is to make the UBS. So I will start making the UBS in the next video. 54. 01 Starting Uv Unwrapping Part1: Or, right, guys. In this video, we're going to start making the UB for our model. So we are going to start first with the body. So let's begin. Right? The first thing I will do before making a UB is to make a new material, all checker material. Now here, we're going to press if A and add a checker texto. If you have the node Grambler activated, I think for the 4.2 version of Blender is a is there by default. You see this on, you should activate. And now here with the shaker texture note, selected, we're going to press Console G and we put the UB into the vector and just crank up the scale and put the color into the base color, all right. Let's go to the viper shading and we can start working on this. All right. Now, I will start making some seams. That stuff is for us to see if there is any distortion. You can see we kind of is really distorted because we don't have any UBS right now. So we can start placing our UVs. All right. One tip that I going give you guys for placing the seams is to place them in places that maybe it will not be seen too much. Like in this area, I think that area is covered by the neck color or maybe a bit upper here. Maybe I think that area should be good to separate the head mark Sm all right. Let's keep adding more stuff right from here to here around this area, I will place another seam. I will cut from this point, maybe from this point, another seam perfect around this edge loop for the ears too. A maybe around this edge here mark seem right. Because if we live in the ears connected to the face in the UVs, they will look distorted, and we don't want that. I will place some seams inside the eyelids around here to separate the eye docket from the rest and inside the the Melba, we're going to add some sim around this area. Alright. Let me say real quick. I will change the Viewport treaty to UBEditor and now we can do the UB 40 face by pressing a control UU grab. So now we are having some stuff, some problems. This big ball of something is the body, and worry about that because we still don't have made any stuff on them. What is important to us right now is the UBS 40 face. That are here. Perfect. All right. I think you find that good. All right. Right, let's place it around here. We're not to group the UBS right now. I like to first do all the UBS and then start organize them. This is the mouth bad. Yeah. We place it around here and the eye sockets, we just place it around this area and the ears, maybe around here. This is not a final placement. We need to put everything inside this square. So let's keep going with the body apology. I mean the body ubis see. We can do it something here, maybe around this aba. All right. Let's do some mark them. In this area, I will place a seam around the crutch and then another seam in the back. All right. I will place another seam around the shoulders to separate the arm and the body. And for the arm, we're going to place a seam inside the arm around here. Maybe a big backwards. I think here should be good enough. Alright. Let me place it. I will put another seam around the wrist. Let's put another seam in this area also. Perfect. All right. Let's see the hands. If you remember we did the hand topology with a edge loop that goes around the arm that make life easier when we start making the hand UBS, then we can just split them real easy. We'll see now they play some seems All right. Let's see. Hey here, we can just maybe not. We can do something here. We can just do this. We don't care too much about that area. Or maybe we can just place a right angle here and just do it seems like that. Perfect. That's nice. SM part is really quick compared to the rpology stage. I tend to finish this process real quick around maybe one day while the upology maybe will take me a few more days to finish. Right around the pit, we also have an edge loop that goes around the feet. Perfect. Here, I will do something in this area, but we don't have a middle edge loop, slip place. Maybe that ah be good or right let's see. Let's see. Maybe we could also separate the fingers or maybe not. Let's say what. This gives us. Let's do the body UbisGrab here we should have our Ubis all right let's organize them. All right, I think that for this character, I will use four texture. I mean, four squares of these in four different materials like one material for the body, another material for the clothing, maybe another material for the sort and the last one maybe for the hair or for the eyes, we will see. So we can start organize this stuff a All right. One thing that I recommend you to get is the textile density. So we can have even resolution around the DUBs using this ton. I think you can find it in the get station, maybe. I think so. Yeah, you can find it here. So let's keep going with this. Let me see. Frequently, we tend to make the face a bit with more higher resolution that the body. We can do that. These parts that are not really relevant, we can make it smaller like these other parts that are just D buckets. Let's put it on the side or right. The ears will be around here maybe. Maybe we can group the years around here. I don't think much about that. Maybe not. Maybe, let's around here. Perfect. All right, now we need to place the body arts. Let me see. Alculate sex identity, alclate set value. And now let's set the same value all over the body. All right. So we can start placing this. Let's first work with the torson All right. This is the arm around here. This is the leg. All right. We're having some troubles. Maybe we can change the stuff. This is like a puzzle. Maybe we can place it here. I'm from this area. Yeah. Perfect. Now the arm, this part is the other feet of what we don't have space for that now. What is this? Oh, what we have separated? That should be on the feet. On the leg, I mean, that volume. All right. Maybe we can make the body a bit smaller. All right. Let's keep going with this. I All right. Now, this part is the right arm right arm here, that like perfect. These parts are the ears. We need to place them somewhere maybe around here. Alright. This is just like a bustle from this area. I do some safe mental. All right. Now it's just the fit and the hand that is left put inside this fit and go there. And maybe we can bring this up a little bit. All right perfect. It's important that our Bis doesn't get outside the square because that will cause problems when we get this model inside sounds painter. All right, so take that in mind. All right. So we have our stuff, our body here. Perfect. This will be the texture set or the body. All right, maybe here on the UBS on the face, we can do something to address a bit of the distortion that we are getting around this area. Maybe we can do some relax. What is that area? All right, this one. Oh, it's not too strong. On right, do something here. I grab this, and then press the bottom to get the proportional editing, and I will make this soothe because I want to get rid of that portion that we are having on the shin. All right. Maybe some tweaks. Just a bit. Lender doesn't have really good tools for UBS. I really like Maya more for this purpose. But we are using now Blender. I don't want to add another software to the schools. All right. Maybe a bit bigger. Maybe some relax. Oh, that's not the relax. Oh. You know, also, maybe we can do something here. Just a tip. I think we can leave the body like this. We can start working on other pieces something here on the breast. Well, the breast will not be seen too much. We can leave it like that. We just a twig. A quick a quick tick, maybe. Yeah, we can leave it like that. We don't care too much about that. Alright, let's go now to the class. What? What is this? All right. I will just put something here. It is. All right, perfect. We can start working now on the cloth to the jacket. The process will be kind of the same like the body on the shoulders, I will add. So since I want to separate the inside from the outside. We can apply here the solidify modifier now. And I will place some themes in these edges. All right, Mark im. Also, on these parts on these 90 degrees plane changes, it's important to place some themes also because in that way, we can reduce the distortion that will be making those parts in the UVs. Right around here also. In this part also, perfect. Around here more sms Perfect. Now we're ready to go. Oh, I missed something very important around this area. Maybe around this area here. Perfect. Mark him around here, maybe Perfect. We can do the SIMs. I mean, the UVs, and we have here perfectly done. What is this? I think that the inside. Let me do something here real quick. I just hide the outside. I have not netted Alright mark SM and here also mark in no. All right old age. Us. That part will not them really. I think that we can something that we can do here is just we're going to delete. Well play some sms there and I will delete that part. All right. Here. Them but right, we just do phases. So in that way, we can take some polygons. Perfect. And we have less stuff to work with. Now, I want to make this straight. It's really easy here. Just select one edge and press align horizontal here also, and now align vertical. Now we're going to select this one and press follow active quad and we will have rubies straight. That's really handy. Let's do the same process here. All right. Now we have our Is there, right. I want to put this on the side. Later on, we're going to be organize them. G quick. Alright. Perfect. That's safe. I will apply the shaker material that we have made at the beginning. Alright. So as you can see we're getting some distortion and we'd distortion there. What's ten Everything is weird here. I Lenders lagging Alright. D? Oh, I just forgot to do something here. That's why we are having those distortions. I will place I don't want to place a seen there. Alright, let's see. I need to sink this area, but I think we don't have we don't have I will use the something quick. Here. All right. But et's wait what we charge the hi body. Want to see the hypodi real quick. Alright. Let me hide it again. I need to place a seam in this part to get rid of that unwanted distortion. In the high poly, we can maybe put some thin detail just to hide that sin better. But I think that will not be a bit of a problem. Nowadays, it's really easy to hide that sin. Maybe here, I will add just another sein. We don't care too much. Alright. Perfect. I would select everything, but no the straight parts that we have made because I don't want to make them again. All right, we're having more troubles. Let's see what we are getting now. What is that part? We're getting some troubles here. Oh, in this part. Alright, Mark Sim. I'm here also. I mean, I can leave it like that maybe wrap. Perfect. But we don't have any more that weird distortion that we have it there. Alright. But now, our UBs are not that sprad. I let me see what we can do. I press W. Here you can select some stuff. I just colected the select circle. All right. Connected. Oh. Let me see. I should want to get this a bit straight. Well, it's not working why it doesn't work. Maybe a bit straighter. Something like this. He also. A bit more straight around this area. All right. Perfect. Now we can use big wrap pull this down. Just a little bit. Now we're getting some little distortions. We can make them better. The relax will not do anything. Yeah, it's doing something. But it's not like they relax from Maya. I think that's better, kind of. Yeah. All right. Now we have the body. I mean, that part of the jacket, right. Here, maybe we can do the same thing. We can grab one oligon and just pull this down just a bit and then use the grab and pull this down also. Be sure that your squares here stays squarish as possible. If they are not too squarish, is a bit bad. Like, you can see here, we have some candles. But I think this part will not be a big of a problem maybe maybe it will be. Let's see if we can fix it. Alright. Let me see what the relax does here. This is working pretty nice. I think the relax brush got improved in this version. Working pretty nice, indeed. Alright, I will save. Now, it's a lot better. Let's see here what we can do. Alright. Let me do some relax. Or not or no, we're getting some weird stuff. Alright, let's see. The thing maybe we can make is a bit straight also. Here, I make it a bit straighter. Oh, this is changing. I don't remember of writing. Is art. Alright. We can make this a bit better. All right. So relaxing. Maybe this part a bit. At Let's see. So relaxing. These places. Perfect. Let's see. One thing that we can also do is pin the rtssT see what it gives us. I just press the P bottom. I will save before that. All right. Let's see, select the UV and then grab that will automatically in place our stuff better. Let's then think on the other side. But one thing that we can do, baby, because they are completely the same. Yeah, they are completely the same. I will just select this one. All right. I will select these two. I will delete them. And then I will cut off. I mean, the other one this arm because the arm that doesn't have the US rate, I will delete them. And now I will separate the from the body, do some mirror, apply mirror modifier. Alright. I will merge again. With the body and then do some merge by distance, and that should work perfectly. But we can see if our vertices are not working very nice. Let's see, we apply some subdivisions that often can show if we have some vertices that are not well welded together. All right, I think everything is good. So we'll delete that subdivision modifier. And we have now our US perfectly done here. We'll select this and move it to another place and then do some mirror Y or mirror X here because this is the left side, the left arm, this is the right arm. So to have it correctly represented on the topology, I mean, on the UVs, is good to mirror them. All right, let me see what this Perfect. Is part right. Nicely done right. We can move that the side and start working on other piece, right, safe. Maybe we can start working on this part. We'll be really straightforward. Maybe here, we can delete the middle. I mean, the middle, the interior faces. But now in the breast area, I think there we can leave All right. Before that, I will just apply some things before applying all the modifiers, because we have the mirror, we can take advantage of that. We still have the mirror applied here, put some ms quickly. Or right now, I will apply everything. In these parts, I will add another seam right here also. Perfect. Me seems. Alright, here, too. And now I will delete everything, but not the breast part. We don't want to delete that part. Maybe. From here, we can start deleting All right. I'm here do. All right, I would select this And then just do some delete pass. And that should be good enough. Asean? I forgot to delete this one. Now it should be working nicely. All right, pass. Now that puts the What I think I form something important. Lateral, maybe not the lateral. Maybe we can do some middle one. Around this arrow, we can slit the that. But that's a bit weird. I don't really like that UV. I always do some lateral UVs. And that, right, perfectly done. This is the breast barrier. Let's apply the checker material. Checker, perfect. Everything is smooth, right? Here. We can just let's apply solidify and just because we got solidify with this option activated, the only ring that will just make an illusion of sickness. I mean, we'll just shoot the mesh border. I will not put some interior faces. So if we apply that, we don't have to delete interior pass and then it's just to put feel seems in this 90 degrees plane changes, and do some grab. And there we have it perfectly done. Maybe we can make this a bit straight. Alright. A bit more straight. Little by little. All right. Per pet here, too. Bipart All right. Maybe here, too, little by little. Alright, we can do some Oh, we got something weird there. I have applied dish pacer, see if we got anything weird or getting some stuff. All right. We're getting some stuff. All right. Let me just put this a bit closer together just to try to get rid of the siding polygons here. I think I will just leave it like that. Sometimes we making the things straighter. It will make some distortion, but I don't think the distortion in this part will be much of a bad thing because they will be id with the jacket. Let's see, these straps. They are really straightforward. Just put some polygons, I mean, some sins in those areas, and that should be it. Perfect. Here mark sing I follow this one, Mark. Alright. Seems. They are almost perfect. I will just leave it like that. Alright. So, I think we can keep going with the UBS in the next video. So in the next one 55. 02 Starting Uv Unwrapping Part2: Alright, guys, in this video, we're going to continue with the UBS. So let's get going to do this fast. The UBS that is left to do, they are really straightforward. All right, like this rope here is just adding two seams around this area, and maybe one seam under a plus to hide that. And that should be it. Alright. Maybe we can even just delete this SIM here, clear SIM. Let's see what it gave us. All right. Now it's just to make the UB Island straight. Let me do the technique I show you before just aligning those edges horizontal and these two edges vertical, and then do some follow active quads and the UBs will be straight perfectly straight. All right. Let me apply again the hacker material that we have made. As you can see, these squares are perfectly shaped for. Let me move that to the side. In these two stuff, we're going to do the same thing around here. Maybe we can just leave one arc seem perfect. Now, I will make this straight. Ooh. Here. Align, align. All right. Select follow active quad. Here, too. Align horizontal line horizontal, vertical vertical, select the face, and then follow active quads. Perfect. Let's move that to the side again. Let me add the checker texture. Perfect. Let's see these bars. All right, this will be really straightforward. We can add thems around this bar. Right, one seam that goes around this edge loop and four seams in the corners. Right, and grab. Let's apply the checker material. All right. We're getting some stuff where We getting some distortion in this area. Let's fix it by hand. All right. Let's try. Fix it real quick. Like this, maybe. I this part also Or right. I need to do it here, real quick here. Perfect. Perfect. Perfect, perfect. All right. So I will just move this to the side or now. All right now, let's do the UB for the rest part. I will just apply one seam around the ed. The inner one, no the outer one. And one thing here. All right. Sorry. That was my dog. Well, let's continue. I will add Sims in these corners or let's mark SIM or light. We don't have to add the SIMs here because this doesn't have 90 degree corners or maybe yeah, have to add them there. I will just create the UVs, apply the hacker material. All right. There we go. We'll just move it to the side also. Let's make this one. Straightforward. The same thing. All right. Here, I'm just selecting this edge look. The inner one. Alright. Perfect. Now here, I will do the same thing. Life or write in these two, Mark sim I will apply some sims in the corners like this one. Maybe this one. Well not I don't think so. Let me do something quick here. I will just apply one edge force the triangulation here and make it look better from the side. All right. I will apply it seem here. Two more in these areas. One more here, maybe, maybe two more here. One more here and one more here, perfect. It should be I forgot to apply some SIMs in this area. If we don't apply them, we're going to get some weird results. Alright. Let's sing. Grab. Let me apply the checker material. Alright. Let's see what this kip us. Alright. Almost perfect. We're getting some weird distortions in this area. Let's see if we can fix them. Let me see with the relax brush. It's not fixing it. Maybe with a wrap brush, we can we can do something here. Trying to make this a bit better. Alright. That was nicer on right. Let me see what we can do in this area. Try to fix that distortion or at least make it better. And something like this would work. Alright. The stuff here. Alright. I think that's better. I think we got to keep going with the rest of the Ubis. Alright, we have made those. Let's make the UBI for things part. This really great forward. Let's see. Alright. Not stuff here. Et's do. Things the corners and also in this part. All right. Now what we make the use wrap perfect. Let's apply the checker material. Alright. We have them. Perfect. They are perfectly done. There is no fixing needed there. All right, let's see. Let's make these ones. Maybe we can delete interior. Yeah. This is? I think so. We don't need them. And I will just make the seam pointing to the body so that it's a bit hidden. Let's make them. They are perfectly straight. We don't need to do more fixing in those areas. S here, we can separate these two parts. And now I will put some sin in these areas. Alright, and we put another sins around the top right. Now, this should be perfectly done right. Let me put this back to an point right. I will just move that away. Let me apply the checker material. All right, Shaker here. Perfect. Let's do the same thing here. I already have Mobis for this. Let me apply the checker material. All right. Now, let's do the ones here would be the same process. Separate these two and these two also. I would put another seam here. Here I will put another seam. And now in the interior part, I will just add a seam there. All right. All right, so let's make the grab. So we got this. Let me see what is this part. Alright. We can make them spray. Let's just align these edges and then do some follow active watch. And this is straight. Let's do the same thing here. All right. All right, perfect. We can move that away because we're going to organize them later. Let's see here what we can do with this. Let's mark S. Let me see. Alright. I will put another seam here and here. Maybe maybe we can leave that part there. Let's see what this give us. All right. We got some distortion on this area. Let's see maybe we can separate these put some YUV sems in these corners, and that should be good enough right. This is good enough for us right now. We can leave it just like this is. All right, we move that away. All right. Let's see here. We can separate this Maybe I will just leave this part without seem because I want this to be stick with this other part. Right, I will put a seam in this area. All right, another one here. Perfect. I will put another seam in this area. Perfect. So on grab again. Let's see. Alright. Alright, maybe we can do something crio qui here. Let me see. Maybe we can align this horizontal, this other part car horizontal. All right. This part very thickly. And the other part vertically again. And now I will pin those edges. I will make this bigger, and then I will do grab, and this should be perfect. Perfectly straight in this area. But we're getting some stuff wee. Let's see if we can fix that here, too. All right. Let's see again. Perfect. Maybe we can leave it like that. This is just a way that you can get straight us with a hole like this inside. Let me put this better. Let's do another wrap here. Let me see if they relax is doing something. No, not doing anything. Alright. We can leave it like that. I think I will do the same thing here. With this part, as you can see here. All right, let me move it. With this. Perfect. I will do the same thing here Orizonto Alright here. Orizonto. Let me make this a bit bigger. Alright, we're getting some stuff. Horizontal, here, vertical, and here vertical. Again, perfect. Let's make this a bit wider. All right. Or write this part also a bit wider. Now let's hen this with the P bottom. And let's do some ungrabT should be perfectly straight. T's see here. But getting some stuff weird. Alright. Let me try to fix some distortions. And we can just keep going with this. Alright. Let's see what other part we can do. Let's do the UVs for these metal pieces. They are really straightforward another themes in those areas. One theme that I can give you when you're doing themes, placing your sat for you is to think about the primary shape that is the object that you apply the seams. Like this resembles more like a cube, and the cubes, the seams are going like this on the corners on the e on the corners. All right. If it is a cylinder will be a one seam along the wider part and other two seams on the caps. Alright. If it's a sphere, you just put that in the middle, and that would be it. We see what this gives us Ar perfect. I will move this away again. All right. Let's do the same thing here. Maybe we can delete, let's see. I will just leave it like that. And we'll just put some seems here because it is a a cylindrical object. We are going to put the scenes like this, and this should be okay. We'll do the same thing here. Perfect. Apply, and let's see what this gives us. Oh, let's apply the same in the full edge loop. All right. Now, this will be good enough. Let's make them straight. All right. Perfect here. Right. Let's do the same thing here. Perfect. Also here. All right. And let's see, leave it here. At horizontal and vertical. All right. Perfect. Let's move that away. Let me apply the checker material. All right. Let's see. All right. Let's make the rhomboid shape before that. This is almost like a cylindrical part, though I would do the same process for this piece, and this should be good enough. As you can see, maybe we can make this straight also. Tontalzontal, vertical, vertical, lo active quads. But this is giving us some really distorted UVs. Why is that? Maybe instead of placing the UVs like this, that seems, I mean, we can just cut in half this rhomboid shape. And this should be giving us venter UVs, I think. Let's see. All right. I think they are white beater. Let me see if we can fix some distortion here. All right. Let's see. You are two on right. Maybe trying to fix that the best that I can here in blender. And seeing this part Let's do the same thing here. Just moving around the vertices. I think that I will leave it just like that. I don't take too much time mixing those Us. They are really small part. All right. Let's keep going. Let's make the UVs or this neck color around here. Perfect. Make them. And let's make them straight with the same technique that I show you call active quad, right, a line horizontal, a line vertical. I'm just phrasing right click and then line with the edge mode adtive All right. Let's move that away and place the shaker material here too. Here will be pretty straightforward UI that goes around the shape like this. Oh, I forgot to apply the mirror modifier. Right. Let me move that away again. Right. Let me apply the shaker material. Perfect. All right, almost every scene. It's done. Let's see here what we can do. We're getting some software in this part. Perfect. I will play some Ubis in this cup here. So scenes. Another one in this area. I will just cut is one here. Alright. Maybe we can place the same in that area. Or maybe in the back. Hmm. I think that we'll just leave it in this area. It may follow or maybe not. I think on the back would be the best vase. Maybe, yeah. It's covered by the dress. Alright, let's see. Here we need to separate the stuff to get the best results. All right, Mark Sim, I think, let me see first what is give? Is this giving us, let me apply the checker material. Alright. Let's see. Almost perfect. This one would be smaller because that's the inner part. I will not be shown in the real model. Just make that smaller. And these two stuff. But is this. This is the back part. You can move it here, and this again, make them motor. All right. We got the UVs, here, let's see. All right. In this area, what we can do. We can make M UVs here and a middle one maybe here on top or white. This should be good enough or white. Because the shape is perfectly cylindrical, our Us are perfectly made if not more fixing needed. I will just move it that away. Let's see here what we can do. I think I would place some UBS in Zaria. Right, I would place another UB on the middle here, right. Another be here, and more UBS on the corners on top here. And this should be good enough, let's see. All right, you can see sugar material. Perfectly done. Perfect. The UVs are quite easy process and fast process to do. Alright, let's see here. What we can do All right, the sing. I will place some sins in this area. I just want to separate the from the rest because you can see that that part will not be seen too much or maybe here, we can place this part here. Alright here is better. Right. Let's see what we can do in this area. This is a bit more complex upbjet. Alright. Maybe we can separate the UVs from here. All right. Mark Sim. Let's see. Mark seem again, Marv Sm, right? Perfect. I just fall in that shape. And then I will apply some Ubis on the middle here. So we got this piece separated from this other piece. All right now that other piece, let's see what we can. Maybe we can separate it. Let me see the hypod first. Et me pause a little bit. All right, let me see. The hypoi I think that we can do it. Yeah. Let me hide again the high poly. Let's keep working. Let's place the UBS in this area. Et me. Let me see something quick. Yeah. Let's just keep going with this. Right? Let me see how the UVs are looking. Checker. We're getting some big distortions here. This part. What is this part? That's the top part. This is this other one. Right? Let's see. Perfect. This is the soul. Let's place some U I mean, some seams in these areas. Alright. On the corners here. Here also on the corners. More here. Let's see what it's giving us. Bit more relaxes UVs. But this is still not working very well. Alright, let's see. We can try and separate the soul part, this part here from the rest. And that to be good enough to fix the distortion. All right. Round here Mark him this, and there we go Oh, What is this? I don't want the UBS to be there. I want the back part here to have the same. All right. Maybe we can try to make that right. That's on the proportional editing, right. Just to make them a bit more straight here two. It's a bit more straight. All right. Let's see. Perfect. Let me use the grab brush here and try to make this a bit feather. Alright, I think that we can leave it like that. I will just save save incremental. All right. Perfect. We got the robot leg UV. Let's do the same thing here. The robot arm. Let's play some UVs in these areas. All right. We all straightforward. I will place another them here in the back. Right. That should be good enough. Let me apply the checker material. On right. That s will move that away. Let see here. We can just apply some stem here, and other them maybe inside here, right on a middle them maybe in this part, maybe that should be good. Hey, let me see something. I think the sin can be hide better here with the tubes and that stuff. All right. Let's see what it's giving us. Perfect. Let's apply the shaker material. All right. We'll just move that away again. Oh, here, we're getting something weird. This right now, it should be good now. Oh, wait. Let's continue with the join here. Right? We'll just place some middle them here and don't think too much about this. This should be good enough. Yeah. Or maybe we can instead of doing that, the lazy way, we can do it. A bit better way. See, Alright, I think this is better. We'll just move that away. Or right. Let's see. This part is another cylindrical part or right. Let's see. Let me put some seam here. And the seam in this part, I will just put it here in the middle. Alright. Like mark IM apply the checker material. And let me see if we can make them a bit straighter. All right. A bit distorted. Let's see what we can do. We can make this a bit more squarish. All right. Let's see here or here. Let me see here in this part, maybe we can make that a bit squarish. I missing, that should be good enough. But I will not worry too much about that. Here, I will just split this in half. But first, I will add some rupees in these areas right All right. Perfect. I will SIM in this area. Mark SIM, another one here. Another one in this word. Let's continue with the sims, and this should be good enough. But to wait, I think I forgot one piece. Let's see what is this. Oh, yeah. Now, this should be good enough. Let's select that and put some seams there. Now everything is perfectly done. Check our material again. I move that away again. All right. Let's see here, I will put some seams here and here, in the inside and one here. All right. Car material again. This is perfect. All right, let's do this joint. I will just place some Usan some seems here. All right. And this is perfectly done too. Let me apply sugar material. We can duplicate that joint or the rest of the joint of the fingers because if we made them and make one UV for each tuff will be really that would be necessary. We can just duplicate this and use the same texture that will be applied to this part to the rest. All right. Let's do the US for the fingers. Let me say first. Then All right. We can put some stuff here. All right. Mark him one in the middle. Another one in this part. All right. Perfect. It should be good enough. I forgot to place some sims on the corners right to avoid some distortion in those areas. Mark Zim. Mark Zim. Let's see here, Mark Zim. Perfect. I will do kind of the same process in this heap. All right. Mark him. And here for the tip, I will just place Ubis like that. Alright. Let's see what it's giving us. Let me apply the checker material. Alright. We still got some stuff big together. The Now, this should be good enough. This is the rest. This, what is that or right? Or right for the rest of the finger will be the same process that we did on the sum. So I will pause, and then I will get back to you once I make the Ubis for the rest of the fingers. Let me save or we see you in one moment. Or right I have made the UBS for the fingers. So I would move that away and let's see what is left to do. Or we we got almost everything you beat to the bandages, that will be just really straightforward. Since they don't have interfaces and a scene. We can place the Tin around the back area, maving. Yeah, we can place the sins in the back. Let me select all the bandages. Alright. And I will just place things here. White. Perfect. He and clue. Alright. Let's see this part. What is this? Let me select this. Ah. All right, this. Maybe we need to make some dirty seam. Because the tropo is not the best year to support the SIM. Maybe we can just apply it here. Would that be ideal, but we can live it like that just for now. Oh, right. Let's place the SIM in this part. Oh, let's see. Here and here, perfect. Right. Let me select everything and then just do some Oh, some grab. But something is weird. Some parts are weird. Why is that? I think we got with this part, I haven't deleted the inner phases. Let's do it now phase right here also. Perfect. That should be good enough. I will delete that sim. All right. Let's select everything again and see what is this seam. I think I haven't deleted the inner pass here also. Let's just delete them. All right. Let's select everything again. Let me say first just in case they crushed. Right. Let's do it again. Everything is almost perfect. All right. We can make straight almost all the pieces. But these parts, no. Let's let me apply the checker material to apply them to all the straps. We can do some Control L. Let me see Control L and link materials, and you will see we staff applied it. All right. Let's start making them straight. Alg line here, align vertical vertical or full of active quads here here. All right. Let's continue. This process, I think I will pause again and I will get back to you once I make everything straight. It's just the same process. Just select one phase and make it perfectly square and then just to follow at quad. I will get you in well moment. OR? We have made the UVs for the bandages. Let's do the same thing. On here. I pot to do the UBI for this part. You do it real quick. I would delete into your phasings. All right. I will just place one UBI here, one in I mean. Alright. All right, I will make this straight right real quick here. All right, perfectly Shaker. Right. Let's do the bandages thing. They would be pretty straightforward. I think I would add them in this area. I fact. Here, also. All right. Let's do it quick. Make them straight. Let me apply the checker material. I control L link materials here. Perfect. Do it same thing here. All right. Here, also. Effect. Oh, f right. Let's see here or right prep it. Everything is straight here. Right, let's do the same process in these little pieces. We can delete interior faces because they are not needed. Just place the seams inside and make them straight. Horizontal horizontal, vertical, and vertical. Let's select face and then do some follow active quads. It also. All right. All squads. All right. Then we apply the checker material. Once all L right. Let's see here what we have. We can do something. We can apply a middle g loop and then just use that body them and then just put some thins on the corners. Right. Two. All right. Let see. Able then apply the checker material. Control L materials, and there we go. And now let's do the UVs or the Is. You can see I just place a UV I mean, a SIM on the middle. And now I will do some grab. Oh, you can see that I got this error, the negative scale. It's really important when you're doing is to have your scale in one. So what I'm going to do is just to apply the scale, pressing Console A, and then scale, and this would be back to one again. And now the UE should be better now. Oh, right? Let me hide that and do the OBs or the IRs. I select them in the middle mark. Now we have the UEs or the IDs. Now we can do something here. If you want to make this more game ready, you can use just the cornea ash. What I'm going to do is just try to make the same UVs for each one. All right, let me do something. Quick here, I will apply the check material. So materials okay. All right. And now I will just make increase the and the back part, I will just decrease them. Perfect. All right. This is something. If I can match I bit better. All right. As I said, if you are going to do more like ready eyes, just use the cornea mesh, this part here and don't make the iris part. Just use this or your eye texture. I'm just made that iris mesh or marmoset toolba to get a bit more realistic effect on the eye. All right. Now we have to do the eye lashes. Mixing I will just do the same thing I did on the bandages, put a middle edge loop and then use that as the as the steam because I don't want to think too much about that part. Right here. Again, the same thing. Bit. Alright, let's apply the checker material again. Let me grab everything. There we go. Now the eyebrows. Just placing the sin on the corners or maybe there should be good enough or white. Let me do something. I will apply the mirror. With. We got the eyebrows. Let me do the same thing on the eyelashes. Let me do the seams for them. Alright, now the hair is left and the sort done forget the sort let me say if incremental. Allright Let me. The hair maybe will be kind of a challenge to make. I will select that middle edge. Look, we mark M right now, I will just keep going like in this way to try parate the inside from the outside. I didn't talk too much about thropology at the US while I was making the thropology of the hair. All right, let's see. We can move it like this it's something more like this. All right. We just keep moving this around these areas. We try to get the inside part separated from the outside. Alright. We apply the sins. Now, let's take coin. With this be here. Maybe not that bark. I here. Perfect. Let me apply again the sins. Right. Let's see here. Let me see what we just select this one here and just try to separate the inside from the outside. Let me see the other part, how I did it. Right? Sing. Let me apply again, the seems to get a bit better navigation. Alright. Almost there. I think that should be good enough. I won't bother too much about this park. Here. We got something eggether. See what is that vertex A right here. It should be good. Enough now. Let's see what are those vertices that are not welded, right? And I think we are good to go now. As you can see, the UIs are almost perfect. Yeah, we are good to go. This is the inside. All right. Let me move it that away. Let's do the UIs for this tiny hair strand here. It will be just straightforward. Pretty straightforward one. This is something. I think I press something that Helen Impressed. I will delete this edge. And now I will close these ones. Here some great fill All right. And now I will just apply one seam here separate the select these edges, then we are ready to go. Right let's apply the shaker material. We just leave it like that. I don't bother too much about this. We can keep going with the hair in the back part. Let's see. Let me save. Right? Let's see the back part. Is kind of challenge. Let me apply the checker material. I did some fry before. I didn't put any sins. I wanted to see what the UVs are without sins. And I think that we need to put separate the pipe get better results here. We can separate them. Right? Here also. I will just separate all these pipe. All right. Maybe this one, too. Here, also. In this part. All right. Here. Let's separate. Here, too. We got some nasty stuff here. Mark Sim or white. That's the here. Mark Sim try to separate everything from the main object. Right here I will just keep going in this part. All right. Mm. Let's keep going with this. I think also we can add a middle seam here to get rid of that distortion here. Let's be safe. I went to see how that look. Let me remove all the sm. This is just an experiment, and I will make some middle them around here. All right. Weak middle them. See what it give us. Alright. There are still a lot of distortion, but we'll do some control C to get back to my themes and I will place again that middle theme around here. I will just continue the scene this part. And then around here. And that should do the same thing. Then I kip applying some more sins around here. Let's see, maybe the spike my right. Around this area also? All right. Around here. Put it here. All right. I think we can just delete these seems here. A move. These seems here. Perfect. Let's see. More sins in this part and more and more sins. I don't know how many times I just said them in this video. I think these are. I have said that right, let me move the theme here. I think we got almost all the fights with some scenes. Let me save Cremental Alright. Let's seeing Sing grab. Let me apply the checker material. Rights almost perfect, but we need to do some one more step in order to get the spike without with less distortion. Just apply one middle tube there like this. Oh, right. Let me do the same thing here. Maybe around this area. Maybe around here. Perfect. Antisaio. Around here Perfet. All right. Ling We can place the same in this area. We have placed one there. Maybe one here. But another one in this area. All right, maybe one more here. Let's see. Yeah. I think one more here should be good. Another one here. More seams. Perfect. Alright, let's see. We need to place more seams around seeing that's all the seams. Alright let's do another grab. And everything should be better now. Well, right? Oh, why this part is not separated? I think I forgot to add one thing here. Alright. Let's see again. I think everything is perfectly done now. Alright. Let me do something here on crap and let me change on formal to see if this give us then the result. You just giving the same stuff. That doesn't do anything. Oh, we got one problem here. Alright. That should be good. Oh, and magically, we got our is fixed. By just applying that middle, that slope that same there. That's better. That's really better. I see. All right. Our UVs UV Iceland is a bit nasty, but if this work, it works. Everything is square. So I think I would leave it just like that. There should not be any problem. And now we have our entire character with SIMs and UV Oh, I forgot the oops I just dump. Let's see. Oh, I almost forgot about that part. I saw them before, but I just forget completely about them. Here. They are one edge here. It. We need to do the UVs for these parts. I will just apply. So those areas. Alright. That should be good enough. All right. More seams here and there. Well, right, let's see here. Right. And here also. And now, everything should be good. Alright. Let's make this straight. These other stuff, too. Right. Let's continue with this. Making this stuff straight. All right. Oh oh, right. So let's move that away. And let's place the checker material. Right now, we have our character with UIs, but it's just left the sword to do the UIs. So I think I will do the sort in the next video. This video is now a bit too long. So in the next video, I will do the Sims or the UBS for the sword. Where is my sword? Uh Let me do something here. I. What? Don't shock me that. This is not the sword. Let me see. Oh, my God. I just got trolled by myself. Oh, right. So next video, we're going to continue with the sword. I'll see you there. 56. 03 Creating The Sword Uvs: Or right guy, so let's continue with the UVs for the sword. That's it, let's hide everything. Let's start. I'm going to start with this piece. This is a cylinder will be super straightforward. We will be one seam in this area. Write one seem here, one here, other one in this marking. And everything should be good now. Let me just clear the scenes right. Clear a mark. Perfect. Everything should be good. What that I've made something weird. But let me clear seem right. Everything should be good now. Let's do mark them grap, and you can see it here. Maybe in this part, we can just delete that theme. Let's do then grab again, and everything is perfect. Oh, my. Let's sing. Let me put all right. Let me apply the Becker material. Perfect. Right in this area will be your seams in these corners, one here, another one here, and one last one perfect. All right perfect. Let's apply the checker material. Right. Let's see what we've got here. But it's this, I would want that, right? This is more like this can be done also. This will be just one seam here in this area. Just one seam here, and that should be enough. Alright, grab. Let's put the checker material. Alright. Perfect. S here, this is more like a **** sing. Maybe we can add a seam in this area. Right? Let me clear this part. The sim right. Now I will continue the seam to this point and here also. I will do the same thing here. Perfect. And I will continue it this part here. And now this should be grab nicely. Perfect. Checker, and everything is really good. Move it away. Alright, let's do the sort the blade here. We can just put a middle seam, and that should be enough for this. Let's do wrap. But don't forget to apply the mirror. Really important. All right, so here we got here we got two blades. One blade is a bit different from the other one. This is weird what is happening here. All right. I just change the grab method to conformal, and everything is the same. Let me see. Then let me apply the checker material. Everything's good. But here we are having some troubles. Maybe we can apply some seams this area, let's see. Let's see what we got here. Yeah. Mm. Everything, everything is better now. All right. But we got here the blade. It's still having some distortion. I met another stuff. Right? Now, everything is working nicely with no distortion. All right. We're having this part of it we made. Let me see. MElect this icon to see what is that polygon. I think this doesn't matter much. Bill I just want the plate to be a bit more straight. All right. I would do the same thing in this part. Because it looks like it's broken. All right, rotate it a bit. Perfect. Alright, let's see here. I just move it away, make it better. And that should be good enough. That's super tiny part to be seen, though I don't care too much about the distortion in that area. We move the plate away. All right. So we need to do the UBS for the tank. This is another cylinder, will be just one thing in this area, maybe here. Brown right, mark or seam here in the bottom. Maybe we can add another seam in this part. Alright. Everything should be good now. Alright, everything's perfect. Let me delete all these materials and apply the checker material. And everything is glut enough. Maybe we could move the seam to this part, this corner though we don't have that visible seam there. And I think that I don't like to much that distortion there. We can also try to make the seam in this area. Let's see what this give us. All right here, the sim. Oh. Oh, right, B Sim. And don't like to much that bar. Alright. I think that I will leave the sim in this area. I think that's what I'm going to sing. All right. So we got even spacing on the mesh. All right. Spacing them on the UB and sing here. I can delete these pack faces here. They are really needed. We just delete them. Let me do something mark M, and then I will select here with the L and then press SM here and just delete phases. We'll do that part quickly. Let's wrap. But give us, let me delete all these want materials. Check. And I think that's kind of nice. Alright. Let me just tweak it a bit. All right. Just trying to make the middle part a bit less distorted. Alright. I think this to kind us. And that good. I think that can be less like that. It's just a tiny part that will be right. We can leave it like that, but you don't care too much about it. That's just a tiny piece. Let's see here. This is another cylinder. Let's see. We can put the seam in this area. Let's put one seam here, another one. Maybe we can split these in two. We can put another seam here. One here, let this. Maybe we can also spit this here. Nursing should be nice grab. Let me delete all these materials and apply again the shaker material. All right. I think everything is good with that part. Let's say this rubber part here that just hooper way forward grab. And that's it. We can make this straight really easy with the method that I showed you before, a line horizontal, a line vertical, then select everything and do follow up the quads. And that's the end. And then the checker material just to see glans is going on here. Another cylinder, really straightforward. Alright, give me a second. Mark him right here. Mark him. Let me see first what this give us checker. Maybe we can split this part here. Alright see bit better. I see that's better, a lot better. Right. We'll just leave it like that and move it away. All right now, just this piece here that is left. Let me delete all these materials. Alright, we can put some seams here. Let me see something. All right. We can delete these internal phases. All right. Face. I don't care too much about that part. Alright. We can put the seam here. Round this part. Mark him. Alright. One m here, I will select that part and then just delete it. See if that is still looking great. Right. Let me sit again this part. All right. Here, we'll just move that piece. Let me see something. Alright. I will just put another sam in that area. Let's see and wrap what this give us. Let me put this sugar material and everything nice. Maybe we can split this stuff too. He here mark All right. And everything is good enough. All right. So we basically have the sort with Ubis and be safe incremental. Now, what is left is just to start organizing the mesh. So in the next video, I will show you how I organize my Ubis I'll see you there. 57. 04 Orginizing Uvs: All right guys. In this video, I will show you how I organize my Ubis. So let's start. Let's sing here. All right. Let me make this away. Alright, let's sing. Perfect. Now, what we need to do first when we organize UBS in groups, we need to make text sets. Where are the texture set? The text set are the materials that our mesh itself going to have. Like here, this material will be a textuSet. I will just delete that material from here and then make a new one. I would call the sword. This will be the name of our texture set, the texture set for the sword or right let's click Control L and L link materials. I will change the color, maybe some red, maybe some pink purple, maybe red would be nice right. So now that we have our texture established, we can start working here. With this add on, the Excel density shaker that you can find here and get extensions, I think, Excel density Shaker, I'm going to select the biggest part in my model. The biggest UB island, I think, is this late. And now I will just move it into the square or right. And then I will press here, calculate TD or calculate text identity. Then click here, calculate set value, and then select everything. Let me move this away quick. Right. I'll select everything and apply the textil density. Here. It will be applied. All right. So now everything have the same resolution. So we can start placing our stuff. Let me bring this closer together so we can see what's going on. All right. Let's see. Let me bring this a bit closer. All right. This is like a puzzle. This really like a puzzle. S we have our plates. Now, I will click here because I want to see what are the parts that I'm selecting. I will put this here. I always like to keep the orientation like we have in our model. Like if this is pointing up, I will keep this pointing up. Or right. That's also a very important part for the clot. In the clot, we need to keep our textures like that right here. Let's see what is this. Let me rotate it 90 degrees, maybe, right, or 180 degrees and move this around this area. This part, I will just move it here. All right. This part of what is that we can put make this straight. So what we do that Aline line, a line, then align again, select everything, follow up what? All right. We can make almost everything straight here. We make that straight. Neg follow active quads, here, two horizontal, horizontal, vertical, vertical, and this should be good enough. Here, two. Hizontal horizontal, right, align vertical, vertical, all active quads. And these parts that bit tiny part. I will just keep it there. I just want to add the biggest part before adding the tiny part. All right. Perfect. What is this? We'll move it here maybe also around here. That is that. Let's make this straight, at least this part. I think I will just keep that part like that. Because if we make these parts straight, we can have a bit of distortion. Alright. Straight. I think it's just a tiny part, but I think not. I will just leave it like that. I don't gonna bother too much with that piece. All right this part. I will just put it here on top. Be sure that your UVs are not overlapping each other because when we bake them, that can cause some problems. This part, I will just move it maybe here on top. What is this? We can make this straight. Stew it horizonta horizontaerio, all right. Perfect here, too. Le vertical. Perfect. Here, also horizontal, horizontal, vertical, vertical. Well, squat. Perfect. We can move it. Maybe around this part here. Perfect. This part, I will just move it and keep it here. And this other part, I will just move it inside and just place it maybe maybe here and replace it. All right. Though everything should have the same material. Let me see. I mean, the same resolution. And you see that these squares are kind of similar. This part can be like that, but in some other parts, you can prioritize the parts that will be seen more than the parts that will be hidden. Alright, let me just get back my sword material. And so, you know, big material perfect. We have our sword with UBS, and the UVs are organized. Let's do the same thing. But the body. All right, let me say incremental. You can also, if you are too lazy like me, you can buy this atom, Ubi pack usar, and this will pack the UBI for you. It does a really nice job on doing that. I think it's pretty useful. I use it often. And almost I don't need to do any twixs when I'm doing it, but this is a paid atom, though I will not use it here. So you can follow along without buying any harm. I mean, I use the speed topple, but everything that I did there can be done in the blender spoke. It's not different. All right, let me hide the sort and then bring back all the other stuff. Right, we have our body with UBS and they are organized. Let's see here the these parts, let me apply the sugar material. What is this? Where are they all right? Perfect. I will just put the same sel density of the head on the eyebrows and the eyelashes. But right here, click. I calculate set value and say my ID. Let me select everything. All right. I think it's nice. Let's see. Perfect. Just move it here, maybe. These parts. I mean, move it. Is there a so? Alright. Perfect. And then the eyelashes can be around here. Nice. This is the back bar. All right. Well, perfectly done. Perfect. Now I will create another material, and I will name it body or right? I will change the color, maybe some Yello then press Control L link materials. I think I will use maybe five texture set 140 body, 140 sore, maybe one or the cloth, one for the hair, another one for the eyes. Maybe that can be enough. Let's see what we can do. Or maybe other thing that we can do is to put the eyes in the same texture set of our body, maybe. That can be an option. But in the s paint we will need to move them up in order to texture them nicely. Right. Let's see first what we can do here. A right then, we hide the body of and these parts also, let me hide everything that is not the cloth. A right here, then we got here we got our our stuff. That's really big bulk of UbisOr Let me see what is the biggest one. I think is a dress. Let me move it away. Alright. Let me just move the UBS from here. What is that piece? All right. Because I want to have the UBS without overlapping. Here can be a good opportunity to use the UBPACmer and it will pack everything here. But I don't want to use it in the schools. So let's see. I can make this a bit small. And then see it calculates a value. Here, calculate take some density. I will take a while. Let me do it again. All right, let me safe just in case Perfect. Now I will select everything and then your calculatee value set MTD. And that will make everything the same resolution. All right. We have our UBS bits separated from each other. Let's bring them. Here, one thing that we can do, then it has one pack a UB packer from the fold. We can press U B and then pack Island. But that often doesn't do too much good work. We need to do a lot of fixes. Let me crank up the margin here in the rotation I would pack it this will take a while. As you can sing, let me pause. Alright. We are back. Let's see what this did. As you can see, this is not a very good king. Everything is too small. I don't like that, but at least we got our UVs near each other. The sate everything from here and try to place it nicely. Then we make this bigger. I will use this maybe not et's seeing. Everything is just so small. Let's see that can be Let me just put it nowhere. It's just This is like a puzzle. W be a bit hard to put everything here. All right. Maybe this part we can make it a bit smaller. Is the back part that will not be seen too much. All right. This part we can make it a lot smaller. On right, let's sing. But this part. This is the strap. This part is the robot leg or the robot tie. I foot it here. This part is the jacket. They seem a bit messed up, but not quite. Se like this. All right. You can see default Ubi packer. Blender is not very good. Maybe we can place this around here. Around here, maybe. That might All right. Let's see. We have a lot of pieces around This can be a very exhausting process to do. That's why the Ubi Baker don't exist because of this. We can break a lot our heads, trying to keep everything inside. We can make that bitmer All right. We need to place this somewhere. Maybe what we can do is just split the clause in two. We can split the robot leg and the robot arm in the own extorset I think here, that can be an option. I will do that. I will split the robot arm the robot leg in its own xu set, all right. I'm from L materials. Alright, I forgot the joint. Oh, here. Perfect. We got everything. We'll hide your robot arm. And let's try to do this. All right. We got a lot of things going around. Let me select each object to see at our does. But there is a lot of pieces. Why there are so many Let me move a 90 degrees. All right, this stuff here will also rotate it. Trying to match the alignment. All right. Perfect. This other piece. Let me move it and try to place it closer together. All right. Let's see this piece is from here. This other pieces from here. I think we messed up by doing the default you'll be back from Linder. I think that was a mistake. Sorry for that. Alright. All right. What is this? I'm like, Ah. All right. Perfect. What is this piece? Why we have this piece there? I don't know. This other piece. Why we even have those pieces there. Let's see here if we got any pieces inside, All right. Let's select again this. And what are those? All right. Let me select everything from here, move it closer. We export everything from this other piece here. All right. We got our two the cynic car accessories made here and placed it inside here. But we also got a lot of things going on here. This is pulling me out. But it's that part. I like everything from here. Move it away. Alright. Now, everything from here. Put it closer. Everything from here so closer to that piece. Everything from here, I will just move it again. I will rotate it -90 degrees. This pop would be rotated 90 degrees Let's seen here. It will be rotated 180 degrees. Perfect. And here we place around this part. That seems Alright. I just want this to be close together. All right. But are these pieces. Perfect. Let's see. All right. Trap. Let me move it off this a bit, at least that part. Alright, this part is from here. Alright. Emerge. Why? Let me do something real quick. Immerse at center, at center at center, and I will just leave it like that. Perfect. Let's say I just move this away. This part also will move it away. All right. And all these pieces, what are they? All right, let's send it like this. But it's somewhere, maybe rotate it. I need the grease, select these pieces here, but it's closer in this area. Maybe we can rotate it I 90 degrees, too. And I make this make it nut. Alright. Let's see these pieces Let me move this closer to these wraps near the Runway art. All right. Move it just here. Perfect. All right. Let me select this. Move it near here. Let's seeing the other two will be near the strap. In this part. Alright. What are they? Here, this part will be near the jacket, the little jacket. When all these pieces are just wraps and bandages and let's see if we can organize them closed, you know. Alright. Let me just put everything near each other. I just want everything close on tails. Alright. Let's try to make it lose as possible together. Maybe not much. Alright. These bits also Let's sing. Alright. Let me select everything again. I will deselect the hand bandages. Ah. Let me move this away. Alright. Let's just keep organizing this right rotated 90 degrees. These parts 90 degrees. These two parts will be rotated 90 degrees. We can put it somewhere here. The part will be here and this other part. Will be here. All right. Let's see how we put this part here, and the other part will be rotated 90 degrees around that area. And here is just the hands wraps. Alright. I didn't raise grading. Bottom. Let's see. Let's put it around this part. We move this closer together. Alright. Theo stuff, the other stuff will be rotated. And there we go our hands. Ropes. Advantages, let me move each group a bit closer to the square. Get a better view of them. But right. And now we need to we get everything inside here. Let's see this part thinks that this can be a bit smaller because that is hidden. This part also, let me see that part will be a lot smaller. Also, the part will be smaller too that they are hidden. If we can put these around this area maybe to get the mats of our space that we have available. All right let me save again, safe incremental. A right. Let's see. We can try to put everything of this stuff inside 'cause this is taking too much space. It's taking too much space. We can make them a bit smaller, maybe. Maybe not too much. This is just what is to be inside. Right it is 180 degrees. Maybe it. Let me bring this up a bit. Alright. Let's see what else we can do. Alright, this is a really technical part. You can skip the process to the point that I have publishing, organize, and just place it like that. It's really boring, art to watch. I know that. Don't worry. Ripe or can be here. But what we need to still face our and this is inside. It would be kind of pins the doom It's the jacket. What part is that? It's the leather part. You can rotate this 90 degrees and try put it around this area, perfect. And then move this away and try to move this to the left. I mean, the right. I would put this here. What are those? All right. Let's sing. This stuff it's hidden. We can make them smarter. We don't care too much about those pieces. They are hidden. This part. I will fratated at these pieces. All right. We can delete that this part. Alright. Et's see what we can do with this. Maybe try to stick around this area. Micro 30 By degrees Alright. Maybe try to stick them around here. Perfect. It rotating. These on a touch and ground there and put some stuff inside. Alright. Let's see if this can be here. Perfect. All right. This other part around here. Let's try to stick the jacket inside the Earth. Maybe the jacket around here, the back part. Around here. We will be the sleeve, the corner? I don't know. This is really tricky, really, really tricky. Maybe 90 degrees. Put it here. This is super tricky. We still need to put a lot of things inside. I'm tend to use the UBBaCmser All right. Let me save again. Let me try to put inside these pieces. We can make them straight. Let's put them straight. All right. And here, too. Right, we need to still put everything inside. Oh, my God. Let me try to with them. With this stuff that can be a lot smaller. Alright. Just rotated 90 degrees. Perfect. All right. Let's see where we can put this stuff. There are a lot of space for them, at least. We can put it here, this is square stuff. Let's see here we can rotate its 90 degrees and make them close as possible. Alright. Perfect. That she will still need to put this leaf inside. And this part, this part, we need to stick it also. We really don't have space for the bandages. That will really hurt my head. It I think one solution that we can have is just to use another texture set, but I want to All right. Let's see. Oh, my. We can see something. Let's see what the UIPACmster gave us. I don't want this to be rotated. I will activy stuff and then pack. Oh. Alp. And every since pack inside, like art magic. I really recommend you to buy this iron, really. It's really worth it. You can see you can save a lot of of head tches by just using this ton. This is like magic. Is a lot like magic. I think I will just leave it like that. But you saw kind of the process. If you don't have this atom, you can follow that process. It will be a bit more painful to do a lot of head ashes, like I was getting. But this is really good atom. I really recommend you to use this atom. Though I think I will leave this video here. I'll see you in the next one. 58. 05 Finishing Uvs: All right, guys. Let's keep going with the UBs. So now we need to organize the UBS from the robot part. Let me hide real quick everything. But now, the robot part body. I mean, normal part, maybe. Alright. Let me put everything inside there. I think I should delete this stuff. We'll just put it here. All right. Let me put everything inside here. And now let me hide everything right. As you can see, we have made our robot parts in one texture set. So let's start organizing all of these. Oh, without a bit of problems. Let me see if I can take everything from the fit, put it closer together. I think that using the packer that comes by the ple which blender with and error, we got everything too small. A, let me see here. All right, let me put everything closer together. Perfect now here. All right. Perfect. We put around here, maybe. Yeah, here now. Alright. Here is our robot leg. Perfect. All right. Let's see what is left. This part is the robot arm. The leg, joint. Either perfect. All right. And the rotated 90 degrees, perfect. Now, let's select this other part. All right. And rotate slightly decrease again. Minus slightly degrees. Perfect. Let's just put it here. This part is one of the tubes. I think this one is other part of the tubes. Let me select everything off the tubes. All right. Perfect. So we can put them closer together. I put this closer. All right. We start the chips. Perfect. Let's see here. All right. Tetratgres again. What is this part? Uh let me see. All right. Let's just put them closer together again. A or right at here. Perfect. And now all these parts are from the and. All right at see, this is the palm. Yeah, that's the palm. Let's move everything closer. All right. Perfect. Alright, let me move it. Don't work else. All right. Nice. Let's do the same thing. On the other pieces, it is the joint. We move it here. Perfect. And now all these pieces are the fingers. All these pieces are the fingers. What is this? Oh, I just forgot about that. When we sing around here. Nice. You should be closer to Perfect. She right. It's the joint. And now we need to select. I will select the outside of the fingers, just selecting this option here, the seam. So now I will be able to select just the outside because I want to separate the outside from the inside. Put it closer because I will make the inside smaller than the outside because the inside is not too visible. So that's not really a problem if we make them smaller than the inside. I mean, than the outside. So I will do that. Let me just put this closer together. What is this? I got something weird here, yeah. Right see What's that I get Weird what was the part. All right, I see some ground here. Oh, yeah. Here it was Mm. Now, this should be good enough. Alright. Let me pick the Excel DN CD from the spar catag a crest value at my CD. All right. So I will just put this here, and then I will just do the same process with the insides. All right. Putting them closer together. Perfect. All right. Nice. The thing that we can do with this Alright. Perfect. Now we have everything establish. Now, it's just a matter of putting everything inside. Let me see if I'm able to do it without using the poker. All right, it starts. First, let me see my cheger material. I will put here a chegar texture, control T, ub into vector and color into base water, and just crank up the scale Alright. Perfect. I sink we can make this a bit bicker. Perfect. What is this part? It's the inside of the tie. We can make that a lot smaller. We don't need that art, but I don't want to delete it. All right this around here. This is the c. We can move it here. We can make these pieces a bit smaller. All right. Let's see. These part is the pitch. All right make it rotas 90 degrees and put it here. Rotate part again 90 degrees. Put it So were in this area. Put it around here, maybe. It's part, what that and make it a bit smaller and put it around here. As the sole. All right. This is the joint. Smooth it, rotate it maybe and put it in this area. Perfect. All right. The piel is good. Let's see here is the arm. Let me put this first maybe on top here. This piece, I will put it around here what is these parts. But that's the tight parts. We can make them a bit star. I start starting placing the around these parts. I will move it. I will move them here. Maybe this is a bit smaller, right? Alright this part, I would move it here also. Let's see. This is the joint of the arm. We can put it here, maybe. Let me bring these pieces bit closer to that area. I will make the closer together also. All right. Let's see what is that. We move these around here. Perfect. Let's see these parts are the tubes. All right, we can put it here, maybe or maybe we can update it and put it here on top. Alright. We can put them here, maybe. All right. Let's sing what is left. Let's put the palm. All right, let me rotate this 180 degrees. A range. There like that, maybe. Yeah. Perfect. We'll put it there. These parts maybe will be not very visible. We can make them smaller if we need. Alright. Perfect. That piece can be a lot smaller. All right. Let's move them there. This is the finger joints. We can move it here. Maybe we can make it a bit bigger. We can make them bigger. I want more solution in the joint. Alright. Perfect. This is another part of the palm. Make this piece a bit smaller. All right. Now we need to put these parts of the tubes inside. Let's see. We can make these circles of a lot closer together to save space. On right, let's put it closer together. All right, perfect. A around here. M red. No, I will put it maybe around this part. All right. A lot closer. Perfect. Now we still need to put all the finger stuff inside. It is the outside. Let me rotate it to a same axis. Avoid any weird tough while texturing. All right. Why is this? I got another weird tough feel. A in this area? No, not snap there maybe here. Stuff. We got a nege that is not falling splitting. This piece. But where is that edge? Where is that edge? All right. Oh, here. What is this? What? Oh, what this piece Mark him Perfect. Grab. Let me do some pet. Perfect. Let me pick the excelenity of that punny piece. And we put it here. Perfect. He's doing something. What I'll collect that pio. The pier at my GD. And now it's working nicely. Let me move this somewhere else. Alright. Let's just keep putting some stuff finger. Alright. Maybe here. All right. Let's keep organizing this. Perfect. Let me put the same text identity for all those pieces. Alright, I will just move it here. I think we can use more of the space that is left. There is a lot of space left there. Alright. Perfect. You see this. This will be here. We still have a lot of space here, a lot of wasted space. We can use that. Let's see. We can make a lot of things bigger. All right. Let me see something. Mm. We can try to use this. Let's see if we can maybe make the beat. Let me think. Maybe we can try to make all of these pieces a lot bigger. Let's see Texel density, calculate set value. Here's set value upset value. A right. Let me put the same text delegit in everything. We need to arrange again our UB. What to do? Yeah. We're all a second. Let me make this smaller in the middle. This piece will be also smaller. Right. The move. Oh, what is that? This piece will be also smaller. We'll just put it here, maybe. One right. Perfect. Let's think I a lead space and let me just move. Let me see in a way All right. And if I could put the arm. Now, the toots Alright. We can try good inside the feet, also, maybe here on top. I think we can make space for that. Yeah, make most somewhere else. Alright. Let me see this part. I Perfect. This piece will be here, and this piece will be in this area. This empty area. All right. This piece will be around here. This is the mean joint. Maybe we can put it here and the circle stuff and be around here. Let me just try to put inside the fingers. This is the inside. I will make them smaller. And now I will try arrange better finger Ubis All right. We can put them here. And this can be a lot closer. These pieces can be a lot closer together. All right. Perfect. Right here, what is? Here. Nice. All right. This will be here. And now let's try to add the palm. All right. Perfect. Let's see where we can put these poll pieces. Here. This is like playing Tetris. My here also. Let me put these things. Maybe we can do something. We can put this make this a bit closer there, here, move it. Put it here in the middle of the pieces. That can be around here. A lot closer each other. Perfect. We put some of them inside here. Perfect. What is left to put inside this word. Alright. Let me sing. What is this art? Let's see if we can make some space for them. Let me move this a bit below here. We can put this circle stuff of the knee joint around here. And then we can try to put this here. Perfect. Let's seeing. We can move. Is a bit. Try to make more space. What? All right. Minutes. Here we still need to put this somewhere where are those right. And these pigeons, they can be smaller. We can stick them around here. Each part can be placed in this area. And this circle stuff can be placed maybe we can try to force a bit of space. Here, perfect. We can place the circle here. And now we need to place everything of these little pieces where I will put it maybe here. Perfect. This is like playing some puzzle, maybe here on top. All right. This piece well that. This is the finger joint. We can make it a bit bigger, right place it here, maybe. Alright, let me save incremental. This is something first. Alright. We need to place all of these circles. If we can put some of them in the empty spaces between the U islands. Alright. Let's see, around here, maybe. This part can be here or maybe in this area. Three left placed. Abe one here. Another to this area. And there we go. We have all RUB using a lot more space than before. But always the UVPACmster will do a better job than us in getting most of this space. You can even control the U how you want the UBS to be. But I don't want to be too much in deep on this atom, as you can see, we can do it without that. Just we need to think a bit more so let me see what is left. Dave, now we have the robots with B. Alright. Let me see. We have three Texoset right now or the clothing, the robot parts. The eyes will be one, two. Let me delete this one and just place I. I will rename it. Maybe put it some color. Cornea. Or marmoset, I will use another material for the corona. I will use ran spread material for it. So I will just that and create some cornea material. I went on export this mesh or substance painter that will not be texturized. Yeah, I will just put some material inside marmoset, and that will be it for this piece. We can hide it or not. Let's see the hair, the hair is left to do. All right. We got something. We are there. But perfect. Now we got our hair. Let me try to place the same texal density on all the hair, calculate calculate a value, set my textil density. What Press in the same salinity, I think. Yeah. All right, ty try to place the big parts first. Maybe make them a bit smaller just to fit inside the square. Let me try to place these pieces around here, maybe. And this other piece. We need to place it. Don't worry. Get a bit smaller. It's just a little bit more small, maybe. Let's see what we can do. Let's see. Maybe this. There. Oh, I just missed one piece. You can try to make this vertical. And this can be lasted here. Well right now is just let me place this in the hair strength. Now let's place these other spike pieces. I don't want them to be overlapping. So I will just put it by hand inside being careful not make them overlap. All right. Here, my name. All right. This piece will be here. And these two pieces will be there. So we have our hair UBS organized. Let me create one last exercit hair. All right. I will put some color, maybe some bluish ink. Maybe, some purple will be nice. Let's control L and linked material. And then we go. We have all our text sus set and our All our objects with UBS already made. We have around five text set. I think that's good enough. I'm using that many texuse because I want to keep a bit of high quality in the textures. This This is more like a personal project. I want everything to be a bit high quality. Like, for example, the eyes, I just use an entire texter for it. Alright. So we have everything organized. So we can start thinking about the bake. But before doing the bake, we need to do some things. We need to prepare our objects or the bake. So I will start doing the bake preparing in the next video. So see you there. 59. 06 Preparing Body For Baking: Right, guys, in this video, we're going to prepare the meshes or baking. So one thing that I want to do first, is to do something here on the body. I will export it back into sebush to make a version of hair with open mouth and a version with closed mouth and get better form on the lips here, we lose some form there. So I will export it as an FBX, where let me put another folder. FBX, maybe here the neck. I like the path, body, the topo you know fix it, maybe. Yeah. Lected objects here, apply transform. Let's turn off this options here. Let me put this in FBX unit scale, and everything should be good to go with export. And now let's go to Crush here. Perfect. Let's import our objects. Here in C FVXportimport. Let's import it. All right. Here we have it. All right. C is here. Let's copy the object here, and let's go back to our main subto and just paste it. But really small. Let's see what we can do. Let me just delete that pay set stuff. It's in ten. Let me try to put this also in ten and here this in zero. Let's try to do it again. Okay. Haste. Oh. You know, it's not doing very well, but um let me think. Let me delete it again. Let me report it. This doesn't want to work now. Maybe it was the way that I exported, maybe. Let's export it again here. But let me put all local sport BX. Let's see if this thing is working now in port. All right. The ing let me copy the object and then paste it here. Now it's working, you can see. Just put here the apply scaling in all local. So now, what I want to do here will be some really easy stuff. Let me hide everything, but not the body. All right. Let me Alright perfect. Now, what I'm going to do is to projects, our base body here, our high body into this body here. We get all the details and make a higher version, a high poly version of this low poly mesh. So let's do it. First, I'm going to save my morph target here. And now I will project the high poly. Remember to hide everything but not the high poly. All right. Let's project SGS. All right, as you can see, in this area, we got some of wear. Let's see what's happening there. All right, let's use the morph brush here. All right. Perfect. Now, I will control the to make it a bit high poly. Let's little lower. Oh, no. Dile morph target, I mean, and then save again the morph target and do another projection. All right, let's see if we got any weird stuff around here. All right. We don't. Well, let's continue. Let me be sure about this. All right. We are good. Let's do another console B. D more targeted, save more targeted. Project again. Alright. Let's see. Let me see if we flood our UBS D. If our UBS are still there, I will do something. Let map, create UB check. All right. We still have our UBS. Sometimes C brush just tend to delete the UBS. By no reason. Let's do another Control D and project again this stuff. All right. Let's wait for it. Perfect. Oh, I think now everything is good to go. I see. We can work with this. Alright. Let me just do some smoothing in this area. Perfect. Now I want to do some work on the lips. Because as you can see, there is a gap between it. Alright. Let's see. I will make some polyp in this area. Alright, let's scrap the lower mandible and let's fill this part here with some stuff to make the inside of the mouth. Alright. Maybe some damn standard. One thing that I recommend you to do in the lips is to have enough like, wait, my epic pain is not working. Let me see. Why don't going to work now. Well, I think my epic pen is box. So I think we can do it with this or not. Well, I want you to keep in mind this shape that we have here like this type of shape on the corner here, on the lip make them look more natural. All right, I will just keep this color inside the mouth on white. Put it. Perfect. All right, let me seeing without that. Let's just make them a bit fuller like this, maybe. Let's do another when I look there. All right. Now, let's work here on the upper leap. All right. As you remember, we have three bumps on the upper lip, one in the middle and two ones on the side. That's what I want to do, I just want to keep the shape going inside the mouth because that's how it works. All right. Let me put the same color here on the mouth back. Alright, perfect. There we go. Let's see. I'm smoothing. Make them a bit sooler. Alright, let me try to close this mouth. Alright. Trying to close it. And there we go. Let me see if we can bring back the ice. Where is the ice? All right. Everything is looking good. Perfect. The hair. Everything's looking good. There may be a bit more of work here. One thing that I forgot to do completely was the teeth and the tongue. They are really straightforward to do. They are not really too complicated. I will do it after I do the fixing here on the body. Now I think everything's ready to go. Alright, let's me save. All right. Now, let's open the mouth. I will do it by just going to the last subdivision. I mean, the first subdivision, then masking this polyrpT polyrup I mean. Now I will do something before that. I just forgot it. Let's save a layer here. Let's do it in the higher subdivision. Let's save, and I will name it open mouth. All right. Be sure that your icon here is aging fret. And now let's go to the lowest subdivision. Select the polo and then I will just move it just a tiny bit down like this. So in that way, we can avoid some weird baking issues in that area. All right, we can start it off. And now we need to export this high poly and the low poly with the open mouth. And then we need to export the low poly with the closet mouth. So let's do it. We'll do it out of camera. Alright, I have exported everything from Zerus and importing it back into blender. I exported the closed mouth version and the and the open mouth version, also, I have exported the sement of the high body with the what is not showing up. Because I have exported the version of the high body with the open mouth. So we are almost ready to go baking. But I forgot to make the teeth and tongue. So I will have to do it first in order to keep with the process. So, excuse me for that, I will end the video here and start working on the feed and the and the tongue in the next video will be maybe short one. We need to do the high poly, some free topology, some UVs for that, but that will be really easy to do. So see you in the next video. 60. 07 Creating The Teeth: Alright, guys, in this video, we're going to do the T that I forgot to do before. Oh, let's start. Let's paint a cylinder. Take in mind that your reference here, I'm using maybe these three images as reference. Maybe I can use more. Just keep your reference aside. Alright, so let's keep going. Let's pick this cylinder. Let's make it a bit smaller. Let's put it inside the mouth. Alright, let's put it maybe here. All right. A bit molar. Maybe around here will be nice enough. Perfect. Let's see. Let me hi everything. Let me hide the body. And Hair. I don't want the hair now. Right, let me bring back the body. All right, we have this piece. Let's duplicate it again. It'll be rotated or the lower teeth. Let me move this down a bit. Maybe around here would be good. Now, I will separate the lower cylinder. There be some outer groups, split heating. Alright, we can start working. Let's do some dynamesh. Then a bit high for solution. Maybe around here can be nice to start. Let's smooth. Alright. We can make it a bit upper. And now let's start placing the teeth. Alright. As you can see, if you mind this, let's make the first pair of Ts. All right. Let need these ones. Let's make the second one. It's around here. Perfect. Maybe some volume on them. All right. Let's make these parts. Alright. They are a bit pointy. Alright, and a bit more like this, like a vampire. All right. Let's keep going. Now we need to make we have already made these ones, and this. Now we need to make four molars. All right's seeing one, two, three, and four. Alright. Perfect. Now, let's isolate this and carve under here to get the inside shape of the teeth. Perfect. Maybe I will cut this part here. I don't want a extra crank up a bit more the resolution. The lit hidden, right? Perfect. We can refine a bit more the tea. Around here. Perfect. The monors All right. The frontis in the back side, they are a bit plain. They just carve a bit more of space here. Let's see if we don't have any textilin parts. All right. Let's try to make this good. Always have your friends with you and forget about them. They are really important. All right. Fact. You can maybe try to add a middle line because in the palavar there is, like, some middle lines, and it's more like this maybe. All right. A Perfect. Now, we need to make some detail like the stuff in the molars. Let's do it real quick. You can see it's like a line and then some perpendicular lines. Let's write to it. It's more like line and then doing some sort of cross. Maybe something like this should be good. Maybe next there. I will need more solution to do this well. Maybe crank up a bit more this resolution. Perfect. Also, we have to do some CR mesh to get even more resolution. We are having a big problems with the resolution here. I don't want to make the teeth separated from the mesh because I will do a topology that will cover the entire mesh so I don't care make them deparated All right. Let's see. Alright, we need to let me see how this looks and make them white. Let this look with the si, maybe we can make them a bit bigger. Just a bit. I seem like that, it's good. All right. Let's try to make this less circular. Perfect. And I like this should be good enough. And as you can see, we got the volume where the teeth are. I will also try to add that. Let me draw it. This volume, I will try to add it with my model. Skip coin here, maybe. Alright. Perfect. All right. Just a bit. We can make this piece a bit color. All right. Perfet All right. Are you getting good enough? I often don't make the teas by from scratch. I have some tea that I use in my models because I don't want to be making the teas repeatedly. So I'm making the teas now for the course, but if it was from, like, for my personal projects without recording, I would just use some pair of tees that I have stave in my hard drive. All right. Let's make a bit more volume there. Perfect. All right. Let me try to make like that middle off here. All right. Perfect. I think that's good. Enough. For now, let's see if we can fill a bit these gaps here. Alright. Raid, also be have in mind that our teeth are a bit like this pointing orwardO pointing at the outside. It has like this curvature just little bits. Perfect. Now I will duplicate this pair of teeth to make the lower ones with control, just track the chismo and rotate it 180 degrees and put it down and split hidden. They let me place them where our lower cylinder is we need to do some pre scope here because the lower teeth are different from the upper teeth. So let's try to do it. Right as you don't see here. The front teeth are smaller. So let's try to do it. Alright, I will just smooth the middle part. And just try. The doom. Those middle teeth. Alright. They are a bit smarPerfect. Ithing like these would be good. Alright, we have this, this one. We need the all the one. Let's see. I I don't have it, let me just move a bit. This teeth around. Alright. Until three or the lower seat, I think we've got too many monarchs. All right, let's see. We got just remove that pointy teeth. Let me see my reference. We got it here. But we'll add another teeth here in this area. Alright. Now I will bring back my pointed beans. Alright. Let me keep refining the shape. All right. Perfect. All right. Let's see. All right. You're perfect. Let me cut a bit more of volume on the back of these tees. And here we got our lower teeth. And it just smooth a little bit. The lower teeth. Make them a bit smaller at that peak. Alright. Now, what I'm going to do is to do some well, let me first write to make remove that texture there. Alright. Perfect. Let's see. Right, I will now do some Crimes. But before I will press Condrl and then click in the undo bar to apply this little white pot. That means that our mesh will be recorded and we are able to use the project undo history we see in a moment do some C remesh. All right. Just wait till the end. It'll be a bit bigger Syra mesh. But I think this is better. Now, we can make a bit of subdivisions and then press project history. You can see our details are getting back. I will do the same thing in the lower heave rise on yu mesh. Perfect. Now projects history. All right. Now we've got a lot more of resolution to work with a bit more clear poly. We can try to add a bit more of detail. It's refining a bit. It shape. Making sure that they feel separated from each other. See if we can make the illusion. Perfect. We remove a bip of volume here. Alright, let's wait for Russ safe. Alright, let's keep going. Let me add a bit more detail in this variant. Perfect. Alright. Let's make a bit more of detail on the roof of the upper teeth. Perfect. All right. Let's go to the lower teeth. Maybe, let's inflate a bit. And refine more the shape. All right. Refine it more. Perfect. All right. Pfit we'll be at this type of detail here. Smooth. Perfect. Just keep refining the shape, making it more clear. Perfect. Separate. I like this, you making illusion that separate, but is not because everything is in one single mesh. All right. We'll add some volume this area. All right. Now we need to make the tongue. The tongue will be really easy. That's just a paint, a sphere. Make it smother. All right. Make it smother here, make it longer. Perfect. Make it later. And now let's do so I'm Symesia. Now, I will just move this down. Make the tongue a bit longer. Another ci mesh. Perfect. Let's shape it with a tongue shape. I don't think I have reference for that now, but everyone know how the tongue is. I don't think we need the reference. And now, I will just make it of the division and make this middle line on the tongue. Perfect. There we go. And here we have our tongue. Very petty made and really easy. Let's see how this looks with the body. You would be a bit weird now. I think we can make everything a bit bigger. Let's see, let's select this icon and then transpose it and then make everything bigger. Just move it backwards. Maybe a Alright. Let's see. Let's apply some colors. That would be nice to do. Maybe let me select one color here, or some reddish. O maybe something like this and just paint the gums that's a bit too dark. Just paint the gums. Alright, with this reddish oil. Perfect. All right. Es cagin Perfect. Et's do the same thing. Here. Perfect. Then paint the teeth. On right It's most. It's just a bit. Let's keep painting the teeth. Alright, there we go. Let's put some colour on the tongue, maybe a bit lighter tongue like this. And we are ready to go now. We're ready to go. We can export it back to blender and start doing the ritapo for the teeth. Let's do it. Let me hide the ice. All right. I will do something first before ever anything. I will put the teeth here above the body. All right, because when we are baking, I want to have enough control of the teeth, and I don't want the ambitoclusion to brake weirdly. Let's do it. I think I will do the same with the eyes. I will put it also above the thing here, again, transpose set, move it here, Perfect, maybe a bit of like that. And now let's hide the body and export your invisible, the teeth and the tongue. Just apply one more subdivision here. All right. Now, let's wait for this to export, and then I will import it back into blender and I will start with some critopoE on them. Alright, we are back here with our teeth, mesh inside. Blender. Let's hide everything. Let's hide everything. Alright. Let me just. Do this, I will just hide it. But why is it still there? All right. Now, I will create another collection here. I will call it I. And let's start doing the topology of the this would be really straightforward, really. Don't be afraid. Let's just rate another plane. Make it smaller. All right. Let me apply the scale. Let me seeing. Perfect. And then let's apply some mirror modifier. Mirror. Put the mirror object to the upper teeth. And now let's start working. On this. All right. Let's click on the magnet and then just stick them. Also, don't forget to active the clipping. And now let's stick them here. Perfect. Now, we'll just to extrude this we create one phase per All right. Something like this, maybe. Let me close here. Perfect. Now let's create the T mesh here. All right. Here, we can just shoot it like that. I won't be big of a problem. Here, I will just root it back, maybe add another edge loop there. Maybe to get this nice art here. I will need to add another edge op to get better the forms. All right. Let's see. Maybe another group in this area. Maybe we can do some inset to get the T shape rightly. All right, let me just pepper this. Alright. Et's do the same thing here. Then just inset. Let's inset this. Get better the forms. Let me add another another trip here. Perfect. Let me just merge this at this point. Here, too. Perfect. I might inset, move it get this shape. Alright. Let's say incremental. Don't forget. All right. As Mersa center there. Perfect. All right. We can do the same process in this is Alright. I will keep in set, thin this thing get better, keep warm. I know that stuff. Alright. Sorry, if you thought that you have finished with the tropology, I thought that myself too. But I just realize that I haven't made a D and height and I have to do htropology on them, too. That's a really pain in the ***. If you are super lazy, you can just use the rems pathology and then just do some automatic UVs on them. All right. Let's finish the outside part. Perfect. I will inset this second. All right. Let's keep going. All right. Perfect. I will do the same thing that I did on the outside. Perfect. All right. Let's see. Let's add two egg ops in everything. All right. Now, let's reach oh. I got something weird. All right. I think I will have to add more egg troops. Yeah. Let's do it real quick. I'm just moving these to the side because these teeth are for the middle part. I mean, these polygons are for the middle part of ti. The space between each teeth. All right. Let's do it real quick. Et's ask again more troops. And that will be. Enough. Enough. Alright. Let's see if everything's working nicely, we got something we're here. Well that something weird here. Why is that? Going right. Let me remove these two these four e loops. And now everything is going well. I will add another go around that area. At first, let me move these polygons up in this area. Perfect. All right. All right, let me add another E shop. Perfect. Add one more here and just close that. Center. Here, I need Also more polygons. Get this part here, perfect. Alright. Let's keep coin. No, I got something weird here. Perfect. All right. Let me do some inset in this part on the molars, just to get a bit more shape there. But we don't care too much about the stars. This will not be a mesh that will deform much. I just want to get some low poly mesh here. I think that's good enough, see? Yeah. Let me get back our tea. I will put more erups in this area. I will apply a shrink crab. We get everything nice. And then I will apply the shrink crab. Alright. This is what Good enough? Perfect. Maybe we can merge this stuff. Maybe the middle no. Stream and merge them. All right now, I will just screw this. All right. Now, we'll add even more poly vans. And I want to reduce the poly count from the middle part. So I will do this instead. Perfect. Nicely on other than. Oh, I forgot the tune back the magnet. Alright. Let's get all of this. Perfect. The thing we can do something here. Right. That's extrude. Everything. That's extruded. Perfect. That see All right. Here, I want to reduce the poly count. All right, like this. Perfect. Right now, we can just list some stuff here. All right. And there we go, we have the teeth made. I don't close this part because that will not be seen. So I will incremental. Let's do the tongue real quick. The lower teeth will be the same process I did here. So that will not be a bit of a difference. Let's do the tongue. Alright. Let me change the name here. Perfect. Let's bring the tongue. Alright. Let me here take one place and just separate it and just we'll Oy the name of tongue, I rename it. And just to some So pool in the tongue, that would be really easy to do. I just want some poly loop around here. I will extrude a bit more. All right. And now I want to extrude like this to have a poly loop that goes around the tongue like that. Perfect. But for can we live like that? All right, have you copied this, Duplicate, and then just press key to stick to the lower side, then go here and normals and flip. And now we can just fill the gap. Oh, right, fill the gap, and there we go. Is it topology on the teeth, I mean, the tongue. All right. Perfect. All right. Let me hide this. And there we go our tongue roughly made. Let me save incremental. All right. Now for the lower teeth will be the same process I did on the upper teeth. So I will just keep that part and do it out of camera. And then we're going to do the UBS. So see you there. Guys, no, I have done the lower ted. It was the same process I did on the upper teeth. We have everything here. And let's make some quick Ubis start from the tongue. Let's add a middle sea just like that, and boom, let me apply the mirror. Alright. Grab boom here. Here we got our tonk toy. Right seam here, I will just split here at the corners, maybe. In that now, let's apply the mirror and see what it give us and a nice maybe let me apply some I checker material. Let do something here. Let me quit that. I think that's good enough for this piece, maybe let's do some relaxing. See what is giving us a bit of relaxing, maybe. I think that's good enough on the teeth. Let's do the same thing on the lower teeth. Let me apply the checker material here. Other shaker material here. All right. I will do the same in here. Some things in that area. Let me apply the mirror, do some unwrap. And there we go, the lower teeth, let me do some more relaxing in this area, maybe. Just a bit relaxing there. Perfect. All right. Now what I'm going to do is to add add this to the body. Let to set linked materials. And now we need to try to put this inside our body. Let's see our body. Where is our body? Other stuff buddy here. All right. Here we got our tongue, let's select had let me safe incremental. All right, let's get the xl dentity colate set value. All right, here, set MTD, and there we go. All right. Let's try to put them inside our existing Ubis maybe around here. And there we go. We got our teeth and our tongue here. Maybe we can even make them a bit bigger. Maybe just a bit. Perfect. And there we go. We got everything now with UBS. In total, we got I think five Exorct Let's say, one, two, three, four, five, one? One, two, three, or for the eyes, pipe for the hair and stick for the sor. We got six ticks or s. I think that's good enough. So let's save. And in the next video, we're going to prepare our model for baking and start with the baking. So we can start text ring. So see you there. 61. 08 Finalizing Bake Prep: Alright, guys. In this video, we are going to start preparing our model for baking. So let's start. The first thing that we're going to do is to rename every object to its equivalent part, the low poly and the high body. So like, for example, jacket, you see that I have named my jacket, jacket underscore low, and the high poly version of the jacket will be jacket on underscore high. Just give me a sec for this to charge or write. This one here. All right. Let's call this jacket on the score high. In this way, Susan Painter can identify each object, the high poly and the low poly version, and we'll be individual bake for them, so we don't have anymore to split the UBs. I mean, the objects like this and make the objects all the way like this for the things to bake well. Now we just need to name our objects correctly. So I will do this to the rest of our model. And then it's just exporting and then you do the baking. So I will do some of them first just to show you the hair, let me see. Let me call this hair uptrend. And this would be hair. Back. Alright, let's go to the high poly. All right. Let's see. This is the back. I will copy this name. We place it here and change the suffix for high all right. Let's copy again this name. Let's place it in the high poly version of the front hair part. All right, let's copy this name again and place it here. All right. Then we got the hair made. Let's see in the body. All right. Where is my body with I think I just I think I just forgot where I put it. But it was. Perfect. Let's sing. Alright. I will call this body open mouth. Low Alright. It's called this body. Closed mouth. All right. This will be the version of the body that we are going to use for the baking. Then we are going to import our model with the closet version. So let's see around here, the hi pon. All right. Let me hide that. We don't gonna need that for now. This is the high body version. Perfect. All right, let's keep going. The seeing let me hider we've got the jacket. Let me hide the jacket. This is neck collar low, all right. Let's go back here. Select our neck collar. Hi. Perfect. But see this Alright, neck. Got her. Look, echo, maybe. Hello, on the right. Did she hear be sure that your suffix is with this type of letter, not capital letters. I mean, don't make it like this unless you make all of your suffix like that. In that case, that should be nice. But if you have all your suffix like this, and then you make the mistake of making one like this will be an error. So patter will not recognize that model. All right, let me hide or right let me do something here. I want these pieces to fake on top of the jacket, so I will merge them in the low in the hypotomO let me see something. Here, I will put this in attribute because I want to see the The vertex color because we are going to use the vertex color as our ID map. Let's go here, vertex paint. All right, let's change the color, maybe some blue here, dead colors. Perfect. Let's go to this part also. Vertex color, set color. Alright. Perfet neck. I think this can be with another type of Let me hide the low body first. I mean, that's like a metal. Looks like similar type of metal on here, too. I will place the same color here. All right. We'll put all the metal pieces with this bluish color. So it's a lot easier to select when we are in uxanpinter All right. Vertex paint, vertex color on right. Almost there a vertex coal, maybe here too. I think so Shep Vertex cot. And in these pieces, we're also going to place that vertex coco. All right. Right here. I want to do something. Oh, I see. Oh, but I think that's not necessary right now with the hair. I think everything else is good enough. So let's keep naming our high poly and our low poly. All right. I have named this. This is the under soot low. Let me see the high body. All right. Let me hide the low body. I'm going to merge also these pieces with the low I mean, with the underst All right. And these pieces, I will merge it with this butt piece because I want them to be baked in the texture. All right here under cloth. Hi will hide it. Now let's see Yeah. And drop low. Right here. The thing gets dropped. I will hide it. Just strap. Ok. All right. Let's go here. Just strap, ok pi. So I'm going to do the same thing in all the pieces here, and then I will get back to you. 62. 09 Baking: Alright, guys, or here we are back. As you can see, I have named all my objects with the suffix so low and high. And each object from the low and high the equivalent part should be the same naming. Just the difference will be just a suffix. So once we have done that, we're going to export the high poly and the low poly. But before that, we need to triangulate our low polyly so we don't have any baking issue. Right, because the render engines we triangulating our model. So each different software has a different way to triangulate. So if we triangulate our model from the beginning, the software doesn't need to triangulate the model using their own algorithm. So we will not have any shading issues, any texture issues, all the things because we have done this triangulation before doing the baking. So let's apply a triangulation modifier here. Oriangulation. Perfect. Let me first save. I will save it like no angulation angulation. All right. Let me save this real quick. And now I will save again as triangulated. Oh Alright, so let I have applied the triangulation. So I will select everything and do console L. But before that, let's do something. I think that let's do some stuff. Let me pick the ice. Let me pick the high body of the ice too. Press it. Alright. Give me a sec. Let me hide the sort. And I will pick the high body of the yes. Oh, I will make them. I will bring them up just a bit see like some wonky face. Because I want to texture it without any issue, but I think we can we can leave it there because there are in another texture set that I think there will be not a problem. I will just leave it there. Here, I will delete the mirror. Here too. All right, let me apply a subdivision modifier in the hypolyversion. Perfect. All right. Let me hide the hy poly. Let me see if we got any other mirror modifier because we need to apply all those modifiers, right. We didn't have any other measure modifier. So here in the jacket, first, before applying the triangulation, let me apply all the other modifiers that we have on them. We have some smooth Bangle, so I will apply them here, right click, convert to mesh. In that way you will be able to apply all the the modifiers that has our models. Alright, let's see here, the sort also need it. If we do some stuff real quick. Let me hide everything. Let me pick it. I click convert to mesh, right now, we can apply this triangulation, modifier. Triangulate. I will click in this, then I will select everything Control L.Ty modifiers. Let's vert mesh now. So our model is beautifully triangulated. So this is why we will not have issues when we are sorting this to another software or making it. Let's do the same thing on the sort here. All right, on the sort, I will apply some triangulation. Right. Control L. Modifiers, control here, right click. Mesh. Perfect. So we have is that should not destroy our UVs. As you can see, our UVs are the same as before we don't have any errors. I see. All right. So now we can export our stuff. So let's select all the body pieces and then export them. Export FBX, to be here low baking. Let me entertain it like that. Baking here. Old girl. Low polling. We click in selected Objects, apply transform here and here and also here. I will leave it all the stuff like it is. I think there should not be a problem. There should not be any problem let's export. Perfect. Now we need to export our high body. Let's see, let's wait for this to charge. Let's see the high body here perfect. I will take a while since this acquire a big of I right export x. This will take a while. All right, our hipoly and our low poly are sorted. Now let's export the low poly of the sort. See here is the loboly the sort. Export it. Sel that. But right now, we can export this. Swart FPX. Let me do some other folder. Par Perfet gear or a poly here. Perfect. Let's export it. But right now, let's export the high poly version of the sword. We got here I think it should be good enough. Let me see. Everything is there. Alright, export these two. Export. Hi, pooling Alright. I will take a while L see if this do it quickly. Let's not let me pause right we got our messes exported. So now what are we going to do what we're going to do now will be imported them in substance painter. Let's see. Is my substance painter. I have it here open. Now here, I will make a new project here project. Let's leave it. Maybe we can leave this as we sing. We don't have any alpha stuff going on. I think for now we can leave it in metallic roughness. Let's put it this maybe we can put it in four K if we want the max quality. I will put it for now in two k that can be changed later. In normal map format, I always like to put it in OpenGl. The only change that this will be doing is the dict X. Normal maps has the green channel flip than the OpenGl normal maps. If you are using a normal map and you yeah it's not looking really nice. What you can do is just flip the green channel with a node or an option that has your tree software, and that should be fixed the problem. If your software doesn't have any solution for that, you can just flip the green channel manually in Photoshop that's to solve the problem. So I will choose Open ye. Let's see GB all right. Pen color. Perfect. Everything seems nice. Let's select here in file our high poly. Where you sit. Alright. This is not baking. All right. Low poly. Let's open it. And that should open without any problem. You can see here our tu sets and our stuff, our teeth, our body. Now, let's do some baking. We got some stuff there. Let me go back here to the blender. I need to do some stuff before niport now it's a bit hard to tell what this tough. I will just apply some charps I would say it's hard to see what's going on because this is triangulated. I want this to be harp. I think I forgot to put some sharp lines there. Anyways, let's see what this give us. That should not be a bit of a problem. Let's bake this stuff. Bake mesh maps. Let's go. Now, let's put it maybe for faster results and see if the baking are going good. We can leave it maybe in 1,000. If the baking are good, we can just crank up the resolution. Now here in high definition meshes, let's click in this icon. Let's select our high puny here. Now this will plot our iPod into the software. Let's see. All right. This will take a bit fine. All right. We have our hypo Imported. Now here in matching by name, let's click it. Here, match always. Let's change it to by name, and everything should be good. You can see we have some errors. What is going on. Here, stop streng. Propped low. Oh, wow. We need to fix those stuff. I think I just I made some errors. Let's fix them real quick here. But Uh oh, here, Side cloths. Let's put it in low. Let's sing. Here I from uphirstrend. What is the hair Uphirstrend. Let's bring back our stuff here. A person? Ah, as you can see, I place it with a capital later in the hi. That's why that's giving me a problem. Now, the robot feed. Let's see the robot feed. A robot feeds. Let's see in the high poly, the robot fit robot robot fit, you can see that even a capital later can as rubbles to us I think lower elashes here should be the problem. Lower eyelashes. But what's the problem there? It's a problem with the law where I know lives. It should be good enough. Let me just change the naming, lower eye lashes, hide. Let me see if we have more problems, cyclothide. I think everything should be perfect now. All right. Let me hive that. And here, let's just try to fix it real quick. This parts here. All right. We'll apply some harp, marked harp. I think that should be good enough. Alright. Let me do something here. I don't like the way that's triangulated. We'll just change it. Maybe not. Let's just leave it like that. We don't bother too much about that. But right let's export again our low poly. Now, everything should be good enough. Let's go back here and click in Cream Port Mesh. Alright. Now, let's go back to here, and we need to export our high body again. All right here, that we export our high body. All right, export FBX body. Let's export it. All right, we have exported our high body and Spader will automatically reimport your high body if you export it on top of your previous file. So we are getting still the lower eyelashes problem that I don't know why is happening is asi where is it? Lower thief easis What I haven't worn nowhere Nass. Happening here. Let's see real quick. Seeing I have hided. Let's export the low coolly version again. Alright, export. Low poly, export. Let's go back to Substance Painter. Now here, import, mesh. Now everything should be there. I let's take mesh maps, we still have the same problem. A Oh, my God. Why are they not mashing? Well, let me pause to figure out what's happening. But right now, everything is working. What it did was just to change again the name and name the lower eye lashes again, and that's for some reason, fix the problem. So now that we are here, let's go here to the frontal distance. And now we're going to tweak that getting the closest as possible without having these red spots maybe around here should be good enough. But we are having some red spots. The ice, I will turn them off, but we don't bake them. That I think Oh, let's me a bit lone. Well, I think this should be written now. Let's see what this give us. Sin, bake select textus espe here. Let's bake everything. One thing that we're going to change here is in the ID map, let's change it to vertex color. The ambit polution, let me cramp up this a little bit. In the butter, maybe a little bit also. All right and everything though let's leave it in default. Now, let's click here in bake selective textures. This will take a while, so I will pause again. I'll see you in 1 minute? All right. Our textures are baked. Let's see what this give us. All right. As you can see, it's not too high quality because our normal I mean, our resolution is quite low. But let's just seeing we're getting some baking issues. Let's see the mouth. We got some acing issues there. Maybe we can fix them later. Well, right, let's see. Everything seems nice. Oh, we got some indentation there. That's bad. That from the model. Here we got this bad claset. Nice. Now, that should be good enough. Let me export the low body export FBX here. And now we import mesh. And that fix it All right. We got the same error in the other part. Let's be there again or some bridge on the triangulation feed the wonky stuff, all right. Let's export this stuff again port, the body, all right. Let's go back here and then do from part mesh. And that fix it. Right? Everything seems good. We're getting some stuff in this area. Also, we're getting some begging error on the fingers. Let's see what we can do for them. Alright. Haben in here, I see our mesh is lipped. Maybe amentatione seems nice from here. Let's see the high body. Alright, let's see. Everything seems nice from here, too. Though the normals are not flipped, let's see if we are getting this stuff overlap with other stuff. No. Why then we are getting some errors here. This is where It's weird. Yeah. Let's do something. Let me go to bake mesh maps. I will deactivate the body, and I will just bake the cloth hair and troubled legs. I will crank up the solution, maybe two K. Let's bake it. Right, we're back. Let's see, everything seems better now solution. I think what's happening here that I misplace the naming of these pieces. Let's see, like bandages. Here this should be that piece. But the nighting one was the other one. Re swap the names. Alright, let's see. All right now, everything should be good. And now. Let's see here. Let's do the same thing here. No. Everything should bake perfectly. Let's export both the high body and the low body versions. The X, low body. All right. Let's hide the low body. Let's go back here with the high body. And let's export them again. Alright, let's wait. Alright, let's go back to Substance painter here. Let's do some reimport mesh maps. Alright. Let's go to bake mesh maps. All right. Let's see. Our hypoly'importing it. Alright, let's wait. Alright, our hypoly has been loaded, so let's do another baking. Let's see what this give us. All right, as you can see, our bakes on the bandages are nice now. Let's see. I think we can crank up one thing here. We can put some anti alleazing her, get rid of those exulted edges, maybe take selected texture again. Alright, our textures are baked. Again, let's see the results. You can see at pixelation is less visible. It's a lot better now. Let's see, we got also some problems in these areas. I need to fix them. Let's see here, here. We need to tweak a bit here, also. Let's see the teeth. Alright. We are perfect. Let me see ID maps. Everything seems good. And beta cushion. Everything seems nice. Gur bat shen. Alright. Let's bake now the the body here. Let me hide. Let me just bring the body as what I want now. I will tweak the cage for the body bake correctly now. Hey, a bit higher. Just a bit little bit like that. Make sure that you have this deactivated because we are just baking the body off. Let's see bake selected textures. All right. Let's go back. The painting mode. Everything is a lot better. You can see we don't have almost any problem. The fingers are done. We don't have any baking problem on the fingers. Everything's perfect here. All right. Now we can try to bake again the hair stuff. Let's go here to the hair. Let's sing. Let's tweak deactivate the body now, and let's tweak just a bit the hair. Alright, let's bake the hair. Alright, our hair is baked. Let's see we got more problems. We got a lot of problems here. I need to bake that lag. We're getting some weird stuff. Let's see if the solve it. Alright, let's go back to our model. It's better. It's not that much. We are getting some king errors. Alright. In this case, I think we will need to go to Photoshop to fix them. Yeah. Let me see the ambit of polution. Also in the ambit of polution, we're getting those problems. We're about Yeah, we're getting a lot of troubles there. Take mesh maps. We're getting a lot of troubles. A I may try to change the artisans. We're going to fit the hair maps just a bit. Let's try to bake again the robot arms to see if we can solve all those problems before doing anything else. Here let me just put this where it was. And here I will just cram down the cage a bit. I think this should be good enough to fix almost all the errors. Or let's bake it. Or let's see what this give us. Everything is perfectly baked. We don't need to do more fixing this area. Everything is good. Or we have some problems here. Let's see if we can fix it. But just by cracking up just a little tiny bit empty cage. Just a little bit. Don't go too crazy. Bake. Alright, let's see what this give us. Alright. Let's fix it. Um, I think that will be neat. Fix those. I think that what's happening is more about the topology of our lolling. Let's see. Let's go back here. Once. Let's just bring this up a little bit. Let me stick Here. I think that the problem. Let's try to bake it again. Let me export again the high body. Support right here with fork mesh. Now I will bake again the robot arm, and now everything should be good. Let me just do something real quick. I will just crank down a little bit just a little bit the frontal distance, then bake again. Right, we're back. Let's. If the solution that we did works, all right, you can see it works. All right, and we don't have any more problems on the baking in this film. All right. Here, we got some stuff we. My hide the bandages. What we got here. We got some weird stuff. Let's see normal map. It's not charging. What? You should charge. Your normal map. Yeah, you can see we are having some weird kings. I don't know why we are getting them. There should not be any problem. Let's see. If we can fix them, crank it up a little bit ge I don't want to crank it up too much. Here, a little bit. Maybe in my kiss or you can see we're having red spots there. My just crack it up till we don't see them. I think now everything should be good. It's bake. Alright, let's see. Now, the leg is better. But we're still having some problems. The mouth is good, and the feet are good. Fingers also Um, we will need to do another bake. Let's just crank up them a little bit more. Just a tiny bit. I don't want to go too crazy. Let's bake it again. All right. Let's see what is Ivas we still having the problem there. The thing is, I don't want to get blems on the fingers. I think we need to crank up more in this stuff there. Alright. Let me just crank up a little tiny bit more that. Take let's come back. Now, let's not fix it still. Fingers are good. We need to crank up more. I just I will pause till I fix that problem there, though, in a bit. Alright, I have fixed that. I just crank it a bit more. It decage, but now it's good. I think what is left to fix. We don't have any other big problem here, some normal math. I mean, some amitsion. Right. I think that's the display we bore display errors in this area. We aren't paid, we are having something. But the 80 that's not too piece. I think that should up be a bit of a problem there. All right. Let's fix. We also can fix that earth. Alright, I will leave the video here, and the next video, we are going to address most of the king error, so see you there. 63. 10 Fixing Baking Errors: All right guys in this video, we're going to address most of the king errors. So let's start with the hair. We having some stuff happening there. So let's go and see what we can do with the. Let's export just the normal map right we see your assets, everything the sarten assets, seeing things here, maybe not project there, there we go. Let's see if we can find the hair let me see her normal map. I think this one mono map. Let's export it, sport resource, and just going to put it here. Textures Textures. Another folder. Baking. Delicious media. It is leg. Now we're going to go to here. Let's new file. All right. Let's see. Let's open here. Drag our stuff there. Give me a sack for me to find it. Can drag this here. We just open it. All right. We are here. You can see we are having some making errors. So what we're going to do is to just fix it. Let's pick a nice and soft brush here. All right. Now, where are my capes and layers right. Now, what I'm going to do to do another layer. And now I will fix every error in each channel, the red, green, and blue channel. This will give us a better result than doing a straight in the LGB. All right. Let's go first with the red. Let's see. Let me crank up the size of my brush. All right. Let's see here. Oh, my God. My brush here, maybe just a tiny bit less. Alright. Perfect. Let's color pick this gray. And we can make eye brush a little bit less. I think that should be good enough. Let's just paint it, fix that. See what's bottom. All right. It's just doing this stuff. We need to do it in every channel. All right. Perfect. Let's see here. Here. Sec. You can make a brush a bit smaller. Alright. Let me make it a bit more more. Alright. Now we can work with this. Any bits? Yeah, having some stuff there. Did they make the brush a bit more Alright. Now we can paint it without any problem. Let me crank up more the brush size so we can get more moose Ocon. Right at seen here, we're getting some weird stuff. Let me make the brush a bit smaller. It makes the brush a bit bigger. Here. All right. I will just do it in this channel and then you can do it. And then in off camera, I will do it in the rest of the channels. Be will be the same process. Perfect. Oh, I need some stuff here. Let me just do some control seeing. I want to select this stuff here. Perfect. It. I was weird. Making it worse in this war. All right, we just leave it like that in that area. Let's see here. My make the brush a bit smaller. All right. A Let's see, more baking issues. You'll be here in this area. You just crack and fix them. But let me see. We got quite a bit of faking problems. Thing. Oh, my brush got bugged. Let me see. Make some packed around this area. I should help. Right, let's sing. One thing that we can do is go back here to Lander and just export the UV map. This can help us export UV layout, your texture, baking issues. Alright, let's put it in 248. I mean, 2000 48,048. Nice. Your point is the best I mean, 75 this would be good enough. Let's bring it here into this file. All right. So we can have let me change something. So we can have a bit better representation of what's going on in our mesh. All right, jobs, just keep fixing this stuff. Alright. We're getting some weird stuff here. Oh, my God. Alright. Perfect. Opening. Why my brush is not rowing. Oh, my God. I have we now. Sometimes I hate photoshop. I don't gonna lie. Alright, let's keep going with this stuff. I have fixed it. For some reason, my Photoshop wasn't let me ain't the layer I have made, so I have to duplicate the original layer here and just merge with the layer that I was working on. And now this is for some reason working now. No, let's keep going with this. And to fix some stuff here. Alright. I wish we can change the brush size the same way we do it in rush or blender. Oh, my God, I hate run. I hate this ****. I sing. Oh, my God. What's happening now? Now, it's working. Sometimes the shrap is really annoying. Alright. Let's keep mixing this. Is something that should be written now. Maybe. Girl me now. NCT? Just doing some pads here. Maybe just to unify enough the colors there. We're having some stuff here. Let's try to fix it. We make the brush a bigger. Right now, they should work. No problem. I think. Yeah, we s having some baking errors. Let's try to fix them. Alright. Let's see. Eight. Perfect. Let's keep fixing the mirrors here and there. Right. Here Let me do some things here, quick. Thanks. That's thing. B You have the rest of baking herbs. One right here, we have some stuff cabin. Let me crack up resolution. Oh, it's molar. Sense. It paint again. One right now should be good. All right here. We also having some problems. Let's try to fix them. All right. It shouldn't be good enough now. I fight. Let me just save it like that. All right. Let's keep going. I saw that we got a big, big issue in one of these sns in this tiny one But where is that art? I can see here. I can find it. I think those are the tiny ones. Oh, that's the robot arm. Oh, sorry. Here. Are there. Alright. Let's see. Oh, messed up. Ick. You see. Where are those? You quick. Let me paint some stuff. We change my color red. All right. Problems. Missing blender. Where is that piece? It's the peace that we are getting some trouble. On. This one is the pigs. Oh, I know why now. Is just bugging around. We got some bad stuff we are happening. Oh, I saw some relaxing here. I haven't separated this well enough. See. Wrap. Now we have it here and just place it and where. Alright. Let's export this again. The eggs. Word. Let's import this. Alright. Let's see the hair. And now let's take the map again. Urine hair should be good enough. Age textures. Alright, I have imported the mesh back here in brush, and that bag never there was fixed. And also, I did some pbaking and that new rebaking fixed a few things. But we still need to fix a lot of the stuff here. So what I'm going to do now is save again in another file. Perfect. Now I will merge these two maybe or not. Let's just leave it like that. Alright. Let's see. We can fix this stuff here. All right. Throwing. Need a lot of patience here. Let's fix these parts. All right, let's fix this so Award. Here. Perfect. All right. Let's see. Oh, my God. No, you saw the process. I will just keep doing this in all the channels. So see you there. 64. 01 Blocking The Base Colors: White guy. So I have fixed the issues on the hair. I did a mix of re baaking and the method I showed you in the previous video. Also, I did the re baaking inside Marmoset tool box five here, you can see. I did this rebaking here because in marmoset, we have better tools to address the baking errors. Like, you can adjust your cage. Here, you can see, and in here in paint upset, you can go here and just paint which part you want to be shrink and what part of the cage you want to spend. So I have used this with the metal I show you in Photoshop. So also, I have fixed some issues that we were having in the clothing, like some king errors in the shoulder area here under the shoulder and done other things like fixing the AO map and then bet clusion so I figure out a better way to fix those instead of just painting them. We can use a new tool that comes in the Photoshop 2024, that's called generative Wheel, something like that. It means, like, here we have our AO map. You can see maybe a breaking error. You can see this black spot or maybe let's say this is a baking error in this area. You can go here, select your select brush. Just go here. Let me just unlock the layer. Select this big black spot, and you will see this bar. First, you need to set this stuff in here in image mode, set it in RGB. Then you can just press in in this bottom and just click and generate. And this will do some processing, and it will give almost perfect almost a perfect stuff here. You can see it's almost perfect. It's like magic. So you can use this with the ambient occlusion. Also, you can use it with the normal map. I also have tested, and it's amazing that you can save a lot of time. So I have used that method for the body, and here we are basically ready to start etring so let's start right before I start texturing, I will do something. I want to set up my marmoset scene for the deep. So I will import my object via sec. I will import my objects here in the low poly. Let me just quit this stuff. Alright here we have our low poly. Alright. Now, let's go and import the sort. Import the salt right, sort locally. Here we have the sort. Let me move it to the side. Perfect. So now I will change the sky image to maybe another one that looks better. In my case, I will use one that comes into some painter that's called studio Tomoko sec, if I can find it. All right, studio Tomoko. I really like this one. And now I will just turn the render settings to from faster to retracing. So you can have better shadows, I will tune up your melt all right. Here we are, maybe they have time being not or maybe not. All right. Now that we have set up our render scene, we can start working on detextors so the first thing that I'm going to do is just to block out the colors. You're going to see here some colors. And what I'm going to do is just to set some basic colors for each part using the ID map that we have created. Also, we can reuse the textures that we made inside oh for the skin. You can see here or reuse the skin texture that we have made in roh. It's important that you have set up your your ID here in vertex color. Now, what you are going to do is to click here in this icon field layer. Let's a field layer. Let's put this in just color, maybe some roughness. Let me increase the roughness to 0.46 right here. I will search I will search for the ID map here, you can see it, and then just drag it to the base color here. You can see we got the textures that we have made inside brush in our substance painter. It's called this layer base skin. We can add more stuff later. Let me just put it in some folder. All right. Now let's go to clothing. Let's start blocking out the corners. Alright, I will create a folder. I will call this jacket. Then I will just put some middle layer All right. Let me see. Let me color pick the color from the coset. We kind of this one, maybe should be good enough. Maybe, yeah. Let me increase a bit the roughness or white. O here, I will add a black mask and some pink no pink layer no is the color selection. And I will pick this one. You can see here. Perfect. But wait a minute. Why is everything everywhere. Alright, you can adjust the tolerance here if you don't want it in some areas. Alright. For some reason, this is this is behaving weird. Alright. Let's see. Anyways, we can add some more layers, like a paint layer. And let's just click here with the black color and just select the parts that you don't want that color to be Alright. I don't want it here. Let's sing. Let this should be good enough. On right, we have our green cloth. Yeah. Perfect. Oh, here, too. I don't want them there. On right, I think that we can call this green cloth. All right. Let's create another order. I will call this maybe undercloth. Let's create a fill layer. Put it roughness. Let's color pick this dark color there. All right, maybe we can push it more up the wish on maybe and let's add paste color here. We change the name. Perfect. Here, I will add another black mask and then add color selection, and I will just select this color. Perfect. I really like the color that we have in our color selection. I think that I will just copy this and then paste it here. Maybe. Maybe that can be good. Maybe a bit less saturated. All right. Let's see, we can increase a little bit. The tolerance All right. It's a little bit. Not that much. But I don't want them to be in our bandages. So I will just erase that from the bandages. I've using this tool here. That's a polygon fill that you can just press and then it will fill that art with some color. That's what I'm doing here. Alright. I think this is good now. Perfect. Now, we can add some metals. Right. So metals metal, maybe white. Let's add here. Roughness metal will increase this metal lighter, maybe not as much. Maybe in one and we can just adjust the roughness just a bit. And now I will do another color selection selection here. Just color pick this blue stuff. So you can have on colors. We just increase the tolerance. Alright. Then that's good enough. Let me see the mask. Alright. Perfect. I think that's good. We'll just put another maybe lunch, B here. All right. I will put some golden stuff, like for these patterns in the cloth. Golden art. Let's add another material here. All right. The metal stuff, maybe a bit of metal, maybe not a roughness. All right, base. Let me color pick that on. Al right now, I will add a mask with color selection and select this color here. I will just color pick this again and paste it here. Alright. Let me increase the tolerance. Alright. A getting some weird stuff happening. Alright, I will do something. I will add another paint layer. I just will start erasing this orange stuff in the place that I don't want them to be. Alright here, I don't want them to be there. Alright. Perfect. I think. Uh, I think I messed up just a bit. Let me do some control, see. All right. Something's happening. Let me do something. Let me try to modify the tolerance here. A rise. Let me just erase in this area. Oh, let me delete that again. Ich right here around here, also the strap here. Let's see these straps, I will just erase that orange stuff there. Perfect. I think that should be good enough for now. All right. Let's see these golden parts. Alright, let's add some leather. So leather base. Leather. All right. We don't have color here, maybe the purple. We'll add another material. I will leave the metallic in zero. Let's make maybe just put it around this area. We color pink that leathery color. This is too bright. I don't like it. If it here, let's add another mask with color selection. Let me maybe pick this color and paste it here. That's too bright. We'll just leave it like that. On right. Perfect. This is good enough. We got our leathers laced. Alright. So now last lace the color of the bandages. Bandage here. Another stuff. I don't know. I know. All right. Let me add base, another mass with color selection. I will select the bandages. All right. Now, here I will select the base color for the bandages. A bit of roughness. All right, maybe a bit less saturated. Is less saturated. They look better. All right. Perfect. Let's keep coin. We have our bandages, our golden parts, all that stuff. We cannot now um dark metal because these stuff are a bit dark. So let's duplicate the metal white and call this metal dark. And just color selection these parts. Let me delete that one and we'll just set up that and color pick some darker color or those pieces. Maybe a bit light, just a little bit, maybe less red, less saturated. It can be a bit red, maybe, yeah. All right. Let me place we have here three types of metals. I will just place this metal here. I not On right, I will just epic paint mask and just paint it manually there on right. Maybe we can have three type of metals. Maybe not. Thinking. I think I will just create another type of metal. We duplicate this. We'll just erase that. We pick on the right, let me do something here. Car pick this hole and sit here. Maybe less saturated. And this would work. Yeah. I see the base color. That's very contrasting. Maybe a bit lighter. All right. So we have our metals, our class. Now, let's add these orange dots there All right. Oh, I forgot to add this little. I think that that doesn't matter too much. I don't want to go back to rush to make that and do some more baking. So let's just keep going with this. You're lighting parts. And now I will do something first. I will go here to texture settings and add a new channel, and I will call it emissive. We right now, I will just add another layer. Here, we add. Let me just first color pick this orange color. Right now, I will add the black mat with color selection. But you can see here that we have our stuff. Let me remove almost everything. And here I will just repeat this one make it a bit less intense. All right. We have our lighting stuff there. Now, we can go to the robot parts and start doing the blocking there. Let's go to robot arm Robot legs. And let's see what we have here. In the robot arms, there are almost three types of materials. Let me just select our pre type of metals here. Let me select them, Control C, and Console B. Now I will just color pick. This metal white will be here. Let me decrease intensity with or andzymine now here, I will add another collection and select these ones. All right. Perfect. And now I will select the dark metal here. Perfect. Et me just do something. Dark metal. All right. Let me increase the tolerance. Let me remove that from here per ft. We still need to do some stuff. Like add another even darker color, maybe we can make it darker. Let's call leg the leg All right. I think that our eye is the same as the the other one. And that can be a bit brighter. We move it to the bluish bones. Alright. Et's see need to make some contrasts between these metals. They are not much contrast. Alright, let me see if we can get something work. Maybe around here. Let me change this color. Make it a bit brighter. Let me just color pick these other ones. White. Not liking too much that color there. Maybe less saturated. Maybe around here should be better now. All right. If we just keep moving this color. I will add another pipe of material that looks more like plastic or something like that. This darker stuff. Let me add another layer, some roughness. Will just select that piece. Now I will add another mask. Alright. And just select GO right. Let me do something here. Pink. On right I think we need to increase a bit. The lighting. In this stuff. Let me see in the flat colors. How this is looking Alright. Perfect. Oh. Alright, let's see. Search metal, maybe. I will add maybe another folder or miss All right another folder inside that. Black spots. I will put this with some black color for the holes. All right. Let's add a mass with color selection and select those stuff. Alright. I think we got, again, the problem there. I think I have exported the model without fixing the problem and the vertex there. That can be fixed anytime, so I wouldn't care too much. We're having some problems. We can address that later. Alright, let's add this orange stuff. Let me control C and control B here. And there we have it. All right. Maybe we can increase the lighting. Oh, I don't have the mission, add it. Right now, we have the mission there. Fact. That's right. Perfect. I will add another other eclipse and just add some basic or for the chips. That can be some rubber stuff. Selection right here and decrease and maybe we can maybe not. Just add that there let me see the darker metal. All right. I just forgot added on the folder. I will click here copy mask, add another mask here and paste into mask and remove this mask Perf we'll just play a little bit more. With the love here, now I will just paint this out. Alright. All right, let me go to the mist and try to make this like this with just a little bit more de tolerant. All right, we got our our robots. Oh, I forgot the fingers. I will go here metal trim. And here, I will select the fingers. That should be good enough. Maybe in this area, fingers. Let me see the colors. I think like that should be good enough, maybe. Although there is no too much trast between those. All right. Now, let's put the color of the hair. We just one layer, vase, some material metal knot, some roughness, maybe a bit shiny. Let's select the blonde color that she has. Maybe something. I like this color. All right. Well, I will just leave it like that. We got the color for our teeth because we have made that inside C brush, and it comes with the body textures. Let's see. Let's do some base color on the eyes just real quick. Let me select here eyes this I will click here Iris. The Iris. We create another color and call this sclera and made another stuff there. We don't care about the roughness. Maybe, yeah, a bit. Right. It's a bit of roughness. Let's see. Now, here in the sclera I will put this in some white, maybe not fully white, but a bit white. And here I will just select the darker color on the eyes that she has. Alright. Maybe this can be a bit darker. All right. Now, I will put a black mass with some paint, and now we can start feeling D cap. Yeah. Perfect. Alright, let's remove that bark. Stop. Alright. Now, what I'm going to do? I think I forgot to bake the texture of the ice. Let's go here ice. And now I will just bake the ice using low poly as I mesh here, and I will just bake the ice in Let's bake them real quick. Alright. Perfect. We have baked the texus. So now I will add another layer here, all pupil. Alright. W p. Yeah, we just leave those, increase the roughness to one, and just turning these maybe in some a lot darker color. Maybe almost black. Is almost black, yeah. I will put some black mask and some paint and select the inside the eye. Perfect. Then also select the sides stuff here. All right. Perfect. Let me remove that stuff that we have made by the accident. And now we have our body, our texture blocked out. Let me do something here in the close on the green stuff, we got stuff looking out. The thing is done the leather or stuff. Where is that? Pandas, yeah. Let me just put some paint layer with the black color, feel those Objects, right. Now that we have we have blocked out our colors. We can just send this like it is to Marmoset for testing, and we can just keep going with the with the texturing process. I will do that out of camera. And in the next video, we are going to continue with the textures. So see you there. 65. 02 Creating Textures Part1: All right guys. So here we have our basic textures on the marmoset. And maybe if you have your data, I mean, your normal map, inside rush, I mean, inside substance pinder here with the up and ye, you maybe will have the active here the p Y to compensate that stuff. If you see that your textures, your normals is looking like this, just click here and that will solve it most of the times. So we can do some stuff before starting before continuing. Let's go here back to blender. Here I will add a mirror modifier in the eye mirror. Perfect. We select the body apply this. What else. Also, I think I will just leave the mouth, the teeth around there. I will export this. Also, I forgot drink. Maybe we can leave it like that. Let me do something. This will be the FBX four shots and Spader. PX. Let me do another stuff. Text sting. Fourth gear, FPX and all right, selected objects here, all right. I transformport, PX. Now let's go here back to some spenders, select the FBX that we have exported. All right, because I want to have the two eyes. So now for marmoset, I will do something special. I will not export the open mouth person, but the closet mouth person and turn on the cornea mesh and just export this I would call this sometimes marmoset. Alright. Now, in marmoset, let's go back. Let me hide this VX. Alright. And now I will import that new FBX that we have we have exported with the cornea mesh. Where's the cornea mesh. Where's my born? Mycornia is not there. It should be here. Why mycorna is not exporting. Oh, Let me do something here or there. This should fix the problem, maybe. Let me export back this Marmosett. Let's go back here. But my cornea mesh is not. Wait, the cornea is there. It seems like it's dinner. Maybe it's because faces. Yeah, our cornea is with the normal flip it. Let's see orientation. You can see that our cornea has the normal flips. So let's go here to mesh normal flip and that you'll fix it. Alright. Also, what I'm going to do is to make the cornea a bit inflated. Like that. I select everything. Just inflated a bit. Maybe here individual orange. Just a bit. Now I will export this back Marmoset right marmoset, and there we have it, but fix it. Right I will turn off the cast shadows actions, and here I will do something special. We'll go here to transmission and refraction. Maybe reduce the distortion, roughness, increase the roughness there. They we can adjust the stuff All right. Let me just tweaking some stuff here. All right. I want this to be fully with full weight, with full roughness here. Or maybe with no roughness, I mean, all right? So we have our eyes with the cornea setup. So we can continue working on our mesh. Let's see my reference Alright. I still think this is a bit too dark. Let's see what we can do here in substance painter. Maybe for that art here, let me just hide all the stuff. Metal tart. We can reduce the metallic Maybe not. Maybe increase the roughness, but that just will make it darker. Let me see what this give us sport textures. Let me just select all the stuff to just export that one. Let's see what is always looking here in Susan spiner. Why Susan Spiner is not important the textures. Maybe we need to import the textures. Metallic. Yeah. We go back here to roughness. Let roughness. Alright. Now it's looking a bit weird stuff. She's not looking like fully metal. Let me go back here. We'll just crack up this. Let me freak spot it. This is the texture process is too much of a back and forth between your render software and your texturing software. You will see me doing this a lot because we need to see our textures in context of the render engine that you are going to use for your final renders. Here, I think that part is still too dark. Let me go back here to Substance Painter. Maybe we can make that list less dark. Aw just a bit. I'm not that much. Alright, let me see what this give us. Sport. Alright. Let's go back to Susan's Painter. Can't see any change. Alright, let's go back here. Why? I got My robot stuff they sort it twice. I don't know. Alright. All right, so let's keep working with the thing. Let's keep working just with the cloth. Let's work on the green cloth. Alright. Let's go back to cloth here and start doing some stuff. In class, something like that that I like to do that I feel like it's adding some detail is to add a new layer, a fill layer and add a filter and then just looking for the bake lighting stylized. Now I will click here and it fuse only. Let's go back here. And change this stuff. We change this to some green horizon, color, a bit darker green and the floor stuff, but even more darker green. You see here, we have a bit of color on the shadows. All right. And tweak this. See what give us the best result. All right. I did bring back the roughness. A roughness not doing anything. Oh, here. All right, a bit of roughness there. Let's see. This color, let me just reduce the opacity of that layer. Alright. Maybe we can add. Let me just call this stylized, maybe fake, in right? Always have your reference of the texture that you want to do like I have here. I have some reference from other watch from other models that people are made, like this one that is made by me and all that stuff. Let's see. I always like to have some reference to see what we are going to do with this. All right, and to have some inspiration. Alright, let's start making something. I think we can add an AO color. Let's go here, select the color stuff. Let's click in Black mask. And let's select generator. And Where mask editor? Alright, go here. I will go reduce that, increase the ambit occlusion. Sometimes that doesn't do anything. You'll know why. Right now, the ametoclusion is showing up. Alright. Let me invert. I will invert the mess. Perfect. Let's see. Let's add maybe some greenish, dark color. Let's go here to see what is this actually doing some dark color there. All right. All right, perfect. I see that's starting to up and stop. We can also try and try to see what some of the materials that come from Tan Painter gave us to experiment. I like to experiment a lot in my texturing process. So let's see. Maybe some fabric. Often, I don't like to use too much of these materials for or stylized characters. Let's see what he's giving us. Alright, maybe we can turn off the colors. We can just turn off the colors. All right. It doesn't have colors on it. I don't fully like that pattern there. I just turn it off. We let those off. I kind of like this. Alright, base. Perfect. Let's see what we can do more. Each folds. I don't like this stuff. Is actually doing liking this. So rotation, you see this doing something that we like. I don't like that edge folds. We can lift the dust. This what I have removed. This is the folds. I don't like the folds here. We just delete that edge folds. Let's see what this doing Maybe we can increase maybe here, we can decrease the opacity. I go here, you can select the channels that going to affect. So I selected the height channel to control the opacity in that channel of that layer. I think that that's giving some breakup in the normal, we can we can leave it, I think. There's given some interesting breakups on the clause. Let me see by this color. We can have the AO to afft also the roughness. The PVR method, I like to have a lot of roughness variation and color variation. Oh, we can try to add some color variation. I have some stuff here that I use often a lot that are the grunge stuff here. Let me try with this one. We'll just create I just find those textures in Google search for some concrete texture or some grunge textures. I will create around here or maybe on top of the baking lighting and fill layer. I will put that there. I will increase the tiiling and then I will change the layer mode to see what is going better. Sometimes the soft light. Maybe the satellite is very good. Multiply, overlay. We can change all the opacity increase is more fully liking it. Let's see what this give us. You know, let's see that. I think this is a bit better. There's some variation on the color. That's obvious. Maybe this one can be good. Maybe. Maybe that that can be good enough for us. Let's see the soft light. I think so. Yeah. Also we are having some same issues. Let's try to put the projection to triplanar. Alright. I think that issue comes from IO here. These stuff tend to just do that. But I want my blur be happening. The increase. All right, but we are having a lot of species with that. Let's try to paint some corrections, scrap it basic soup and just paint it. And we go here to active the symmetry to paint that weird stuff out. Let me see. All right, we can try raise that there. All right. Alf. Alright. We can also try to add some curvature. Let's add some curvature here. I got two. One. Now, I will add a black mask erator, another mask editor. Yeah, you can see the curvature, let me save this. Alright. Let's see, just decrease these sliders. That's a bit. Right I think this and looked perfect. All right. Now, in the color of the curvature, I will just select one bright ring, maybe going to the yellow, some bright, greenish color. I will add a bi layer and I will put some I stuff here maybe a Runge map. This is just to give some breakup, I mean, some breakup on that curvature stuff. Let's see. W this one, maybe not. This other one, maybe not. Um Let's see. I will just select this and change the layer mode to multiply. You can see that robatu stuff is with some breakups. It's not too even. It has some imperfections. That's what I'm looking. All right. Perfect. Also, we can try to add a gradient on the texture to have a bit more detail on the base color of this cloth. All right. Let me do it here. Yeah, there. All right. On top of this, I would call this coral. But thin variation or right, we put a layer at a black mat or some generator, looking here for the three linear gradient and invert this I do not see with this slider, you can modify the gradients. We call these radiant one, because I want to split them in for the dress and one for the jacket. Let me do something here. Um, you roll. Perfect. I want this rating just affect the jacket. I mean, the dress. Alright. Perfect. Alright, I will just select one dark color here. Maybe you can see we have some interesting stuff happening. Maybe we can just choose little bits fatieren hue to give more detail there. Maybe we can increase opacity. But you can see here there is a gradient that gives some interest in that area. That giving some detail there. Maybe glue. Maybe not. I think yellow or blue. Maybe blue. I will leave it in blue. Right, maybe let me increase a bit more. And let's see here the gradient. O right. I will duplicate this. And I will call this gradient too. Here, I will mask the dress and mask the jacket. Alright, let's see. What I got. Let me delete the paint. All right. Oh, here I have my. Let me increase the trust. All right. Oh. All right, change this to multiply. Perfect. Yeah, we'll also change this to multiply. All right. Let's see what we can do. Maybe that can be good. Let me see the base color. Just a bit of that. Let me increase the breakup, the gatur stuff. I want the cubator. All right. Let's see now I will explore the textures back MarmosetO textures. Love, arrive, export. Let's see marvels at. But if she's leaving us, I would have to reimport everything again. For some reason, my Gupton Spanters not overriding the old stuff. Oh, I select the wrong texture. Love normal. Here O what? I have selected this and write ups working nice. And let's see, los roughness. Perfect. And clos metallic. Mission, I will just select the mission. Alright, let me put this back to the freight raising All right. We've got it here. I'll lose something here. Microfiber. I don't like this stuff. I will just leave it in aversion. All right. You can try to add some color in the cavities. Let's do that. I will go back here. We'll create another fill layer. Black mask. Then later, I will just select car button and go here into cavities and just reduce these sliders. Alright. Maybe some stuff, maybe some love, maybe not. Is a bit of blur white. It's a dark, greenish. Olor there. Just to have this up a bit more. Let's see, export textures. Export. All right. Therewithal. All right. Let me sing. I just wish that I was be able to elect the microfiber here. Other things that we can do to compensate that because I want to have some fuzz sin stuff. I think that's one way to get it is letting subsurface scattering. I will just decrease this. I don't want scaring at all. What I want is the fuzz. The stuff. That's what I want. Now I will export the mask that we have here for our wing cloths. Export masks to file. Extreme B textur All right. I will create a holder called masks and hold these mask. All right. Perfect. Now we'll go here and select that mask that we have exported from brush, and you can see we can have that nice effect on our edges of our cloth as giving a little bit better filling with the material. Alright. Let's see what else we can add here. We can start playing with the roughness of this. Also, we can stack some different colors. Let's do that first. And let me go here on top color variations. We'll go on top of this heaven. Private. All right. We'll add some stock here. Maybe could with a black mass. Maybe we can add a bit of blue stuff. Now, I will add a few layer. Maybe some noise with this one. Crank it up. Another fill layer this time at lunch. Let's see what is giving us. Alright. Maybe this one, I will change the layer stuff to multipl. Maybe that not the one that I want. I will start changing the material. I mean, the layer type to see what gives us the best Illusion. Might be best effect on our cloth. Maybe this one that is hard light, I think is soft light and something. Let bet that. Alright. Let me see what this give us with us here. Let me leave it in dog light. Alright. I will still need to do some cleaning. Let me do it now, paint. Now I will let the brush here, type it in the search baar and you will find it. You can start removing some of those repetitives. Repetitive patterns. Right, I don't want that stuff happening everywhere. All right. It's important to do some manual pass break up that repetitiveness. Now that's degenerators, and create I also have forgot to clean that other part. Right? So cleaning mias, let me go to AO again and clean this part here. All right. What I want to get is some other variation to give more peaceful interest to the cloth. All right. And we can export this back Marv set. Let's see. It has dated. All right. All right. Look nice. Perfect. We can try to add some darker color around the metal pieces to give it up out. Let's try to do it real quick. I will do it. He with the AO. Let's add another metal pieces. Let me use the basic tough brush. Give. Come Come deepness. It is part. Right. Putting some dark color under those metal pieces. All right. And here also. I try to do it. Perfect. I hope that give. Oh. We got our metrical enter out of place. I will just try to fix it by hand here. Let's see. -0.5 -0.5. Maybe 05. Maybe that's too much 8.2. That's a lot. Let's see, write on four. 14, five. That's almost there, but not really there. Maybe 155. Five. Maybe here 0.5, six, maybe 11 Nine. Let's see. I think now that's working. What I going to do now is just to fix this stuff. I will just do it again. I add another paint layer, little pieces. And it's right to add that dark stuff here. All right. 'cause I want this to be more visible in the textures. Right now, they are not really opping out. That's why I'm just adding this type of color here. Alright. Let's let you some reference to get some inspiration. Alright, let's keep going. I forgot again to ask mod. Let's do it just now. I hand again. All right. Perfect. Alright. I see. Perfect. Let's see here. All right. Some stuff there, and here. Let me think a bit more. All right. Let's export this back in one moset right? I think that's looking kind of better. We're having some issues like this white spot. I think that's from the bandages layer. Alright, we're getting better with that. We still need to do a lot of work. So I will leave this video here and we are just this video work just keep going with textures. We'll see you there. 66. 03 Creating Textures Part2: All right, guys, so let's continue with the textures. Let's go back to Soups and Spinter. Alright. So there are some things that I want to do first in the cloth. Like, for example, work a bit on the roughness map. So I will create another folder inside the green cloth here, perfect. And I would call this roughness map. Perfect. I will create a layer. Just fill this with the roughness, and here we can just maybe change our bodies. Now, I will create a black mask. We'll call this roughness one maybe and then add a few layer. Now, let's see which texture we can select maybe a grunge B, which one can be the best for this task. Let me go to the roughness channel. We can start maybe playing around with a roughness map to see what works the best. Also, this is a personal stuff. I sometimes like to add this filter that's called Blue slope. This is completely personal. You can skip this step. I just like kind of the feel that it give. You can see here. It gives like this type of pattern. And I really kind of like the stuff that I do on the textures. I like to put them in my models. But you can completely skip that. It's not completely necessary. It's just personal stuff. So I think let me change a bit. Scale we can maybe make it a bit less less shiny. Let's see. Roughness, a bit shiny. If we like that should be good then no. Alright. Maybe we can add this time on top of the blur slope, we can add another another runch. Let's put this in overlay. Let me sing. All right. I don't want this. I don't want that one. Oh, I got ikies. Maybe this can be good. All right. I think that we can leave it for now like that. So now I want to do something. I would like to add a manual highlighting the folds. If for this task, I will use the knife, paintbrush. Let me go maybe This is another color variation. And now I will add maybe you can use this one. Let's add a paint layer. Let's pick this brush. Let's put the mirror. Let me see if my mirror is correct. Alright, it is. So let me paint, like, a small light. Maybe something like that. Let me change my stroke o patty. Maybe like this, a bit lower. Maybe this can be good enough. I would like to add just a bit of highlights. Something like this. I just like that effect on the folds. All right. Let me add it here also. Fact, it is here can be nice. Let's see on the back side. You can at around here, just few right here. We can just to raise some of these. All right. Let's sing. We here. Right. Perfect. Let me tune off the symmetry. And now I will add let me see which part I will add the highlight around this fold, maybe a bit bigger and a bit less intense. Something like like that could be nice. Let me see if we can increase the opacity of the bake lighting. All right. Perfect. I my reference just to get some inspiration of what we can do. Alright. We can add a bit of brown spots. Like in this one, we added some color variation. Let me add another maybe just copy this. Change the color, maybe to brownish, or or yellow. Color. Now I will All right, let me change the noise here. All right, see no one noise. And maybe cloud should be good. Yeah, I will shade it. Or maybe this one. All right. Let's see my base color. We can change the layer layer mode, be linear touch. We can reduce a bit I want some color variations. Alright. Let me see how this looks with linear touch. Not looking. I will just leave it like it was with soft light. And this one, I will just leave it like that with linear touch. All right. Let me explore the textures again. All right, cloft. Let's see here you can see our textures are updated. All right. We can also try to put some micro detail in the cloth. Now in the Marmoset tool back five, we can we can stack materials in one material. Yeah. He layers, you can add more materials. And in this way, you can add more than one microdtail. But I will do that later just to experiment a bit. I just like to experiment a lot in this stage. Alright. Let me do something quickly here in the body. Let me do something. I will search here for human in. Let me add this more material on top. Because I want some of the layers that this smart material has. I don't want that phase. See, obviously, I don't want that hetil sulfur skin. I don't want that. That maybe we can put it and just change the values a bit. Let's see top color one that. This spot. Is just behaving weird, like that. Raptal sun. I want the AO Sing right that AO is doing something. Maybe we can put a base on top here to see if that does something. I doesn't. Alright. We can lift the ins. Maybe we can go here and just crank up detailing and reducing the opacity. All right. Let's go here on the dots. I will just I will just erase the one that are on the face. I don't want those. Let me pick my basic card and I will just delete those. We can add have one here, maybe just a little detail there. Perfect. Let me see what is the AO doing? This is too much. Sing. This is Hmm. I don't like how this is working. But what I'm going to do is to add a genetic door and put some ambient occlusion ambient occlusion here and invert this stuff or maybe not global blur. I have reduced the balance. We me increase it. Is doesn't do anything. Let me see how this looks normal. On right. It's looking awful. I don't like how the ambient olton is working in this case for some reason. Let me put some filter or maybe it's the labels that is bogging me out. Yeah, I think that labels was the thing that was boging me out. Let's see. I want some AO. Perfect. Let me hide a glass. Maybe we can leave it. Let me maybe increase opacity is to have something there. These spots maybe see what they are carping. Maybe we can lift the sharpen. Maybe not. I will just turn off the sharpen. Let's see the dots, I will just erase more these pots. Maybe we can add a little bit here, one here. It's a bit of it. Maybe not. Maybe here can be nice. I think we can leave some of these dots there. Let me do this here. Let's see what else. I think that's good enough. All right. Let's see what else we can add. Let me export the texture just to see them inside Marmoset will export both. I will do something. I will just export it in another folder because for some reason, Marmoset is not overwriting the first one that I did. So I will just do it another folder to see if this time. Susanor want to overwrite my stuff, so I will export everything. Sport. Perfect. So now let's import everything here. Let me do it quickly. I will just maybe I will import one and the rest. I will do it out of camera. Let's import the body. This one will be body normals. All right. Now I'll pedal. Perfect. Also, I have added here in transmission some subsurface scattering. If you didn't know this, also, we have to work more on the roughness, on the skin. Let me at the roughness. And the metal ness that is complete black. So I will do the same thing to all my materials, and I will get back to you in one moment. Alright, I have reimported my textures, so we can keep working on this. So let's start working. Let's see. Let me do something real quick on the roughness on the body. Let's see. Maybe you can lift that in 4.5. And now I will just add another folder here. Roughness. Yeah. And now I will just put a field layer. Here, let's see Roughness, maybe a bit high. Roughness one, now a black mass. We can put some fill layer and see what we can add. Maybe some clouds. All right, let's see the roughness. We can tile that stuff on top. Let's add another one fill layer. Maybe this one. Let's put this in overlay. Now let's see what he's doing. Per fx. Let's export that maybe something first. I want the lips to be shinier than the rest of the skin, maybe here, the lacrimal, and maybe china, let's add maybe another fill layer. Yeah. Let's put this with a bit shiny roughness. And let's put a black mask and put the paint. And now we can paint some Chinese stuff. Let me pick my basic basic do brush. Let me tune off that icon. All right. Let me tune on my symmetry and we can put the lips chinia and the rest of the skin. All right. A little bit. Let's see. The roughness shadow. Roughness, I said, All right. Perfect. It's nice. Now, let's see here. You can put that a bit shinier around this area. Right, roughness. Perfect. Let's explore just the roughness here. Or maybe the entire texts. Let's export it. And let's see how this is looking inside and spinter. Let see now our lips are shiny. Let's see how this looks without the dging. Let me add some ambito lution. Alright. Perfect. Looking good. In my opinion, we can maybe try to add a bit more of redness around the face, maybe. Subtle, maybe not. Well, we'll see what we can add. Really liking how this is turning up. Well, let's work now on the undersot the undersot cloth. We put this back to freight raising. Right. Maybe we can do what this is what this option doing. Alright. Very noisy in real time. But I don't like the effect that he's giving. Let's continue. Alright, let's start working on this piece. This piece here in the cloth. Let's go back to the cloth. I will save this first. I don't want anything to crash. All right. Let's go to the undercloth. Let me just close this stuff and start working here. I will start putting or adding some same stuff I did here. I will just copy the layer and just place it. And now I will just modify the colors. Alright, so let's just modify the colors. Let me just pick maybe this one start changing some stuff from here. The sky color. Let's see. Maybe that can be a bit brighter. Ithing like that. The horizon, maybe maybe kind of mid value on the ground. Let me move that more to the purple with a darker value. All right. Let me move it a bit to the purple. Let's seeing. All right. Let me just bring a bit down opacity in the base color what it's doing. All right. We can add again another maybe another ambit occlusion. Let's add some ambient of glution here. Let's go at another folder, maybe nuts. I don't think that's necessary. Well layer. Let's call this AO Perfect. Where is my black mask, right? So here, maybe a bit of roughness in the ium. Perfect. I will modify just the roughness here. Perfect. Let's add some generator. We'll put in one d. That's the mass editor. Mass editor here. Perfect. Let me play some roughness there. Let me put this in normal. All right. Let's see what this is doing. Yeah, I liking kind of what this is doing. Let's see. All right, perfect. Let's change. The color. Let's put it some darker on here. Let me go to the base color channel. Let's see what is actually doing. Maybe some purple. A bit darker. Let me just change the intensity of this layer. Alright. Let's go back to the bento cleaning stuff. And let's see if we can just increase what is that doing on right? Perfect. We can make this a bit brighter. Grab menu. Alright, let me add some color variations here. Let's see. Alright. Color variation one. Perfect. Let me do something. We'll just increase the roughness there. Um, I put this down. And now I will just add another color from my assets. Another stuff like this. Maybe, let's just fry just a few and put this maybe multiply or soft light, maybe overlay. Let's turn down the opacity and just let it testing some stuff just to give a bit more of color variation. And we can add this in soft light. Let's just test all right. Maybe this one. That one can be No, maybe this one can be better. I think so. I always like to add, like this filter in the blue slope. Let's see. Let me just put it a bit of intensity. Just a little bit, not too much. All right. Now I will add another urbatu. We'll add a CR baatu Perfect. You can put some roughness stuff. Let's put a black mass, and see what to do here. In later. But you let me go here and just turn this down. Alright. Because I want just the sharp stuff to be happening. Maybe it can work. Among the edges, cavities or edges. I can add two. Who once, maybe here, I can add a generator, one. And I will put this in cabbages. Let me see what he's doing. I go to the mask. A base color. Mask. What is the mask? Alright. Perfect. I have this sharp. Just to add a bit of this dark volume around this area. Can put that even more dark. Let's see. On right, I will change a bit, the color here. Put it around here, maybe not that much, bit lighter. Color. Perfect. Let me just crank up a bit more with roughness there. Alright. Here. Let's see. Let put it a bit more dark. All right. Let's see, just to experiment maybe a bit of metallic. Just a little bit, not much just to see the effect that this is giving us. Alright. Perfect. Is that's kind of good, maybe. Alright. Let me add more color variations here. Color variations. This one, I will just add a solid color here. Maybe orange. I mean purple. Sorry. Black mask, pill some grunge. Perfect. Maybe this one can be good enough. All right, let me change the color, maybe the layer mold. Maybe just leave it in normal on this down. Maybe modify the roughness just a bit. Maybe the color even with blue, a bit green, maybe not want a little bit of variation in that is a decrease opacity is one that subtle subtle effects there. All right. Let's explore this just to see what is looking the engine. Alright. Let me just see my reference, see what we can add. We can also add some dust and some dirt on top of our stuff, maybe. Let's try to do it. Let me see. Let's go to the green stuff, and let me experiment here. Maybe let's add dust up here. And let's see the dust materials that we are having let me add stuff here of the layer of black mask and try to use this type of smart mask. Maybe, let's try to use this one. Perfect. I don't liking it too much, really. Mm. Maybe a second version. This has a bit more texture in it. Let's try this one. This kind of feather, I think that I will just keep this. Let me change. I want this to be super roughness. Alright. We'll put this in some in some ray dish tone. Alright. Now I will add some ek layer, and I will use let me see something here. And you can add some bre slope. L et's crank up this just a bit. You see what this is doing. All right, one All right. Mm, I see something. I need some dark color around that golden piece. Alright. I'm having some weird stuff happening also there. Let's go to the building part and just try to clean that. I see what's happened that I just rebake normal, but I didn't rebake the ID map. Let's see if we can do it here, Bake mesh maps. Just try to rebake it. G quick here. Perfect. I just want the ID. Alright. Let's do it. Alright. It has been bake. Let's see if he's doing something. Let me see my ID. Oh. If it's just blow All right, I just did a control C. Right. I think I will need to do it by hand. It's not a big problem. Let's just clean this Right. But let me see what's happened. I sing at it. I left. Yeah, I left. They use low pomage has high poly. That what's happening. Let's try to do it again. Like the textures. Alright, let's sing. And this is a bit better. And let's see if my stuff not destroyed. Let me just put Putain this. Let's fill this cap. But for some reason, I end up getting my stuff there. But I didn't rebake I normal. Let me see just ranking up the frontal distance. A little bit bike. It should be pated nicely. Now it's good enough. Let me just add my colors back here. Let me clean a bit. More rush. Little bit. All right. No, I just don't want to have that white spot. All right. Let's keep going. Alright, where I was. Oh, I remember. Yeah, I just want to add some dark lors around the golden pieces. This is the cavities. You can use these. Let me see the mask. It's the mask. Mask? Yeah. This is kind of doing something, but not much, really. Imblur I see. We like that. I could be good. All right. No. Perfect. Alright, let's keep going with the dust. Let me just keep maybe than a bit of this dust. I don't want this to be very dusty or dirty. Alright. Perfect. Let's see here. Maybe just removing some stuff here and there. All right. And stuff here and there, a little bit. And right. Perfect. I see what is looking if I put this in four K. All right. Let's wait. Let me go back to Luke. Just some for performance purposes. All right. Let's see what we can do. Maybe the curvature here. You can add a bit of roughness. Maybe a bit low roughness there. Perfect. Let's export this text. All right, export. This has been aided. I think so. Let me just be sure right. Aft. Just putting this in detail normal just to see something. All right. Let me find some Vital normal experiment a bit with that. Alright, let me fuzz just a bit. Alright, I have some vital normal that I think can be good for the green cloths, but you can see it's applying everywhere. I don't want that to be applied everywhere. So what I'm going to do is to use the same mask that we have made in the previous video or the fuzz. Let me see the mask here. You can see now it's only applied in my in migraine class. For having two or more additional normals, we need to add layers here, but I will do that later. So let me just tweak a bit this stuff. Maybe this side can be good. Right, that's good enough. Perfect. All right. Leave it like that just to have that tiny detail there. That give a bit more of better feeling to the cloth. All right. So in the next video, we're going to start maybe working on the leather part. I'll see you there. 67. 04 Creating Textures Part3: Alright, so let's continue working on the textures. Let me add a bit of leather material in those leather pieces. Let me go to the leather material right leather. I will use a leather that I have made for my past project. Smart material somewhere here. Send it note. That's not the one but is the armor? Um let me see. Should be somewhere here or write this type of letter. I use that letter for my none nun model that I have made. Let me just remove the mask, remove mask. And that that leather. I I make that using a smart smart material that comes with Susan Spener. I think it was the stylized highlighted leather here, and I just modified it a bit. Alright, let's wait for this to save. Let's see. I just modified it a bit, like adding another color base and some more stuff. And let me remove these two colours that I don't like. Let's add the one that we have made Mitty lead. What is that? All right. Maybe we can add that little bit. All right. So almost all these layers comes with the let me just show you with the sli stuff. You can see here. Those layer comes up here. Where is my stuff? Ionized. Perfect. But I just did some mist here, I think. But told me that I modified the base letter smart stuff. What? It's something weird here, I think. But you can see Oh, I'm dumb. I'm just dumb. Let me just reset everything. Let me do some convols. I just messed up Ith. Right. Now, let me add on top of that the letter stylize. And you can see it has almost all the parameters that we have made. Let me war from that and I will just add more and more stuff. You can see here I don't like that base color, so I will use the one that I have set up on the blockout Let me seeing here. I will just put it here. Perfect. Now I will use this one, this layer two. This is just a layer that has a bit of a black mask. Let's see here, our black mask with this crunch type, wiped brushed. Let's just give a bit of color variation. Now, in the curvature, I don't like to have it in all my corners. So maybe we can just turn that down. And we can add a height, maybe. We can add a height. Yeah. Let me see the mask. It's my mask. Not doing anything. Alright. Once mask or right here, we have it. Let me change some stuff here. Uratura maybe we can go I find it. Yeah. We wouldn't just turn off a bit of that stuff. And I would make this brighter. All right. W eye roughness. Perfect let me. Okay. All right. I think that I can keep it. Let me add another layer here and put some crunch there and put it in multiply and make this bigger. Just to break up a bit those corners. All right. Dark touch. Let me make the dark touch a bit less intense. Here, maybe we can write this already have roughness. Let's see here, this is some noise. All right. Let me make that a bit less intense. All right. Now we can do something. Let's see here. Add maybe some levels. Let's see where is the levels cause I want to put my stuff more to the corners like this. All right. I want this to be more on the corners. Yeah. This is what it wants. Now we can add hide information here. Let's add let me modify this bit. All right. Let's add a paint layer. And now I will use the hard basic with the size affected with the tablets, and we can do some stuff here. There be some damages that this can have something like this. Some damages here. See to add a bit more of detail there. A bit of Ib here can be a bit damaged because there is that big piece. Let me make that a bit brighter the base color or right. Perfect. Okay Right. We cannot have more this detail. So places. Let's put it just a bit of detail. Area. All right. Just a bit. Right, we have our arm in the middle. Perfect. Alright. Let's keep working on this. Was some detail here in the back. Perfect. Maybe some little bit of scratch there. Alright. Maybe we can remove that one. Maybe just this one. Perfect. Y. Right. Let's export this and see how this is looking in the marmoset. Perfect city marmoset. It's looking kind of good. Maybe we can make the leather color a bit brighter, maybe a bit more orange. Then little bit brighter. Maybe something like this should be nice. Let me see the roughness. We can make the roughness of that leather, a little bit shinier. Perfect. Let me export that again. Alright, see what he's looking. Let me add my blurb filter on the dark spot. Alright. See Perfet because I like that like that style that is gift. Alright. Just a little bit. On right maybe here also on the basic noise, we can add just a little bit of that slope. We just really off the effect. Fet. Let's export this again. Marmoset. Yeah, that was a bit more clear. We're fit. You can also add can at a bit of leather stuff here and try it. Let me just make the mask of this your letter export to file leather mask. Perfect. And we can add a layer here and put it height. Alright. Maybe mask. Oh, here. That's just a high map. We put it here, mask. At material layer right, you can see it here, disable. I will just disable everything. Because I don't want any of this stuff affect my basic stuff, my basic material. I just want the surf. I put it in not Well, you can see here. So we can control the tiling in this area. Let's add some leather. What Overlay, yeah. So let's try to find some leather texture that I have somewhere. Alright, I have added some microdtail there. You can find that just by typing microdtail in Google and just downloading some of them free. Also you can find it inside Substance Painter and just exporting that so I did something for this to work. I noticed that if you are using the layer systems that comes new in marmosets, you will need to set up mask here, and your detail and normals that was in the base material will be gone. So if you want to use this, you will need to make a new material for each dital normal that you want to add. So let's see because I don't have any more my dittle normal here. So let's try to do it. Ad material layer. All right. Let me just disable all of these things here under? All right? No. But I will just disable all of that stuff. Here, I will just place it in overlay. All right. I will use the mask one that's my first mask. And now I will just apply the texture that I was using there. Let me see. Rick or ripe. Here I think what this one. I will just tile the texture on top the subface. Perfect. And you can see it now that I have both micro details, one here, and another one here. Perfect. That's a really awesome feature that's come with Marmo set. In the previous version, this wasn't possible, but now it's possible. Really nice stuff. Alright. Perfect. You can see that nice ittle leather detail. Playing with the contrast of this stuff. Alright. A bit bigger. Would be good. Alright, let's keep working on the textures. We can have it or not. That's just up to you. I think that letter detail is giving nice. But I don't know, since this is a stylized character. I think the letter detail is just adding too much realism. But we'll see, we'll see, we'll see. Let's just keep working on this. Alright. So we have our letter textures. That can be push a bit more. Maybe we can add the Mmbiaoclusion there. I wouldn't already has a ambit occlusion. Yeah. Let me add another abitlhion. Lack mask later. Let me put ambient. Alright ambit occlusion. Burt and just see where we can add this dove. All right. Let me put some dark brownish color, maybe bit dark with something like that and be nice. Let me turn down. Let me just test some some material molds darker. Think I will just leave it in normal. Alright, let me tun down the opacity. Alright, perfect. All right. Let me re export that here loss. And let's reexport that marmoset. I'm really not convinced about the micro digal in the leather. Maybe I will just tune it off for now. All right. Let me see if we can tweak a bit more. No, I think that's good enough. Yeah. We're having something weird. I don't like this. Let's go to the body and try to fix that. It's in the Is on the AAO. Yeah. Let me add a pink layer with a soft. Basic stuff, and I will just remove that weird stuff happening under the mouth around here. All right. Wait. If it's not, let me to please. M is giving that weird stuff there. Maybe No. It's not the base. Maybe the scattering. What's affecting there? S. All right, just remove a bit of the ambition there. I think that weird stuff is on our base texture. I can try to fix it here. Let's do it real quick. Let's add maybe a paint layer here. We copy this color, try to fix it just by hand. Alright. You see that's fixed. Let's go back to the n, and there we have it. Perfect. All right. Let me export the texture of the body. They are a bit better. All right. Perfect. Let's see what else we can do. Maybe we can start working on the metals. I think so, yeah. We can start working a bit on the metal. Let's do it. Where's mine. Look a spinter. But before that, let me do something. Oh, yeah. Let me add a gradient on the undercloth like we did on the green cloth. Right radiant. Perfect, a mask at erator All right. Let's see a linear radiant. This is just saving all right. Let's see impaired we can have that there. Yeah. And now, maybe we can see what color gives the best result here. Maybe we can add this lighter color, maybe I think it's looking really nice. I think so. Instead of making that targer, we can make it lighter or brighter. Alright. Maybe a bit bit darker. Perfect. I will put the gradient below all my stuff, maybe near to the base color. All right. Let me make it a bit brighter now. Perfect. We have a bit of brighter color there, a bit of tail. Let's export that. All right export. Let's see how this is looking. Here a marmoset, that's looking nice. Yeah. Alright, let me do something. I will just right click here and add a shadow catcher. So it's a bit better looking. Like, if we have a floor, let me just do some stuff here real quick. Alright. Just to make it a bit more professional, maybe better looking. Perfect. Let's start working on the roughness of that underclass. Sorry. I just forgot to work a bit on the roughness of this. Let's add roughness. Let's see. Another older roughness, fill layer, rough, a bit white. Black mess, feel maybe some noise. Here, another fill layer. Let me. Of that layer, let me go to the roughness. Just week a bit this Alright. Here, I will just add a grunge peture. Maybe this one can be good. All right. So we can have a bit go to the roughness part here. Or you let me just this lighter opacity of the roughness, a bit down. Alright. A bit down. Maybe we can leave it like that. So now, All right. Now, let's start working on the metal pieces. All right. Let's go to the golden parts. Maybe we can add copy these dark. Well then, I will just leave this in color. I will make this darker, a bit more to the red and a bit darker here. All right. Now I will add a black mass here in nature, or maybe here we can find type H and see what is this giving us. Maybe we can try to use this Let me go to the base color. Let's wick some stuff here. Alright. They just crank up a bit of the blur this habit. This doesn't. Let me add some filter, some blur. So normal blur this time. All right. Let's see how this is looking. It's looking a bit dirty. I don't like that dirty looking. Right? Let's see. I just want this stuff go on the edges of this stuff material. She I like that should be good enough. Pink. I will use a knife brush to do this part. I will just try to reduce a bit of that of that dark color with the flow here, I will just crank up rank down at the stroke opacity. You have to have a bit of texture on my brush throat. Alright. Back. Overnight, there's a bit win some stuff. Painting some of these dark color by hand. Here on the corners and be a good place at it. All right. Right. Here, let's see. Let's add some of this color my hand. Perfect. Let's go down here and do the same stuff. Perfect. So little bit of this color here. Alright. Let's clean some stuff. Maybe lift some of these parts. There they are looking a bit cool. Yeah. Maybe here. Is a bit. Clean this part a bit more. Add a more stuff here. Et me see how this is looking in the material you. Looking kind of better. Alright. Let me turn this color. Let me go back to the base color here and tune that opacity, the town or white. Maybe we can make this color to affect the roughness. There's to be a bit more interest in the material. Maybe, yeah. Right, can you do something here. What? No, I don't want to leave my boding stuff there. It's here? Perfect. But Perfect. Let me turn off asymmetry. Does the work in this bit a bit asymmetrical. Bit. Perfect. Just remove this one here. All right. Maybe here a bit in the places. Alright, let me export this to Marmost. All right, we're having more interest now in those golden parts. Alright. All right, let's see, or maybe we can instead of making darker. We can make it lighter. Let's see. How this goes. Let me just copy this color just in case. Let's make that a bit lighter. Maybe this will give us a nice looking effect. And instead of making this with more roughness, we can make it shinier. And I think this is giving a bit better effect. Yeah. Let me explore that. I think this is even more better looking effect that metal piece. Yeah. Perfect. Now, let's add maybe some raches in that piece. And let's see. Alright. Let me do something fill layer, just be high. We put a black mass. Let me also add some colour because I want to see where the scratches. Right fill, crutch. Let's use one of these. Let me the dusty one. AR balance. Let me just bring up the tiling on contrast, I will just make the height p All right. Let me make the color here. Use this color, a darker one. All right. And maybe make a bit rougher, maybe lighter, rougher can be nice. Let's see. With the balance, All right. I really liking the shiny effect that it's giving us. I mean, the shining effect that the light color is giving us. Alright. Maybe we can crank up a bit more depending. Alright. Let's explore the texture again. Perfect. Missing something maybe here in the undercloth we can rank up a bit more the lightness of the curvature. Make it a bit lighter. Yeah. We can also add paint and paint some by hand. This part, we can refine a bit more the shape and paint it by hand. Also here. All right, let me put this symmetry. Paint some stuff. This is not symmetrical. Alright. Let me just remove some of this and add it by hand. Maybe Perfect. Little bits there. Maybe adding some of these of here in the p of that adding some splashes that color here and there. Right? Adding some splashes of that color here and there. Maybe that can give a nice effect. It is just experimentation that I'm doing now just to see if this is looking good. Let me expore that the marmoset. It's kind of looking good, yeah. Alright. Let's see. Oh. We can do next. Let me bring back the texts. The letter detail. I'm just not sure if to have it or not. I'm just thinking about this. People cannot have it. Maybe, yeah. Alright. Let me work. Maybe not. Let me add just a bit of detail on the roughness of the golden parts. Alright, let's go wear my golden stuff. Ratchet goldis. Aches. All right. Let me add some roughness. Here, maybe a bit. Like that. Lack mask, pill. Maybe some rung. All right. Let me see my stuff here. All right. Perfect. Now we can do a bit of work on the on this part, we bring back the robot arm on this white metal stuff. Let's do it real quick. Let's add some ale. Alright. Black mask, later a metocltion see the color just bird let's see what is this giving us. Fred Alright All right. Let me go to the material channel again. Let me do some mixing with this brush here. Let me increase the stroke opacity. Because I don't want the neck color to be that dark. All right. I don't want this Nick collar to be that dark there. All right. Let me just make a bit of stuff here. Perfect. All right. Let's see here. You can also add a brighter love here. It's me sing. With a bright roughness. Ripeness. So black mask. AatorT time I will use Scurvtre. All right. Let's see. The turn this down. So it. All right. I think we can paint a little bit with this, make some parts of the metal a bit righter than others. This is just personal aisle. I like to use sometimes on my models. Maybe there now. Let me see. I stuff here. Right. Let me add back my symmetry. A adding some highlights here, maybe. Perfect. All right. A little bit of stuff here. Yeah. Yeah. Respects. Let's see here. Let me turn off symmetry. Or right. We get some stuff here and there in the corners. Perfect here. We can also add few sins and go back to the material harl to add a bit of detail here. These little pieces. Perfect. Let me move again. Symmetry because I don't want these piece to be the same like the other. Alright. Let me export. I can detexors. Inside the engine. We saving. Perfect. Let's export. Let's see here. Perfect. All right. No, I think that we can left this video here. In the next video, I will just keep continuing with the textures. I'll see you there. 68. 05 Creating Textures Part4: All right guys, so let's continue with the textures. So let's see. There's something that I would like to add in the cloth. The green cloth is and like some ribs, maybe. You will see in a moment what I want to add, maybe just to give a bit more of detail. Let's see, create another folder Or maybe some ribs. Oh, maybe free cloth, maybe. Let me create another layer. Perfect. I will put this height in negative with some rough negative, some roughness, maybe a bit height. We can see let me put some black mask at a paint layer. Let me see how this looks. Alright. Looking kind of nice, yeah. Alright, let's tweak. The color, maybe we can select some reddish type of color, maybe something like this, a bit lighter would work. All right. Let me use this pen here, maybe knife brush. We could put these under the color variations maybe her should be good. All right. Under the color variations. Perfect. The thing where we can look at that type of detail. This is just an experiment. Just want to see if these look nice, maybe here. Alright. All right. I think that was kind of nice. Alright. Let's see, maybe a bit lighter color would be nice. We could add Let me see the roughness. Not changing too much. The roughness. All right. Let me do something here in the roughness, I will just put some anchor point here just to reference this mask here on top. Paint or not. So black mask. We could add the anchor point here. Alright. Uh mootness, but ribs right. We could have a bit more of our shrougness there. Also, I would like to add maybe some stuff, some extra stuff there. Right. Maybe we can sometime see the warps a bit darker color or a black mask. And this one will be a filter mask order. I don't know if this is going to work because I think that mask should be this work if the mask has something to work with the mask, and this is not working. This is something just to experiment a bit. Alright. You can see how this is doing some stuff there. Let me see what we could do if we can put this on top and just reference the anchor point that we have made. And this show you something, but I don't know why the mask not visible. All right. Let me just delete that. The filters outline. To see inside. It's kind of bully sometimes. I put it somewhere that I should put that. It should be here. Right this time works. Is coal, maybe the mask inside. Alright. Is this not working. These stuff tend to be very buggy, right? It's just reduce the threshold. As you can see, we have kind of a dark out line around the mask. We just deactivate that All right. Brewer. I brewer. No, that much. Maybe something like that. Masks too much. Maybe we can put 0.5 here, but that's too much. Let's see 0.20 0.1. Alright. We can also do some blur the mask. Oh, I put my stuff. Oh, my God. We put the filter and B here. Mm. Maybe we can leave it like that. We can increase the resolution of this cloth, maybe. Let's keep working on this stuff. Right. Maybe we could add a bit of this rip cloth in these areas. There's a tiny bit. To give more interest in those areas. All right. The corners maybe. You can also add maybe some scratch or maybe nuts. A lot. You don't want that. Right. Let's see what else we here, we also can add this type of detail there. I maybe some bit of that. All right. I think that stuff looking cool. Let me add maybe just a bit around these areas. Let me see how this looks with the we kind of looking the same. Alright, let's just continue with the knife brush. Alright, I just put in that on the corners a bit. But what is this stuff here? That's some bug in the baking, maybe. I haven't noticed that here, we can add some stuff, also. Maybe some rib like this. Perfect. Here, also, we can add that detail. Perfect? Let's just keep adding that piece of detail. You hear another bit of that. Perfect. Then what else we can add a detail maybe here can be a good spot to add it. Right here also, because that parts are like they are grid and this could be a nice dittle to add there. Right. I don't want it to add that dittil everywhere. Just some specific places. Here, we can add just inch of it. Perfect. You can see here and we pull at it. Here kind of Perfect. Let's see if we can add some stuff here. Maybe not. Maybe nothing that tastes. Perfect. Let me export the textures to marmosets just to see how they are working. Alright, let's see here. You can see it there. Looking kind of nice. Personally, I like that detail. Yeah, giving more interest, but I haven't noticed this baking issue. We can fix that later in Photoshop. Once we finish with the textures, we just need to swap the textures that is here in the texture settings. You just need to swap this with the fixed version where this baking error is not there. Alright. Let's see what we can add. Also, I need to tweak more the roughness on the white metal pieces. Let me see where are my white metal. I under cloth. White metal here. Let me tweak the roughness. Oh, but you tweak the roughness. Perfect. Roughness. Let's add a fill layer. This time, I will do something different, maybe. We'll just click here roughness and maybe just add one of the textures that I have here just to see how they are working together. We can also cohere to roughness and just decrease the opacity of that another thing that we can do is add a black mask, at a fill and just search for a crunch valve here. Maybe that one could be good see the roughness. Alright. You can see we have some roughness variation that can be something good. Alright maybe a bit bigger. Let me see here. All right. This could work. Let me add another roughness roughness too. But this time, I just will tweak directly on the slider, like mask, maybe some field layer. This time I want some fingerprints. Fingerprints here or maybe not. I think this is too much to add there. Let me see the roughness. Alright. Maybe that could be good. Yeah, let's me export again the textures back to marmoset. Let's see how they are working. Perfect. We can also kind of increase the resolution to get rid kind of those pixelated up there. All right. What's in it. Because the dark part under this golden stuff is not in too much, in my opinion. Let me just add it manually. Here, I think that piece. Here. Yeah, let me add that same paint around here. All right. Just a bit of that. Maybe not with this brush. Let me select the basic soft one. Basic soft here, right? Let's just try paint a dark here. But it's not working. I have it with that and pressure on this side of the brush. Alright. Perfect. Let's see. We can add a bit more of this Perfect. Year two. Is too much in this part. Let me just reduce that. Perfect. Let's see. In this part, All right. Maybe do something real quick here. Right, let's see in context with the materials. Maybe we can just reduce that a bit in some places. Maybe it's too much. All right. Let me export that again to marmoset just to see Oh, it is looking I's of better now, yeah. It's not looking anymore. Like is this just based like some PNG. Now looking like integrated, integrated with the textures. That's added also in this art. He stated here real quick. When? These pieces. Perfect. All right. Let me just erase that from some areas. All right. In the middle between these two. All right. Let me export that again. Perfect. All right. Let's see what else we can add. Or you can see roughness variation that metal pieces. Perfect. Hmm. Alright. Just looking around. I see my web friends just to have some inspiration. Maybe we can add the same detail around this area. I e cloth Where's my re cloth around here. Perfect. Let's add it around here, maybe. All right. Maybe there maybe a hinch of that. Here, just a tiny stuff. Perfect. We can also keep working on the free stuff on the leather parts. Here, let's see. Where is my stove? The curvature, yeah. Yeah. We can keep working on the stuff here. Perfect. I we modifying it bit, a bit, a bit more of this area just to make it more noticeable. Alright. Perfect. Let me do something here real quick. All right. Because I'm just adding some wearing damages in the cloth itself because she's like some warrior and maybe the cloths had been damaged in her fights, some stuff like that. Maybe in this part, we could just extend that damage I say like this, maybe, uh Perfect. Maybe, that should work. Let's see here. We can do kind of the same these areas. A bit more of detail here. Perfect. I think that's looking good. Maybe dumb stuff. This area. All right. Maybe there not too much. Maybe maybe let's make it smaller. Perfect. All right. Let me see something that color. Let me seeing the marmoset. I just wanted to want to see. We need to add also that dark stuff under these wolden pieces. I think that I add them, but they are not too noticeable if I'm not my mind is not bad. Let's see here under class. Yeah. Having at them. Let me just add a paint. You see what the paint does here. Right? We can't write. Who at? That that stuff there. Perfect. Maybe we can change the brush to something more softer. Maybe the cement one would be good. Alright. Should tough enough for this task. All right. Let's just add my brush is doing something here. Let just add that darker color here. All right around this area. Because I want this to feel more included in the texture, maybe. I just feel like they are they are not looking nice without this touch. It's hard for me how to explain this in English. Sorry. Oh, I'm just removing of this stuff here. I see base colon. Perfect. Continue here. Right. Perfect. Let's go here. Oh. Let me see. Rod capacity, maybe the flow can be a bit higher. Yeah. Mmm. Right. I lit in the middle. All right. Let's see. The darker color around this part. Maybe let's go back to the soft brush. Soft it soft and let me reduce its stroke opacity. Maybe flow Right? They not that much. Let's see, keep adding this dark color around the corners of the golden pieces. Let me see how they are looking on the marmoset. Let me say first. All right. Let's continue. Export textures. Perfect. They're looking nice. Yeah, they're looking better. Right? We can maybe start working on the metal pieces here on the leg stuff. The robot legs. But first, let me work a bit here on this cylindrical stuff. All right. Let's see metal white. Alright, dark metal. Let me do something here with this emissive stuff. I just want to make them a bit rougher. To make that like they are some sort of crystal containing something. Let me explore that first. Just want to see how they are looking in the render. Alright. I think they are looking a bit better. Let me make the emission brighter right that seen or Perfect. Alright. I mean. Alright. Let's just keep going with this. Also, I want to separate the missive from here and from the other part. So we'll just duplicate this one. I will add a folder. We put a black mask. Also here, we put a black mask. And here I will add a paint brush. And with the cube, this part here selected. I will just feel those stuff with white. Perfect. And here I will add a black mask. Maybe maybe we can just put the cylindrical emissive here on top, and that should be good enough for us to work. Let me make this writer perfect. And here below, I will make that a bit rougher. Let me increase, end of the emissiveness. Alright. We can add a bit of roughness variation to that piece. Let's see. All right. Let me add roughness variation. Roughness corner here roughness, yeah. A bit high. Lac mask. May not feel layer. Maybe some hand wrench. Not finger, rins maybe mir. Let me see the roughness. All right. Let me add another layer, and let's see if another piece of that work, maybe overlay see the roughness. Alright, maybe let's see it multiply. Let's see if this is doing something I doing something. Ring. Let me just reduce the intensity of that mask just a bit. All right. So flight maybe. Olay, let me control C, just to see how this is working. All right. Let me make this a bit a bit dull here. All right. Let's see. Toughness. Perfect. Let me export this back to marmoset. With a bit of roughness. Yeah. Perfect. I will do something. I would like to have the UB projection to triplanar not have some issues with the seams. Maybe we can increase this. And that we export this back to marmoset. Perfect, and good. Looking better, maybe. Let's start working on the metal pieces. Let's see. White metal. Let's start working first on the dark metal. Alright, let me add another layer. I will call this maybe orars it will be metal. All right. The roughness, maybe a bit hire will be. Let's see. Maybe, yeah. You'll see or write at me at a black mask, some generator. It's edges metal edgeware right, you can see it here, some edgeware. But this edgeware is on every corner. Let me just tweak a bit this stuff here. I kind of like this, yeah. Looking good. But let me leave it in that scale now. Grunge, no. Smoothness. Something like this should be nice. Alright, where level is too much. Perfect. Let me see the roughness of this All right. Let's add a few layer, maybe with another grunge. Let's see. Right? Let's see this one. What do you multiply. Let's make it bigger. I think that's not working very nice. Let's change it. Let rotated. Now, I'm liking it too much. Maybe that one No. This can do something, maybe. Perfect. All right. I don't I'm not very sure about this. They are erasing too much of what I want. Maybe this should be nice. I think this one is pretty nice. It's not deleting all my orners but just eking out a bit. Alright. Looking kind of better. Perfect, let me just sport back to marmoset. Just want to see how this is looking there. All right. Let me see without that mask. All right. Perfect. All right, maybe we can reduce a bit intensity, and maybe we can add a paint layer. I will change my brush to dirt and just try to erase. Some of the edgewk some areas. Like, something like that. Here a few areas. All right. Write a scene. I wrong here, maybe. Perfect. Alright. Let's see. We can add a bit of color variation. Let's add a fill layer. Let's see here one of these textures, make it a bit bigger and tweak the layer mode. I multiply. Overlay, maybe soft light. Of flight, I think that is kind of good enough. To have a bit of color variation and the albedo. Perfect. We can add the roughness, also. Let's add some roughness. Here in rough. LakmessPel. Let's just look for thing that looks nice. Make it a bit rougher. Alright. We go back to the material tap. We change it. Maybe some Let's see with the noise textures. If we got something better All right. Let me export that back to Marmoset Mm, I think that's too much strong. Strong? Alright. Let me reduce the opacity here of that. Perfect. That's a bit. Let me expe that again. I think that's looking a bit better. Alright. We can add, maybe, let's just experiment a bit with the scratches. Let me put this in red, just to have a bright color to see where are the scratches. Mask V, Cratch scratch generator. All right, balance. Maybe some tile. We go back here, make some indentations. Alright. I may remove the color. Maybe not that much of scratches. By some contrast. I think this is way too much. We add a paint layer and just start removing some of them. All right. Something like this. Let me go back to the corners and just removing a bit more of that light. I want to have breakups on the corners and not have that continuous edgewar that I maybe look weird Alright. If we here also, we can do something. Alright. Let me export that back. Marmoset. Alright. Let's work a bit on this metal piece. Let me remove that scratch from there. Let me go real quick. I scratch. All right. We're just removing some of those scratches there, maybe here on top and also be removed kind of in some pieces. Some places, I mean, right. Let me just copy these two and move it to the second white mask. I mean, white metal, just to have something there. Perfect. I think we can make this also affect the roughness of that piece. Let me make the roughness variation. We're a bit less intense. Perfect. I think that can be good enough. Well now, Alright. Let's go. Let's work a bit on the bandages. Let's do something there. Alright, let's be save first. I saved. Let me export also. Exporting my textures back to marmoset. All right. We can also try to add a bit of a detail normal in the underclass part. We can try. First, let's do something here. I think the video is too long. Let's end this video here, and the next video will start working more on the textures. 69. 06 Creating Textures Part5: Alright, guys. So let's continue. Let's start working on the bandages. Let me fight my bandages folder here. Alright. Alright, let's add something there. We can add maybe some bake lighting. Bake lighting. Let's add a filter here. All right. And now bake lighting effect. I will change this to only the fuse. And maybe we can apply. Oh, I'm the roughness hannel and go back here to base color and apply this multiply. That can be also an option. Perfect. All right. What a bit of deepness in the base color. Perfect. All right. And roughness. Maybe not. Yeah. No, not like that. Roughness, sir. Right, lighting. Let's add some ao. It puts the roughness a bit g for that part and bit of brownish color, dark brownish color. Now we just add a nerator here o a bit dirt and go a good action. Not that many dirt level. Let me see my rough, my base color. All right. Alright. I think this is working kind of nice. Yeah. Let me add some urbatu and a lighter color. Light edges. Alright. Maybe here some white yellow. It's just to test that mask, and, I mean, nator. Alright, let's see some upatur let's try the metal edgeware. No, that's extremely too much metal edgeware. I mean, cropatureR? Perfect. So blur. He way. Not that many. Let's see here. Let's just tweak these parameters. Alright. Maybe the blur. All right. Let me just reduce the intensity of that color. Let's see texture. Maybe some noise here. Is this doing something? I don't think so. All right. They just add a field layer here. And now I will add some noise. Perfect. And I will put this multiply to break up a bit those edges, a bit. Perfect. All right. Et's try to see how that's looking inside Marmoset. Let's see just the roughness little bit. Alright. Sport. Let's watch it here. You're looking at the nice. Perfect. L et's just keep working on that. Let me add another field layer. Maybe this time with a crunch and put this back to multiply and make it bigger. And maybe this reduce the opacity. All right. Is color. Perfect. We can add some color variations. On top of those colors maybe maybe some dust. Is some yellow here. Black mask, pill. Let's see which one can be a nice pattern. Alright, let me see my base color. Alright. And also can add. Let's give me a second color variation. Variation one, we also can add here below all this stuff. Another color variation. But this time, I will just select one of these stuff here. Maybe make it less intense and put this in soft light. Let's have more color variation there. Let's try to see how this looking with a little slope. All right. I'm not looking good. All fact. Let's try that inside marmosete. Let me tweak a bit the roughness of this piece. I get a bit rougher. Yo can be a lot rougher too. And we can add maybe a color that has more wetness in the roughness, a bit more wet, lack mask, put maybe greenish, dark greenish. Alright. Maybe dark blume to test, feel brunch Alright. I think that's too much. I think this can be nice. Let me reduce the color a bit. A B, we can also reduce the roughness. Intensity is a bit more. Alright. And maybe you can focus that off on the feet. What a bit of dose here. The feet All right. Let me add just another thing. A few layer will remove kind of off those blatches Alright. This can be good enough, maybe. Four textures. Plus, yeah. Looking kind of nice. All right. We could try to add a bit of micro detail in those cloth pieces, the undercloth and here. Let's first try with the undercloth. Perfect. Let's see. Let me see on top of all here map. Let's strike. At. I just want to see which high map is looking better for this class strike this can be something nice. No, I definitely know. Let me go your black mask. I just add it there. Yeah. Fat. Maybe 64 a be good number. End up looking good. But I want to add that detail inside Marmoset not here. Here I'm just testing how this is looking with that detail. Not looking, nothing bad, really. I think we can use this. Let me save. Alright saving. Let me go to the bandages part. Super overlap. All right. Let me just Alright. Let me just take a screenshot of that because I will use another project or another Susan Spiner file, explore those detail as a micromap and we can use them inside Susan Spinter. I mean, inside Marmoset, sorry. Let's see now with the bandages. We can do something here. Maybe we can add some of these some of these materials, let me just close that and tile these. I think this one can be nice. Yeah. Let me just delete them. Alright. And now Micro dital. Now, what I'm going to do is just to save the mask or to use them inside marmoset. Mask the places that I want my microditl to be. Perfect. Now the bandages. Mask, bandages. Mask Bile Bndages, mask. Alright, let me save again. Now ******* just in case. Now I will just open some sample here, and I will open the tiling material sample. Now, I will just remove all of these layers here. In the settings. I think it's in the shader settings. I will just disable the displacement and now let's apply this linen stuff, maybe a bit higher, something like that. I be nice. But I just want the height information, maybe with the normal. Yeah, this is the only thing that I want. All right. Perfect. Let's export only that map. The normal map here. That's the only thing that I want. Let me change the export settings. Alright. Let me go to my to my files. It quick. Alright. Give me a sec. Pictures. Alright. Like, details resonate and export. Nice. Now I will do the same thing with the other stuff that I saw. This one, make a new layer, a fill layer, and I will make a black mask. And then a few layer inside that black mask. Just add that that little normal. Let's just make it molar Maybe here can be a good place. All right. Let me see. Yeah, it is looking nice. I will explore that, too. Let me see if my textures don't override. Alright, give me a second. Oh. Alright, Texons. Micro details. All right. Let me just change the direction because I don't want the maps to override each other. Chryslet and export. Now let's back to marmoset. We are perfect. Let's go to cloth and add two new masks. Let's select here the mask for the undercloth and for the bandages. Lo quick. I'll wear my stuff. Alright. Mask undercloth and bandages. All right. I will create two new material layers. All right. The new ones. Oh, what. Now here, I will call this under cloth Detail. Alright. I will disable everything here. All right. Now, with all those stuff, disable I will have something there. Let me see if everything is disabled. Everything is looking weird. Here the surface. Let's put that in overlay. Perfect. Now it's looking nice. Now let's select the stuff that we have made, our microdtails under class. This one, let's see if it is doing something. Not completely empty. I think that because we need to put some filter. Maybe hight map to normal, I see it at school. I map normal. Now we can explore the normal map. Alright. That is in is not working still. Alright here, we are back. Now I have my detail in my normal map. What I did was just to create another layer. And that top layer, I just added the filter. You can see, I just remove the hit normal map filter from the main layer. I just add a new one on top of that and add a filter. And here, in the high channel, I just put that layer into a through and and that just start working correctly. So I have exported my map so let's go back here Marmoset and just let's tie that map a bit. Maybe we can invert the Y axi. All right. Perfect. But there is something that I don't really liking. I'm having that detail in every part of my undercloth Alright, let me do something here. We just select my mask, the mask, and now it's working nicely. I think that's a nice cool detail. Maybe we can make that a bit stronger here. Maybe just a bit stronger. Let me export again my map. Alright. Right now, let's go. With the bandages little normal. All right, let me put the mask here to four. And now let me disable everything. Perfect. Al bio. Yeah, we'll just put it in overlay. Let's select the detail normals that we have made inside Luton Spenter. Now let's just tie these right. Maybe we can experiment a bit with the roughness map. Let me also export the roughness map of this piece. All right. Let's export that. Let me go back to the folder that I have that sport. All right. Let's go back to Marmo set. Let's search for the roughness map here. All right. Just select the roughness map, maybe to overlay. Maybe multiply or not rim. Let me go to roughness. I see disable Olin, touch, under, I don't liking how this is working. All right. I will just disable the micro surface there. All right. Perfect. Looking kind of good. Those ditalnals there. Perfect. Let's go back to our main V rush. I mean, our main substance painter stuff. It's called the microdtilF viper detail. Right now, let's go back to our Sorto file. Perfect. Here we are. Let me see the roughness. Maybe we can make the roughness of the bandages a bit higher. Let me wait for this to chart traffic here. Bit higher. He's doing something. Not. This also have roughness in it. All right. A bit rougher. Tin. Variation. Right. Let's explore this again. Perfect. All right. You can connect it. Yeah. Alright, I think now we are ready to work a bit on your robot legs and robot pieces. So let's start doing that. Alright, robots leg. Or fit with the white metal, I will just copy the same settings that I have made in the cloth part. Let's copy that. Just to save sometimes right. We'll copy everything that I have here. And you'll see and right white metal. We'll delete that one B. There we go. Bit of detail here and there. Let me go. Here, let's use my knife brush the start painting some stuff. Like here, some edge wear here and there. Perfect. Then remove some of them. Alright. Perfect. Let's just keep adding some more stuff here. All right. Maybe some wearing the corner here. Excellent. All right. The thing. We can also try to add the roughness general roughness or all the metal pieces. All right. Dark metal. Let me add roughness to everything, maybe. Roughness. Right. Roughness here. Right, Black mask. We all Branch. Let me remove the color. White. But now we're having something in the roughness. Looking good. But All right. But where I don't want the roughness to be in the black, he says, Where is? Where is that? Just let me write to find them. Nice stuff, right. Here, Black spot. It place an arc anchor point and just reference that here in the mask at the anchor point. All right. And now I will just place this as a multiply. This is not working like I want. All right. I let's see pass through maybe inverse to strat, you know, inverse, divide. No, divide, no. Alright, let's see what we can do here. Different me color that should do something there. Right, let me see my mask is doing something here. Maybe I will just lose that stuff, and I will just paint it my hand here. Right. I'm painting. Perfect. Let's go here also, paint that with some black color. All right. Let's try to add now. Age were sitting here with this brightness stuff. Here in the metal three. We'll just place it. All right. I will put generator, but this time will be the edge metal edgewre or right. We're having something. Let me reduce the wear level. Gun I want some branch there. All right. So contrast. All right. Let's see. I want a bit of wearing in the foot. But here in the arm, I need to erase some places. Alright. With this one should be good. Alright. Let's paint some stuff here. Let's use the dirt brush. Start removing some stuff. I don't want this crunch this edgewak to be in every piece. Like in these corners, they don't have sense to be here, these parts. A here, they sudden have sense to be here in that corner ocean. That seem Perfect. We just hide the class for now. All right. We can remove a bit here. There's nothing in the tip of this triangle part or pyramid part. Right. That's in the feed that we can add here. I think this is good enough, like it is, that we just remove some parts. This car here. Yeah. Perfect. All right, we can add also some scratches. Let me add a new fill layer called the rach right, remove the kora just put the high channel there. On fill layer here, some scratch stuff. All right. You can try to use the scratch trough generator. Alright. Make some deepness. Then we can start doing some stuff. This is too much. You believe it in one. Perfect. A Mmm. Maybe that could be there. Alright, I will add a paint layer to remove a lot of these crutches. All right. Let's go. We can add a bit off. Ealing there. All right. Let's go here. Maybe that place should be a bit of scratches. So we'll just leave some of them there. It can be nice to have a bit of detail here. Remove a bit of them. Ft A here. I want the scratches to be everywhere. Maybe we can change this to multiply. Right? Perfect. Let me just see my reference just real quick. Just want to have some spir. Right. Alright, let me add the scratches on top of my metal pieces. Alright. Right. Here in this part I want a lot lot of these scratches because this is the part of the feet that is constant ug with the ground. I should have a bit more damage than the rest of the feet. Alright. Setting. Perfect. Let me remove more of these scratches here. All right. I don't want the scratches to be in the rubber part. Okay. Perfect. If we hear the palm, we can have a bit of scratches. All right. I can add a bit of of ale. All right. AO unal AO, Black mass, erator and met occlusion. M some dirt. Dirt inerator here. Dirt label, not that much. Amount. Let me see how it looking with the ambitocltion Abitocltion Bird lower Bra Alright. Let me put this in a dark color. So dark stuff here. Alright And also try to add maybe some radiant. Let's see the dark metal, we can add some radiant there. Let's see dark metal. Right? Let's put a black mess. Maybe filter. Not filter. It's the generator here. All right. Radiant. Invert that mess. Right. We can write the twig. I'll add a little bit of color. All right. A Perfect. Let's see. So dark. Color, maybe some bluish. All right. Maybe we can also change here, maybe for some bluish or. Let me see how it is looking. With the material. Maybe not. Alright. Let's just keep tweaking this. Alright. Perfect. Let me tweak a bit ambit occlusion. Alright. Just to remove them here. Just removing that a bit from this part. Let me export the textures to marmoset to see how they're looking. I like Export. All right. Let's see. There are a lot of scratches in the cough area. Also here, there are a lot in this piece, ao. There are a lot of scratches. We need to bring down these scratches there a lot and everywhere. I don't really like that. Let's just continue twig these scratches amount. I don't want them to be everywhere. Just few ones. All right, there are a lot in the knee right in these parts. I want to have few, not that many. M in the feet, we can have some Alright. Let me go back here. Maybe produce a bit of those scratches and write In this area also, the height, the cloth. Here in the back of the cough, we are having a lot of scratches. Alright. Let me just stay here. All right. Let me export again. Perfect. Let me do something. No quick. In this metal, I would like to add another gradient. But this time, a bit different. All right. Let me copy this mask. We'll just place it here. Black mask, all right. Paste into mask. Now I will add a filter mask outline. All right. Let me see here the mask. Inside. Right, let's see. I will just make this a bit darker. Let me keep tweaking this and blur All right. Maybe some blur here. Is gonna are having something there and see it. Alright. Me also. Just remove a bit of this love here. Alright. Perfect. It's the ao. Let me remove a bit of the ao in the neck part here. I mean not me pans of C Pst glass. And maybe not. I just don't want that big dark part there. Love me reduce the flow here. I color. Right. Right. I war ride. Let me just keep adding more here. It's time with the knife brush. You can add a bit of Dido and places my own little. Something like this. All right. Oh a bit of manual detail here and there. S in the palm, we have a lot of scratches. Remove few of them. The finger also. Right. Let me working on these parts. All right. Let Mix work this again. Looking kind of better. Alright. Maybe we can add a bit more of roughness variation. Let's seeing is the first roughness. All right. Let's try to add another one Ls one on right a bit more rougher. All right. Let's add another ranch Now I will add another fill layer with another crunch to rake up the first one you multiply. I think that can be nice. Alright. Or fat. You see the base color. Maybe we can add some base color in those stuff. All right. I need to put some more dark color there, maybe a bit of orange or brown right like dust. Let me export that. Alright. Perfect? Let me add just real quick. So color variation in the dark in the dark part. Bill here, perfect. Maybe this one can be good. Let me put it in soft light. At that one right. Perfect, let me add just some blur slope in the filter. Blue slopes color right. Maybe also in the roughness of the reduce the roughness of that part. A little bit. All right. Just a little bit more, maybe. A fact, let me export these again. We have a bit more of variation on the surface. All right. Let me see here. Let's see if we make the roughness a bit more visible. Word it again. It's too dirty, like, Oh, that's looking like that. Maybe something around here should be good enough. Alright. Now I will just remove a bit of this dirt here. Let me do it quickly. At variation. Alright. It's not dirt. The dirt isn't not here. All right. I'm paint here in dirt, I will just remove some of them. Like here. What? Here, all right. Perfect. We'll just remove a bit here. Perfect. I will that and I will add a bit of dirt here, maybe. Let's add it. All right. Strokes like this. All right. In fact, here also. All right. So now, I will just save a second and I will sport that back to Marmo set. Just to see how this is looking perfect. Alright. I up good. Alright. Oh, let me see the render with the raster. It's also looking good. This is how you will see air in real time engine. All right. Looking pretty nice. So I will end the video here. It's a bit long now the video, yeah. But let's end it here and detect video where I keep working on the textures. So see there. 70. 07 Creating Textures Part6: All right guys. So let's continue. Let's start doing some textures on the eyes, maybe. Let's work a bit on the eyes here. White. So I will call her pik here the colors of her eyes that are some sort of an orange Ithing like this, maybe. Right? But Oh, I just selected the wrong stuff. All right. Let's work on the IDs here. And the ids should be a bit darker and maybe some aurated. I was like that, maybe. They think this should work. Let's create another field layer. Then we call this maybe or one. And here we put some black mask and a paint layer. I will remove or leave the stuff there. Sick. I give me a moment right. Sorry for that. So let's continue. Alright. I have my colors. Let me color pick this like this middle orange stone around here, maybe right. And now I will just paint with my knife rush. Here in the paint layer. We got to pick my knife Brush, let's see. He's doing something, yeah. Alright. Let's just paint in circles because I like the fact that the knife brush give me in the ice though I would paint just like this. Alright. Perfect. Maybe we can make this space a little bit less uintin. Let's seeing. Let's try. All right. After moving the spikes. Alright. Perfect. Moving kind of this bike here. Make this a bit more circle. Bit more of a circle shape. Perfect. All right. Now, let's keep working on this part. Let me seeing a little bit here, a less here in this part. All right. Now, what I want would be brighter color here, brighter orange. Let me just duplicate that, remove the paint layer and add another one. And here I will just color pick the brighter orange, something like that. Let's paint the highlights that is here this part of the is. Let's see if this works. We can modify the color. Let's see it a bit. Yes, can hold that. Let me see here. You can modify the colors. That's a good stuff. You have this split between layers. Alright. Let me see. They punch this a little bit more to the yellow. Let me see it from the f view. Group a bit weird. Here we need to reduce little bit the value, I mean, the brightness of these Iris. This is on the top. All right. That's just a bit. Let's see. I think this should work. Right, one, let's just keep with this, right? Let me keep rolling with that color here. Perfect. On great. Perfect. Maybe here, we can add little techs. Maybe we can add now a bit brighter color or some extra highlight. Let just duplicate this. Let this remove a paint layer or let's add another one. Let's make this more to the yellow and a little bit less saturated. Let's see what this give us. Alright. Yeah. Perfect. Maybe this can work. You can beat. All right. Right, this is saving. Let me just continue. I work here. Alright. Right now, I will just add a little bit of darker color. Maybe let me add a new field layer. This sign will be with maybe brownish dark color. Dark color. All right. Black mass, with some paint layer, and I will reduce the opacity. All right. Let's add a bit of that dark color around the top portion of here. All right. Perfect. Now, I will just add a little bit of redness around this part of the white part. This sclera All right. Let's add a red color here. This red color should warn. Alright. We had a black mass, paint layer. Now I will feel by us here. Perfect. And now I will just add a bit more of manual work here. I see it like this will be good enough. All right. Bit of manual work. Just to have something there and not make the eye completely white dsquera Cop bright. Let's continue. Perfect. Let me see. The model, let me export the eye texters. All right, eyes here export. And now let's see how they are looking here in the engine. They are looking pretty cool. Let me see from the side. Yeah. They're looking pretty cool. I have made another camera with another color mapping here. In the new camera here below, I just selected rain hard. It gives, like, a bit more a different look for the colors. I think this looking a bit better than the linear one. They're looking pretty nice. Alright. Let's see, maybe we can work a little bit on the hair. But first, I would like to add a bit of color on the nails. Oh, I need to remove that dot there. I don't want that dot to be there, where is the dot. Basic heart, right paint, and I will just remove that dot. I don't want that dot there. But let me just remove few ones. Alright, let's add some dot color. I mean, some nail color. S, she doesn't have a nail color on the coset. So maybe we can just experiment a bit with that. Let's see. Let me just create another folder here. Ns. Alright. Black mask. Perfect. Foler roughness, this should be a bit shinier than the than the skin itself. Let's see. Let's try with maybe some greenish, just to try, maybe. Let me add a paint layer. Alright, and let's paint the nails color. Let me remove these ones because I want the full colors to be working. Alright. I think the ring doesn't working really good. We can experiment more when we have the nail colors in all the fingers. Alright, let's see here. A bit more of nail color. Perfect. Two. All right. Let's keep working on this. Let's see here. Perfect. Let's go to the feet. All right. Perfect. Here, just a little bit. And here, also, just a little bit more there, here and here. And this should be good enough. Right change that greenish color because I don't really like how they are looking. Let's see. There is some orange. I think they are looking pretty pretty nice. Maybe we need to see them inside the engine. Let's explore the body textures. Alright, let's see nail colors All right. Perfect. Now, I think they are good. Yeah. Now I think we can work a little bit more on the hair. Let's do it. For the hair, I would like to do some stuff. I would like to have an isotropy map. And also, I would add some stuff in the base color. Alright, let's start with a Ao map here. Wantaneo map. Right, let me make a bit rougher the hair. Right zip black mask, a generator, AO bt oclusion when's my Amvetoclusion here? All right. Invert that albtoclusion. Balance at higher. Let me put this with a brownish and a brownish color here. All right. Let me see the baseball how this is looking. Perfect. Let's just keep working on this. Kind of good. Is something more like this should be nice enough. Alright. Let's see here in the back. That's a bit a bit extreme there. It's just a little hinge of that. Olor I think that's good. Let me call this O, we add another map, what we call this gs, maybe. Let's remove all the channels, but let's leave the color or right back mask. Then later, here I will add a curvature, let me go to the base color. Here, I will just reduce all this stuff here because I just want the corners, the sharp transition and sharp corners here. All right. Let's change this to a brighter a brighter land color. All right. Let's see. Find that good. We can add layer and just some noise just to break up that stuff. All right. Let me put this multiply. But I will add Let me see how this looking with some blue slo there. Let me see the base color. Alright. Maybe that much. Let's reduce intensity. A Alright. Maybe we can add just a little bit of this slope there. Maybe they are kind of good. Let me reduce a little bit. That noise map. A right. They're looking kind of nice. We could also add maybe some gradients. Let's see how we can add some gradients. Let me just add another color here. But she has stuff completely line, but let's see. Let me move this to the here just a little bit h there, right. Let me see. Maybe we could add a little bit more orange color. Maybe something like this should be nice. Let's see. Black mask. Later, let's add some linear color, linear gradient right. We can just crank up a bit the contrast Alright. Let me see where is my stuff going on. Maybe like that should be announced. Let me just crank up this, put that on top of everything, and let's see the it's in layer modes. While they are working together. A No, no, no. No. No. Well, and that works. Oh, no. Maybe soft light. Light at low in the heart light. You see how this is looking in the base color. Maybe the gradient there would be nice. I be the gradient just to see how this is looking like that. I think I like more on the top. Alright. Maybe we can also move, kind of. The lition of the gradient is a little bit. Just moving this queen water right. I think that's nice, maybe? All right. Aft. Let me see the hair inside the engine. Rhe here. Export. Let's have a look here. They're kind of nice, yeah. I right. Now, I would like to have some anisotropy map let's work on that. All right for the direction map, I'm going to paint it here inside marmoste I mean. So the first thing that we need to do is to go here to the stab textures O right. I have splitted my camera here in two. And now I will click here in that new texture project. And now I will select the hair material here. And here I will just click in this icon here. We bring the material to this part that we can do some textures on it. I will delete these two and add a new isotropic direction map. Perfect. Now with that there, we can click here and add a paint layer so we can start working on the isotropic direction map. All right. I think I forgot something. All right. Let's see. Were you sit here in at New, let's add the anisotropic dion here to have the option. Let's just isolate the isotropy and go here to anisotropic direction map in this part. Let me change from here main camera. I will change it here and below full quality. I will change it to anisotropic, so we can see what is actually doing my broad strokes. All right, so we can start painting. You can see that my normals are flipped. Let's just click here in flip Y and that to fix it. And here I will change the output to another folder. Perfect. Let me save this it's so trapping. Alright. I don't want any of this. Maybe, let's just leave it for now. All right. So we can start working. I will put my quality in just raptor so I can see it better what's happening. And you can see now we can start painting the maps, direction maps here. We have a bit of better control on the reflections on the hair. Perfect. We just paint it here, following the flow of the hair strength. All right. I want to follow the flow of that, right? Just a bit. Perfect. Here, also. Let's make it following the flow. All right. Here in this hair strand. Also, let's do it real quick. All right. Because this will make a bit better fit of making this look like hair. All right. You can do this inside Krita, but doing this in Krita is a bit more painful because you don't have the treat viewpoard that we have here. All right. Can they be painful, right? Can they do it in the other side. They just add a few strokes here and fill that gap. Here, also Alright. Here, let's add some stuff. All right. Perfect. Let's do it real quick. Perfect. Et's add more isotropy here. Perfect. In this part, we also need isotropy. I will add a isotropy in the entire hair and following the flow of the hair strands. Like I'm doing right. Ie something more like that. Perfect. This should be nice for now in this part. Alright. All right. Let's go here in this hair strand. This is saving. Let's just wait for that. Let's just work a little bit in this hair. Perfect. All right. See that we are having something All right. Let's work on the back part. Here, we'll just increase the hair. I mean, the brush stroke, the scale of the brush stroke. All right. Let's add a bit of this anisotropic direction here. Perfect. All right. We'll add a bit more anisotropy in these areas. All right. Let's add a little bit here in this big fight. All right. Maybe around here should be a good. Perfect. Let's add it here also. All right. Bit in this area more on the sides here. Little bit here. Right is saving again. Let's just wait a bit. Let's keep working on this. Right. Perfect. And this should be written off, maybe. Oh, I did some stuff. I didn't make these strokes. A bit smother work a little bit on this tiny stuff. Air strengths here. Let's fig and bubs Alright. Here we are having some stuff also here. Perfect. Let's be a bit more careful in the way we are painting our erection map. All right. Let's add a bit more here. Perfect. You can see we are having some anisotropy in our hair. Working pretty nice. I would say, the same again. Alright. If we can make this look up like this. Perfect. Wait. Let's see here. Let me make a tip of this though to the point. Right? Perfect. I think we can leave Dania drop in. I like that. If we're having some weird stuff. Right? Let's go. Let me see. I just want to export. My Ital drop in. Let me see. Right? All right to export, new maps, just add here and add new. And here you can search for the map that you want to export. And here, maybe you can change the GB method. You want maybe some LGB with Apha on separate channels or gray scale or right. We'll just click here in Export O. So I have my textures. Let's BC real quick. So we can have our exported maps give me a sec. So here we have our sported map. All right. Let's go back to our main viewport. All right. You can see the map is automatically applied to the to here. And now let's go again to our right racing view. You can see the lecture are behaving a bit better. And I will just reimport my map from Tutanspnter because they are a bit bugged. You can see I deleted my texture project. But before that, I will just save just in case, save us. Alright. True, quick. Perfect. Let's way this to save. All right now, I will just delete my texture project and I will report my maps. Quick. Right. That's the normal map. He's my normal here, my normal map, perfect, my albedo. All right. And the dijection map here excellent. Having maybe some weird stuff happening around. Let me bring my roughness map, also. What is my roughness roughness map. And my metalness map is around here. Perfect. Right? Let me see how this is looking with a bit more of less roughness on the hair. Just want to see the reflections a little bit more I maybe around here should be good enough. Alright. So now, looking again, the nails, I don't think they are kind of good. Let me see if I can change it a little bit more. I just will just tweak just a little bit, the color. Let's see, we can find a color that feels good. Maybe some red. That in the red is a good option. We can leave it here in that orange, but a bit desaturated. Maybe something like that. Maybe maybe it should work. While I will export my body textures, right. Let's exported. Perfect. I think that's a bit better maybe. Alright. Maybe we can make it again brighter. Let's see. We saturated? Well, I think that would work, maybe. Perfect. Let's see. I will just flip it like that for now. Right? Let's see what else we can do around the body. I think we can reduce a little bit more these scratches that we have in our robot arm. Let's go there. And reduce some more scratches that we have here. All right. Where is my scratches here? Let's just reduce it a bit. Perfect. I don't want that many scratches in this area. All right. How is it saving again. Perfect. Let's just continue. Reduce the flow little bit. All right. We'll reduce these scratches around this area. All right. Perfect. Around part, the rubber part here can be a bit reduced. Let me see the roughness. That part. We need to put some roughness there. Let's just keep going, reducing a bit the amount of scratches that we have All right, Let's a little bit in these rubber parts. Let's heat here in the tubes base. Let me add maybe some roughness variation here, little bit, black mass, a field layer. Aye some clouds. All right. Perfect. Let me make the clouds a bit tinier. Alright. Let me see my roughness. Roughness. Perfect. Let's add another field layer. Maybe this time, we got crunch. W the multiply? Perfect. Maybe that one is not the best. Right? Maybe this one should be good. Alright, maybe we can add also some color variation there. All right. You have a bit of color variation there. Let me reduce the color opacity. It's a little bit. Perfect. Let's see what else we can do. If we can add also some AO map, feel Air, O R will just leave the roughness and the color active. All right. I will make this a bit darker. I will put a black mask, del layer, maybe the field null, urinator, ambitclusion here, invert that ambit seclusion. Perfect. We can just start working a little bit. In this stuff, double conference now. Mark Wright. There is some bre. I think there is kind of nice. Or there is something. I don't want this to be that completely black or right meant. Just select this soft brush. And I will just start maybe removing some of the dark for around here. The spotter, right? I just want to have that around. The contact point of these metal pieces. Then we hide the body. Alright, let's go back here and just keep removing a little bit of that ambitocuson stuff here. All right. The sets just a beat. Let's remove it here too. Perfect. I think we can leave it like that for now. All right. Perfect. Let's see what else we can do. Maybe we can add some color variation in this metal piece. Let's go to that metal. I think this right. This is the one. Let's add a flow layer. I will now add some of these textures that I have for this project, let's make it with a Smer. Let's see, a layer mode to see what if the best result Overlay screen. This is so like or like, no. Flight. Flight is kind of good. Let me see. Reduce the opacity of that linear. You can see that adds a little bit more of variation. The texture. We can also try and add some blue slope just to see a little bit. If that if that give a little bit better results. All right, maybe make a bit more visible. All right. I think that's kind of nice. Perfect. Let's see what happens if I add the same off in the roughness channel. Let's make the entire metal a bit dirtier. Let me go here to the roughness channel and make that a little bit more saturated here. A little bit less opacity. Let's see. All right. Let's just reduce the pet a little bit. Alright, maybe should be good enough. Maybe not. Let me just reduce it a little bit more of a little bit. Let's add something. Let me increase it. Just a little bit. All right. I think that I just leave it like that. Right? Let me export this metal piece Marmoset to see how this is looking. Alright export. And let's have a look at this. Oh, I see. I think I leave it dark color here. Let me go real quick and fix that. I don't really like this black color there. Right, let me see my base or channel. All right. Let's see, we can export again detectors. Let's go back here. Perfect. It's dead. Oh, right. We can see that we have that tiny color variation in the metal applied. All right. Now we can try to add a bit of gradients around these glowing parts. Let's try to do it. Let's go back to Substance Painter. Right, let's go to the lighting parts. We'll duplicate that layer. Perfect. Go all here. Perfect. Now we can try to make it a bit darker there. Alright. Alright, give me a sec. Yeah. Let's see. Let's make that darker. Maybe something like this. Let me just copy same color and put it here, maybe. And now I will put a black mask. Alright. I want some stuff to be happening. Increase. Alright, perfect. I just have increased the tolerance of the color selection because I saw that where empty space Alright. Let me see if I add anchor point there. I can also reach it here. No, I can't. Let's see. What we can do? Let me do something. I will just copy this mask. Op mask, I will add a black mask here, and I will apply that same mask basing mask. Alright. Now I will just add some anchor point and here I will just reference that aranvoid here, perfect. This will be I will be here like mask. Now, I will add a filter, and I will add the mask outline. Alright, I will make this inside. Maybe let's see the threshold. All right. The width and the blur. Perfect. This is adding some stuff there. More pure, maybe a bit less. Perfect. Maybe we can make this even more saturated. Let's go the red. All right. This is having a bit more to. There, I need to erase the scratches from the knee joint in that area. It's just do it real quick. I don't want these scratches to be there. Perfect here also. All right, let's go here. The ankle joint. Your foot. All right. Let me do the same thing. I mean, we'll saturate the emission color here, also. We'll just copy the same color here. We'll have a bit more of variation also in the emission channel. Let's see how it is looking. All right, export. Let's see the marmoset. Looking at the ks. You can add that stuff also in the syringcal accessories there. Let me just copy this. All right. Go back to cloth. You're perfect. Let's just wait a minute for these to charge correctly. All right. Now, I will just put it there. I will copy this mask. Alright, let's see. Copy mask. Oh, copying layer? No. I mean, copy mask. Yeah. All right. Let me paste that mask here. All right, mask, paint, paste into layer. I will add an anchor point there. Light mask. And here I will just reference that light mask. Alright, you can see it. Now we are having that nice radiant let me do it here also. We can just copy this and paste it here. And we can have the same light stuff there. Look we are not having it. Let me copy Oh, wait. Why this is not working. Alright, let me see something. I'll be just export this to see how this is looking in the engine. Oh, I just forgot to export the close texture. All right now we are having that nice stuff there. Let me do something real quick. Here in the color selection, I will just increase the tolerance a little bit more. Alright. Oh, we are having that these areas that I don't want. Let me at a paint layer. I will just erase that stuff from here. Alright, mask. Let me see. I don't want that mask to be in those places. All right. Let's do it. Perfect. All right. So we are having a bit better feeling. There. Let me export that. Perfect. Alright, let me go back to my painter, and I think that I was going to do here in the cylindrical part. I will just paint it by hand. Right? Perfect. Let's paint that by hand. Sure, quick. All right. Perfect. See here. A bit of painting. Alright. Let's see. Scar but All right. Let me export that again. Let me just do some stuff. We p here. Perfect. Let me export that again. MarmoseteEport cloth. See here. Now we are having a bit of rain around this place. All right. Maybe we can produce more these scratches in this area. Maybe that could be an option. I'm liking how the eyes are looking. Alright. Perfect. We here the tees. We need to add some painting on the tees, a bit of red spots there. But the tees will not be that visible. I don't care too much about them right now. I think that we can leave this video here. In the next video, we'll just keep working more and more on the textures. Alright, so see you there. 71. 08 Creating Textures Part7: All right guys. So let's continue with the textures. I'm going to do some quick refinements on the texture before going with the SR textures. So let's start. I going to do a bit of work on the teeth. Will be a really quick stuff that we're going to do there. Let me go. I just misclick on the clust. Let's go to the body because there is where we have our teeth. So now, let's see, I will create a new folder called this Tth teeth, yeah. All right. Now we can start working here. Let's see, I will create a new folder. I will maybe do a black mask. In this mask, I will add maybe some met occlusion, right. But I want the teeth just to be on the te, not in the entire body. So let's do a black mask here. All right. And here I will just add a paint layer. I mean not a paint layer, maybe just a color selection on right and then color pik the gums. Perfect. Very good to go there. All right. I will call this red Nest, maybe, yeah. And I will just choose a little bit of a reddish color for the gums, maybe something like that. Little bit twig, just a bit the ambient olusion here. Let me see how this is looking in the base color. What is this doing? If this is doing something Let me see my reference. Alright. We just had a big splashes of red around here. I don't know maybe something like that would be nice. I want my redness to be on top, not in this part. Let me remove the mito clusion I will just paint it by hand, or I choose my basic soft basic soft brush here. And now I will just apply the symmetry. Unless the start anything that color here, maybe I will have to tweak more that red color because it's looking really weird. Let me see maybe a bit darker color should be nice enough. Yeah. I looking a lot better. Let's continue. Perfect. Alright. All right. Let's see how this is looking in the base. Alright, let's continue. Let me get close a bit. All right. Perf list just painting a bit more here on the guns. Alright, for some reason, I get in some weird issues there. Alright, let me just remove a little bit. These parts maybe a bit less desaturated. Take more desaturated mean right. I think that's better. ApfullyRmoving more of this reddish or fact. We can do filter. I mean, filter, not fill layer here, filter. All right. And put some normal blur there. Perfect. Now, maybe for the tongue, we can add a bit of of normal stuff, maybe. Let's arch or material. I think there is one here. That's the creature tongue. Maybe we can use that. Maybe it does something good, maybe. Then thankfully known, let's mask this, right. Let me use change. Here, I will mask black mask, pink. Write the cube mold here. I just select this one. Perfect. Now, what I'm going to do is just to start modifying these layers because they are pretty weird. Alright, we're getting some weird stuff. Let me see if this does something. I don't like this. This one. You can see we are having some weird stuff there. Is this the one. Yeah. But I a get this motor All right. They just playing a bit with the options to see if this is a good tra option for this art. I don't think so. This looking pretty weird. A is doing something. Let me remove the seeds and all that stuff. Alright. We that surface this. Doing good and maybe not. Maybe it's too saturated. They get a bit less right seeing Let me remove this stone vase. All right. The surface detail? Perfect. That they make this a bit smaller, maybe 15 I think that should be good enough, maybe. All right. I didn't see the roughness. Nice. But I want to make the mouth roughness more darker. Let me just put this in one folder. I will call this mouth. Alright. Now I will make a roughness material here. I will make it rougher because there is the rule and all the stuff. Here, I will just put a black mask and a paint layer and just let the mouth parts Perfect. Alright. Let me see the material. We can keep it. We can work with this. Alright. But the, we can maybe just read it like that, and I think they should be good enough like that. Maybe we cannot a bit of maybe some bitoclusion in the teeth, maybe, yeah. The T. A. Te Perfect. All right. Let me see here. Perfect. Black mask, narrator, Abitoclusion. But first, Alright. Let me select the No. Let me just Alright. We will make another color selection here. I will put this in multiply. Alright. Let's see. We got something there. Alright. I think this is good enough for now. Alright, we got something there. So let's see what else we can do. Let me just think a bit. Alright, let's try something. I'm just experimenting with the texture right now. Let's see. Let's add a bit more of another color variation here in the green cloth. We got two. Maybe we can add one more. Let's see, maybe maybe that greenish or not, but we just put a black mask and then a layer. And we put a crunch Alright So basic crunch But oh, I got my my stuff in the bandages. But I see I saw something. I don't want this little piece here. All right, let's go to the green cloth, and let's try to add that colour variation. Perfect. Let's see. Maybe a yellow. You can see my base color. Is this doing something? And not sure. Let me add some more fuel layer this time, maybe with this, and I will put this multiply. Maybe that adds a little bit more of variation to the surface. All right. And here I saw something that I want to address is maybe just reduce a little bit more the scratches from the side in the rubber leg, maybe just a bit. Where's my scratches. All right. Here, I will just remove it a little bit. Alright. It will be just remove it from the dark spot here. Perfect. This tans painter is saving. All right. Let's right? Just to reduce the amount of them in this area. Perfect. All right, I think that's good enough. Well, now let's go here. Let's see what we got in this part. If we can remove a little bit of that off of scratches here in the fingers. All right. Let's see. All right. I think we are in a good place to go and start working on the sword textures. Let me export the textures that I have now to marmoset. And now we can start working on the sword. Alright. Here we are going to start working on the sword. But that would be for the next video, so see you there. 72. 09 Creating The Sword Textures: Alright, guys. So in this video, we're going to start making the sort textures. But before doing anything, I want to do something in the high poly. You can see here because I don't want to get the same issue with the ID map that we got with the body. I will do something real quick. I will just change the vertex color for colors that are quickly away from each other. Alright, let me just hide everything and just leave the sort. Let's see. We got a good color here. Maybe what we can do is just change. Let me see this with flat colors. Give me a sec. Flat colors. Where is the single? Or what's here flat attribute all right? Maybe we can change this one here I will change it. Let me go to BertexPaint. I maybe just add that bluish color. Maybe a bit brighter, yeah. And here in pain, let's click inset vertex Colors. Oh, we didn't get my stuff that said vertex colors. All right. Let's see where else Alright. Now, I think that we can live that this color or the handle all the dark pieces. I think, I would just export this. I thought there were more work to do there, but I think that should be good enough. Let me just re export this. All right, here the high body. I will just report it into or wrape up by here perfect. And let's just export that. Now, here in substance painter, let's go to Substanpiner. I will just create another project All right. Let's see new. Here in PBR, let's select the FPX for the sort, FPX baking for low potty. I will put this into K. I think everything else is right. I will just activate the Autumn grab. Let me put this in open Yale and everything should be good enough to work now. Alright. Let me save my project. Just in case. Al right now we have our stuff here. Let's do some baking. Let's click ink mesh Maps. Here, I will just bring my my sort. But I think that we miss something while exporting the FBX it's supposed be let me just Alright, let's just import the first FBX that we have made. I don't go to part my head too much. All right here, we have our mesh. Let's click here in Always and put this in by name. Everything is matching. I will put my super sampling maybe 16 here. I think that I will put this in four k. Alright, we can start baking. Let's go. But first, let me change the material color to vertex. We'll increase the amtoglution. Alright, the curvatur and everything else should be good enough to work now. Let's just bake it. Everything should be good. I will pause and wait for this to finish. Alright, I authorities finish the baking. Alright, let's see if we don't get any baking issues. We are getting everything almost perfect. Let's see. We're getting some re papa. Alright. I think right now. Let's start the textures. All right. I will just report some material that we have made for our body, for our main character. I will save this in another file. Alright, sort. Alright. We'll just save this. Alright. And now I will go back to my my character here. All right. And I will do some stuff to be able to take this material that we have made to our short project. Let's go to the robot arts. All right. Now, here, let's do something. Let me just close all the folders that we have here. And I will rename them Bart girl Metal white. All right. This is yours to identify them better. And now what I'm going to do will be to make them smart materials like that. You see, I have my smart material there. All right, another smart material here. Perfect. Another one. Alright. I also want the roughness and maybe the mission shader. Maybe not. Let's see if we can get also the vision shaders. Let me make smart material for this. Right, create smart material. All right. In the roughness, we can just put that in our project. Now, let's go to the sort project. All right. Let me save this real quick. Now here, I will just bring all my stuff inside my my layer stack. Let's see here we got our stuff. Let's bring the dark metal. Also, let's bring the metal free. All right. And I will bring my emissive. I think this is the one lighting part. Perfect. Let me add an emission channel here. Perfect. And now, I think we can start working a little bit. Alright. Let me see what's doing the metal three. Is the metal fing. Let me see real quick. Alright, I think I will just leave it in metal white here. Perfect. Almost perfect here. Let me put a little bit better my stuff there. All right. You can see that we are having amiss. Alright. Let me select just this color. Perfect. Now, here in the paint, I will just remove the rubber part because I don't want the rubber part to be with that dark metal material. All right. Almost there. Let me change the color of this, maybe some red and this yellow. All right. Almost perfect. We have to reduce some masks much better the form and shape of our sort. Alright, we can make another folder and call this rubber. Rubber. Perfect. I will add a feel layer. And I will put a black mass in the folder and paint all right and just feel that. And here I will just put some darker color there of this one, maybe a bit rougher. That should be good enough. Let's make the bandages material there. I this will be maybe bluish. Alright. Funda cheese. All right. So black mask. Let's add a color selection here. All right. Let's see. Let's add a field layer. Rough. This will be zero. I will just increase the roughness and I will color peak. I color here in my coset. All right. Let me just tweak a little bit this stuff here. Because we're getting some weird issues that I don't really want. I would put the bandages on top the metal pieces, and I will just paint in this area just to erase that metal material in the areas that I don't want them to be. Alright. Maybe we can add symmetry in the Y. No, in the X at Z. Alright, everything's perfect. Let's just paint this a little bit. Let it it big. Perfect. Let's see, there we go. Let me just remove that digest material in that tube. Right, let's go here down and just paint it again. Perfect. Alright. We're ready to go. Let's see. I want to get rid of those white spots here. So I will just paint them by hand, just like this. Alright, perfect. All right. Inties raise those spots right here also. Perfect. Let's go back to the material, the bandages material. Paint them out. Alright, very good to go. And here we are having some issues. Let's see why my white metal is not applying. Maybe we can use this one. Alright, let's see. Yeah. Any, we can use that. Alright. Let me see something. We also go pick this one. I think this one is doing better job catching better the filling of that arch. So here I will remove that material from here, and I will just add it back here. Perfect. Right. Let me see my roughness map. All right. Maybe we can add a general roughness map. In this part. All right. Roughness. Let's add some field layer. A bit rougher on black mask on field layer. Now, let's search for maybe noise. Loud. Let's sing in the material channel. All right. Let me make this a bit rougher. Now I will add another fill layer. We will put a ranch. Perfect. I will put this multiple Alright. Let's see we are getting something in these areas. All right. Perfect. Maybe we can do maybe try this lose slope filter just a little tiny bit. Alright roughness. I think I will not use it in this part, right. Right. So now, what I want to do is to work a little bit in these bandages parts. Let's add a OMP. Oh A. I would pick the same colors that I have for the base. Roughness, this would be a bit rougher, perfect. We put it there, maybe make it a bit darker. Right, I will put it a black mask, inator, a meto clusionPerfect, invert that, and just fill these with some color. Perfect. Maybe we will have to erase a bit of that dark color here. Perfect. Let me see my base color. Alright, let me add a paint layer. Look quick. Wash my paints, basic soft. And I will just start removing a bit of this big luster of dark or. Alright. Let me do something here. No big. Right. I think this should be good enough. Let's see. I just don't want to have that intense dark color in that area. All right. Perfect. All right. Let me just work a little bit more, maybe adding some dark or inaron around here. Perfect. All right. Maybe here. We'll add more in this area. Let's see my base color. Perfect. All right. Now I will add a curvatur with a lighter color. That sing will be a lighter color, a bit lighter and a bit more going to the yellow. All right. Black mask, unilator. This will be a curvatur. Here, I will just reduce all these sliders here. Or while let's see my base color, let me just decrease kind of intensity or the balance of my curvatures. Perfect. Let's see. Maybe we can do that. This also affect the roughness a little bit. All right. And the good I will want to add some scratches around the blade part, maybe around the corners, maybe a bit more scratches here and there. Let me add a general scratch below the lighting parts or maybe, just below there. Maybe we can add on top of that. Let's see. Alright. Let me put some I mean, some reddish color just to stow them better. Alright. Let's add a layer here. Let's put some scratch. Search for scratch generator. All right. Catch rough. I think this should be good. Let's see. Balance. Crouch Wing. Scratch ting. Alright, I'm just moving some sliders to see what give me the best result. I don't want scratches on that piece here on the handle. But I'm going to fix that once I start working on the end layer. All right. Let's add a corrective paint layer here and just start removing those scratches where I don't want them around this area. Alright. I don't want them to be there. Also, I don't want them to be here. There, also, let me just increase the flow and the opacity. Perft. They can be on the corners here, yeah. We'll just leave a few of them there. The leave a few here. Just fell in these areas. All right. We can also leave some of these scratches in the lighting parts because that is kind of crystal, something like that. Perfect. I will go to the lighting parts and I will just Alright. Sorry for that. Alright, let's see. Here in the lighting parts, I will just increase or decrease the roughness because I want that part to be shiny 'cause that's like some glass of some sort. Right? I want to reduce a bit more the crutches on the blade bad. All right. Let me just keep reducing them. Crutches, right? Work a little bit more here. We also need to paint out a bit of this edgewar because right now they are all replaced. Alright, let's just remove a bit of them. Of those scratches around here. Around here also. Perfect. Maybe in the corner, they can appear. What? Stuffiness is not doing anything. That's happening here. Multiplying. All right. Perfect. Let's remove from this part, maybe just in the corner. All right. Write yourself a little bit like that. So let's remove this one here. Maybe also around here and we are having some issues. This area. Let me just print out that part here just like this. And I will paint that in my metal material. I like this should be good enough. Alright. Let's see. Let me work a little bit on the edgeware. This is my edgeware here, yeah. Let's use here the dirt brrush. All right. And I will just remove a little bit of that edgeware in some areas because I don't want them to be all over the place like here. A bit here. I want the edgew to be in the areas that will be more in contact with other objects. In this part here, this is a bit too inside in the sort and maybe will not be too much in contact. The parts that will be more in contact will be like these corners here. We'll just leave maybe all of them there or maybe just remove a little bit. Alright. Here we're getting some weird stuff. Alright. Let me just keep removing a bit of them. Perfect. Alright, let's go here, also. Start removing that edge ware. All right. If we can put this multiply open. Remove them from here. Then we just leave it in the corners, the outer corners. Alright. Here, A, we'll just remove them that they don't have sense too much here. We'll just leave it a tiny bit. Let me go back to the material rot Also here. Perfect. All right. Let's remove them from here. I will leave it maybe in the lower part. Perfect. Around here, also, we'll just remove them. This part also around here, too. I don't want them to have that many. And here we can just leave them. Perfect. Let's see. I also want to add maybe a bit of ale, a general ale under the bandages. Alright. Let me add a dark colour. I made some dark color. Perfect. We'll put a black mask, tor. Some o, in that o right base color, let's see. Just a tiny bit of that o perfect. I think that should be good enough. We can export our textures. Let's go here. Just remove the height map. Perfect. And then just select a path to export our textures. Let's call this Bard. Perfect. All right, safe. Right now, let's go back to the marmoset tuba. All right. And here on the sort, let's just report our stuff. All right. It will be the normal. I will just flip the normal, all right. Now, let's place the base color. Perfect. The microsurface, the roughness here. All right. The metal ness. Perfect. Let me just see something. Alright. Here, I don't want the normal to have this option activated. It will cause some problems. All right here in the mission, I will add the missive shader and add my missive map there. Alright. Right. We're having something. All right. All right. Maybe we can tweak a little bit more the roughness on the base materials. We can make the white material a bit rougher. Also, the metal green. I mean, the metal three material, we can make it rougher. Also I mean, not that much. We just a bit let me see my roughness. All right. And the metal dark, let's see how this is looking. Maybe something like that should be good enough. Or let's if we export the textures right. Let's see here again. Alright. Perfect. I will just select my sort here, and I will just make it bit smaller bit more on scale on the character. Alright. Maybe that's too much. Let me make it a bit bigger. And I think now, it should be good enough. For us, let me make this sort maybe the same height of our character or something similar. Maybe around here, it should be good enough. We just rotate it a little bit. To see how this is looking if our character just up the sword in the hand, something like this. Alright. Wise I think I will need to tweak more the roughness on the rough on the bandages area. We see my roughness, that's too flat there. Then we go here, bandages. Maybe add some roughness here and also some color some color variation. All right. I adds a bit of color variation there. Like it more right, maybe some stuff light. Make it smother. We'll add another stuff there. All right. And here I will just tweak a little bit more that that stuff. All right. Y. All right, let me export again. My stuff here. All right. Let's export that again. And maybe we can add also another color variation on the metal frame. Let me just sit back here and a better. Let's see if we can add a bit more color variation in the surface of that metal piece. Right? This is a metal free. You don't have too much of a color variation. So I would add a field layer, but it almost on near the base. All right. Let me go here and just select maybe this one would be good enough. Here. Perfect. Let's see. We can put that multiply, maybe soft light. Let's just reduce the opacity of that piece. Let's see my base color, and we can share it. Maybe this one. And the nice I can also add a bit of that in our in our robot parts in the character. All right. Maybe on top of the brightness parts. All right, let me re export my textures. Let's re export them. Here are fat They a bit better now. We can put a bit of the blue slope there. Let's see. Filter will slope. All right, make it a bit less intense. We explore my textures. Alright, let's go back to Marmo set. Let me see here. All right. Let me work a little bit more on the roughness channel, roughness. Maybe here in the roughness part, we can add another roughness, but a bit more of Fa of less ruffle. Fill layer there. All right. Let's just add a fell. This time, maybe some grunge will be nice. This one looks wet. Alright, I will add another fill layer with this one, and I will put that in multiply. Let me see my my material channel right. If we can add a bit of color there a bit darker. Let me see my face color. Let's put this maybe colour touch Puff light. Not doing anything. Color or Why is this not doing anything there? They're born now this is doing something. Alright. Perfect. Roughness is color right? Perfect. We're having a bit more interesting roughness map here. Let me re export that. All right. Maybe, that's too much. Let me make a bit. Less the shiny parts and little bits just like this. Let export that let's go back to marmoset. And this is should be good enough, Amy. Alright. Well, we're getting some of that Odor here. I don't want that color to be in the lighting parts. Alright, let me go to the here, and I will just remove that from there. I. Remove it a little bit. Alright. Maybe in the sort in the blade. They can be nice to have, but I don't want them to be my the tank area. Alright, let's export that. Alright. Let me see how they are looking with the raster. Alright. Or fetch. I think they are looking nice. All right. Let's see a bit there the class. All right. Perfect. Et's put back this tracing. Alright. This should be good enough for now. But I think we can leave the sort texture in this point and just keep continuing with the model and the textures. Let's see if we can do something better, maybe do some twixs with more tweaks on the texture. So see you in the next video. 73. 10 Texture Polishing Part1: Alright, guys, in this video, we're going to polish just a little bit, our textures. There are some things that maybe we can improve a little bit. I want to start. First, I want to make my textures in four K, just to get rid a bit of those pixels. You can skip this step if you don't want to make the texture in four K, but I will do it just for personal preference. So I will just rebake everything. But we will need to redo the fixes on the normal map that we have done here in this area. Alright, so let's let it starts, I will do the bakes for my cloth. All right. Let's see. Make it a bit higher maybe. I'm still getting some rubble. Let's see. Let me hide my my stuff here. Why I'm getting those e rolls. All right. Let's see. I'm getting some errors in this area. That's weird. Alright, I have done just some things there. I just modified it just a bit here in this area because these edges was a bit like this, and that's what's causing a bit of trouble. So I just push it back where they need to be, and that fixed kind of my problem. So sell, let's do the rebkingO the cloth. The Let me just a bit more this part. If we like this should be good enough. Alright. Let's put this in four KO Here. I mean, we select the cloth here, four K. Perfect. Let's rebake that All right. Let me just arrange it. Now, I will just rebake my textures or the cloth bake selected. Oh, I think I have just selected the cloth ID. Let me cancel the bake. All right. Let me rebake everything. Perfect. Bakes lectic textures. Perfect. And now let's just wait for this to finish. Alright, our bakes are finished. Let's see what this gift does. Right, let's see. Let's wait for I sounds fainter. You recharge everything. Alright. All right. We need to do something first in order for this to see what this does. Let's go here and change the size to four k. And this will do some recalculations to upscale the resolution. Itis will take a bit. All right, you can see that our pixelation stuff are effectively done. They are not too much of those pixels. So we can do the same thing on the robot arm. I will just do it in the robot arm and maybe on the body. But I think the body is nice as it is. Yeah, I think I will just do it on the robot arm. I mesh maps. Right. Let's see. Let me deactivate the class and now do it in the robot arm robot leg. We put this in four K, and now I will just tweak the cage here to a point that we don't have any errors like this one here. Just a little bit, something like that, should be good enough. All right. Let's do it. Let me see. Perfect. Let's do it. Let's press bake. I'm here on my bake. Alright. We have finished the baking on the robot arm or robot legs. Let's just see we don't get any errors. But you can see it there. We got a mishes. I think that I will need to redo the bake again in that area. Let me see my normal, look quick. Let me see my normal map. But you can see here that we got a mirror, we'll just pause and tweak more the cage till I get rid of that error. All right we are back here, you can see, I have fixed again that baking issue. All right. So what is left is just to increase the solution here, put this in four K. Let's just wait a little bit for this to recharge everything. You can see it now. Perfect. Now, what they're going to do, I will put here the body in four K. I will not rebake it. We'll just leave it like that. I think that I will remove that spot there. Let's see, let's go to the spot. At here spots. Dots right. Let me just remove that dot there. Perfect. With this one too. Some of those spots. Perfect, let me see what does the surface skin on our body. Let's see. If I increase this, maybe this one, I don't really like him. Let me see or let me just reduce a little bit the amount of height. Alright, let me go again here, let me just increase it to 80 maybe. Maybe that's too much. For us right now. Maybe we can decrease the opacity and the height a little bit. I think this should be good enough just to have a bit more of your face detail here. I will do something. I will erase that detail from the lips. I don't want that on the lips. All right, perfect. And also, I will remove it from here around the ice it real quick. Perfect. And the eyes just a little bit. In the eyelashes, also, we remove it from there. Let me see. Perfect. The eyebrows, eyelashes. I don't want that detail there. Perfect. Let's do it also on the nails. Let's remove it from here. Perfect. You can see we are getting some sin issues. Let me see if he's Oh, What is giving me that issue? Next thing is the ambito clton. Yeah, I will have to paint a little bit to decrease that issue here. Let's paint it out a bit. Let me reduce the stroke opacity. Perfect. Let's see it from the back. Alright. Sometimes the blur can cause some problems with the seams. That's a bit annoying. But that can be fixed, as you can see. All right. Let's sing. Let's see, that's good enough. Right, let me see just something real quick in the marmoset. I want to see if we have that same color there. Right, let's just continue here. We'll just keep removing that skin detail from the nails, right, see, from here to here. Perfect now in the feed. You can remove it here. Also, I will remove these dots in this area because I don't want those dots to be there. Perfect. Let's bring back the cloth. Let's wait just a bit. Alright. Now, I need to fix again these acing issues in the sleeve. So we can do it really easy because we already have a fixed version of them. What I'm going to do is to re export our textures here, the cloth, mesh cloth, where they they see this is the normal for the hair for both legs, All right. Let me see. Let me see what is the one that is using now. All right. Mesh cloth. I think this is the one or let's export that. I would put it here textures, maybe breaking issues. Here. Okay. And I will just export it there. All right, I want also the avid occlusion because we are also getting some issues in the amid clusion. So let's wait for this to charge a little bit. All right. Let's export this one also. All right. Now we can open our photoshop and just bring our textures here. Seg let's bring first the normal map. Alright. Now, what I'm going to do is to bring also our fixed normal map. Let's go. Normal map fib Let me see. Here. Let me see. This is the one. Yeah. Bring it here. Let me get away from the image. And now I will just scale this to Oh, what happened? Let me just cancel that. And let's do it again. Let's bring this to four k. All right around here and around here. Perfect. Now I will put a mask here. Let's fill this with black. All right. Let's go back here. And now we're going to paint on the mask here in the photoshop. Let's see where we have our baking issues. Let me pick a bit hide and diffuse brush. Let me increase kind of the opacity. I mean, the skill, and let's just paint out. Those baking issues that we have fixed before, but that we got, again, let me see if I think this texture is a bit better in that area. Yeah. I think we can use this instead of the other one. All right, I think I will just use this instead of the other one. Let me see. Yeah, I think so. All right. Let me do the same thing here. Let me delete that layer again. Yeah. We'll just bring this one. But we are getting this weird stuff. Let's go here again. Let's scale this. Alright. Around here should be good enough. Let's apply the mask. Let's go here. Let's drop some black, and let's start painting out those baking issues. Oh, but we are getting again more stove here. I think that it was before was better. Alright. Let's just keep this one. All right. I just did some control C. We'll just keep this one. Let's see here in the other sleeve. We also got those issues. Let's just paint these out. All right. Let's go here. Perfect. All right. Is that a big issue? Let me see. It's not. Alright. Let's just go here to the class part here. Maybe I think that's good enough? Alright. The substance painter where the decorations. Let me see. No quick. All right. Let me yell a bit. Is stuff. All right, you can see it there. We're getting some weird stuff. Let's just fix that. Real quick here. Then Oh, maybe I haven't fixed that. Now you can see there is fixed. And here also, this should be good enough. Let me see Spinter well. All right. What I'm moving? I don't know what I'm moving. All right. It's just a little bit. And I think this is good enough to re export, again, and import it back inside SuxansPinter. All right. I don't want that off there. One thing that we can do is just wrap the leg rush here. Let me just delete this one. One, right. I will go here. If you are set right, I will select my later brush and just try to select that and click here you know that they feel a way for this to finish. I see what this giving us. And that should be enough to fix that. It's kind of fixing it. I think this is good enough, so I will leave it. Alright. That's good enough. Well, Alright, so let's explore this Well, right there we go here, Explore, explore Lab here and save Save as. And I will call this last normal map this has a T file, all right. Let's save it. Let's just click Okay. Now, what they're going to do is to bring my my ambito plian here again. You can see it here. And now I will bring the fixed one from my from the previous fixes that I have done with the baking. Alright. Let me see something. This is almost the same thing. All right. I think that we can just reuse the two K version of the Abitoclusion. That's not a big an important map too much. I think we can reuse that. We see my fixed version. Let's go here and just apply it here. Perfect. And now I will import my clock map fixed here. You give me a stack, a bit. For this to get me. Important. Alright, let's import this again. All right, import. And now let's put it in normal here. And now we have we should have these parts fixed without any issue. Let's see you can see now, we don't have those facing issues that we had before. So, perfect. Let's see what else? Alright. We've got almost everything finish here. Perfect. I will bring all my stuff back. Let me do some twigs here in this part. Let me go where is my ribs way for this to finish. Alright let's modify this part. But I think that I forgot where I put them. They should have here Oh, right here. Rip cloth. All right. So let's try to fix those. Quick here, let me just remove a little bit of them here. Perfect. We'll just increase it a little bit around this area. We are getting some weird love here. Let me go to the here and see what's happening in that area. Oh, I forgot to tune off my My metre. I will just remove it from here. Let me see if I have it also in my marmoset. No, I'm not. So let's go back to Suxan Spiner. Let's see why this doesn't want me to remove that there. If I try to do it here, maybe they should let me do something there. All right. No, I don't want that there. Let's see this around here, I think. Yeah. Oh, what? Well, let's try to just hide it. Eat. Let's do something real quick here. Alright. I think this should be good enough for now. I will not fight against that. I will just leave it like this. It doesn't matter too much. Alright. So let's continue. Let's see that enough there. Let me do some stuff here. There are some a bit of baking issues or maybe not baking issues. I mean, masking issues here. You can see those white spots that are on the robot leg. Let's just fix it by just painting it here, where them. Those are here spots. Let's just paint them. Alright. We just paint them and then just remove from the other areas. Paint it with careful All right. Just do it be careful. All right. Here I smart. Nice. Alright. Let's see here. We also got those faking issues. I mean, maskin issues. Alright. Let's do it real quick. Perfect. Let's go here and try to do it, also. Perfect. That's enough there. Let's see here. We also got a bit of those white spots here in the knee. Let's just try to fix them. That's real quick. All right. Expend it a bit more. Perfect. Around here around this area also. Kind of like that. And now where to go. All right. Another thing that I want to do is just to make the dark metal a bit brighter. Let's go here, the dark metal in the robot leg. That's the one I think would be my dark metal. Where's my dark metal. Metal, dark here. Perfect. Let's go here and make this a bit brighter. A little bit. But now I think that's too much. Let's go console C, make it a tiny bit brighter. This is my base color. Not anymore dark metal. If we like that, should be good enough. Alright. Let me make the gradient a bit brighter also here. Maybe more desaturated. Something like this should be good enough. All right. And now I think it should be good enough for us. Alright. Let's just export this to Marmoset and let's see how they are looking there. Let's go here, export. And now I will export everything this time, but I will put this in size. I will put this in four k or lets, we export that. And let's wait for this to finish. Right now that we have our mesh, I mean, our texture exported, let's go here, and we need to import this back here. Again, I will do it off tomera so I will pause right now that we have our textures here, you can see that they are a lot better without too much of those pixelated stuff there. Also, I noticed that we have to make the gradient here in these bright orange parts, a bit more strong. So let's go here back to substance spender. Let's go here, orange stuff. Let's go here, and then just increase the saturation, maybe. Let's increase the saturation. Around here, maybe the lightness just a bit more. Let me copy this color and I will paste it here also. Perfect. I will go to the class art and I will do the same thing here. All right. Let's paste this. Perfect. And now here also, Perfect. Let's wait for this. Compute those changes. All right. Let's go here and do the same thing. Let's paste this, right. And let's just paste this here. Alright. Let me see if this is doing something. Alright. What is this? Let me see my mask here. Alright. And this one right the mask, right. Let's see if we can make this a bit r maybe a bit darker here. All right. Let me see how this is looking in the student's finder. So I will just export the cloth and the robot like export that. Alright. Now let's go to Marmoset let's see how this is looking here. And we've imported it. I think I just want that grading to be more noticeable. Let's see if we got our stuff. All right. Let me report those. All right. Here, we should have our stuff remported Alright. Aft. Let's do something here. Maybe we can make this a bit less in these areas. To see if this is doing something there. Let me see my missive on my base color. On right. Let me do the same thing here. All right. I will do the same thing here. Maybe just a little bit. Let me export that. All right. Let's see here. All right. Oh, we got some stuff. We are here. Enter. But you can see that we got some baking issues or I think those are a bit of painting issues around the joint area. Let me see. You know, kick what is happening there. All right. Alright, my Susan's painter is a bit laggy because the texture are in four K. All right. Give me a sec. Real quick. All right. But there's some stuff here. I was importing the incorrect map in the robot arm. That's why I was getting those issues were issues. But let's go to the closed material, import those close material maps. All right. I think that we need to paint a bit more of those gradients, make it a bit more strong. Let's bend it. Paint it a little bit more. Let's go here. Let me just hide everything. Let's leave the class. All right. Basic stuff here. Let's see what we can do here. Right. Make it a bit stronger. The gradient. Perfect. And this is good enough right here. And right, let's do some stuff here, also. Perfect. Let's do something here. Maybe here in the back. We can do something. Perfect. All right. Let's we export this to see if this is working or not. I should work now, we export that. We'll just export the missive map. We move fast, a bit faster. Alright. This is changing something. I think we can make it a bit stronger. Let me see something just real quick. Here in the marmoset. Let me import by stuff. Those Thing. Alright, let's go back here, and let's try to paint it a bit more. Those gradients All right. This lagging a lot. Maybe this is because we are I'm also recording. That sometimes make my PC lag a bit. Feel sorry for that. All right. We're getting some weird issues here. Let me see if this letting me warp more. Let me pause for a while. All right. Let's continue. Make it a bit stronger. This gradient. All right. Perfect. Let's make this stronger in this area. Alright, maybe we can explore these explore textures. Miss it map. Now should work nicely. Alright. It's a bit darker now. Also, I forgot that we have to re export, also the base color. Now should work better. Alright, let's go back here. All right now, it's working nicely. Alright. Now it's working perfectly. All right. So we got everything here actually done. So I think that's all that we need to do. Alright. Maybe in the next video, I will just maybe do some twigs in the hair textures. So see you there. 74. 11 Texture Polishing Part2: Alright, guys, we are going to do some work on the hair a little bit, maybe add some stuff and tweaking other stuff. So what I'm going to do first is to maybe make the hair a bit rougher, maybe to here, find off like that or write a little bit more rougher or right. Other things that we can do maybe let's see migrating or maybe make this a bit darker. And now I want to add another wedding. All right. Gradient one. And I will This one will be a painted one and will be a bit darker. I will just put this in normal. Let me see. I will just erase that, maybe make this a bit darker that like maybe some brownish color. As that gradient will be for the roots. Alright. Let's paint it a bit. Alright. Let's see. We can paint something that seem. This wasn't in high. Let me just put it back in linear linear touch here. Let me go to the base color and just change this to normal here. Let me increase the stroke opacity. And right now, we can do some work here. Alright. Let's see. Maybe let me use my knife brush or this task. Let's see what is giving us. All right. Or might think that's doing good work, maybe. We just put, like, some root like that. Maybe just to give a bit more of detail here. That may hide the body or noun. Alright Perfect. Let's do more work here. Let's add this brownish color in this area. Maybe something like that. Let's add it here also. Because these parts are also roots, I will just turn on my imetry and just we'll put that brownish color in this area. Maybe that's at work. This is not on the concept, but we can maybe take some pative liberties for this All right. Let me see something Or Parts or at least that part. All right. What? Perfect. Now I will change my tight space to text or not alignment here to UB. So we can work directly on the UB without any problem. We add a bit of this gradient here. There's a bit. Perfect. Maybe not. I don't want the grad in there. All right. Maybe we can make this a bit bigger. Change this again to tangient tangient work, maybe. Yeah. Let's just continue adding more of this color. All right. A little bit more. All right. Perfect. A little bit more, maybe a little more of radiance. Your ozone. Just a tiny bit here and there. Maybe we can re export that hair texture to our marmoset. Let's see here. All right. Export. Let's wait for this to export. Alright, let's go back to Marmoset and see what this is doing. Alright. Let me just remove my reflection here. We'll just remove it and put it to GGF. All right. We got a painting issue there. Let me just fix it real quick. Alright. Let's see. Alright, fix it. Let's Let's see what else we can do on the hair. Alright. My BC is a bit lagging. Alright, let's go back to tan Spender. Maybe we can do some more of work. Here, let's maybe change a little bit more the dye, the color of that brownish part. Maybe a bit more saturated in something like that. Alright, let me see how this is looking with a bit of blur. All right. Let me see my ambicluson. Maybe we can do a bit more of work here. Aclusion Perfect. Alright, let me go back to my own parts. Perfect. A bit here. Alright. Let's remove it and here just a little bit. Faith. Alright. Let's see. What else we can do with the hair? Let's see with other colors how this is looking. Make some blue. Not looking really good. But no some pink. Just experimenting a bit to see which is the best color for that part. All right. We'll just leave it like it was. This one. All right. Let me do some work here. Let's see how this is looking with the normal nano layer. I mean, the normal material layer. All right, let me go back. Alright, let's see this one of light. I looking kind of good. Maybe har light. Maybe overlay because it's weird stuff. Is not doing anything. But our born. No. Multiply. A. No, but I don't like. Let's just see maybe we can change a bit the roughness of that area. Maybe just to have a bit of roughness variation, maybe. Maybe here in the area, we can change a bit the roughness. Also. Perfect. All right, let me see maybe bit darker here, less automated. Something like that. Maybe we can just remove the blur. Alright. Just keep painting a bit more. This layer here. We're getting some weird stuff. All right. Let it go back here, like paint it a bit. Alright. Or fads. All right. A little bit more here and there. Here, a bit. Do not there. Let me just go back a little bit. Perfect. All right. Ib we can explore this. There, perfect. Let's go back to Marmoset. Alright. Maybe I don't know about that. All right, I just just make it my render of engrosor instead of right facing because it was lagging a bit because I have my substance painter with four K texture active. And here also had four K textures. So it's a bit lagging MPC. Oh. Alright. Perfect. On the front, I kind of not liking how it looks. I don't know about that brownish stuff there. Let's sing. We can do more work here. Maybe make these parts a bit more like that. This All right. Tiny bit. On right, let me remove a tiny bit from here. Okay. He also. Make that smaller. All right. Just a bit on the root of the hair. Tiny bit. Not too much. All right. Maybe that should work now. Let's see. Let's we explore that Alright. I think like this is looking a lot better. Perfect. I think that's looking cool, yeah. Like, if she has a bit of a blonde in in the hair, and then you hair is growing back, maybe that's a cool stuff to have there. All right. I still think that this metal piece is a bit too dark here in the marmoset. Let me see with another another SDR here, another sky. Let me find someone. Alright. Let me see this one maybe. Maybe I studio. Wo here. Perfect. Let's see some studio lighting. Maybe we can make it less less dark, that metal piece. Let's go back here. The cloth. Alright, give me a sec. Perfect. We can make it a bit less dark. Let's go to the robot arm. Right here, let's search for the dark metals. I don't know why it's looking that dark. But let's see what we can do to address that maybe like that should be good enough, maybe. Let's re export that on right robot leg, we export. Alright, let's go back to Marmoset. I was looking a bit brighter. Perfect. I think that's nice. Alright. Let me change my sky again. Alright. Maybe let's see how this is looking with the ring. All right. Let me change again. My stuff. My sky is to test it with more HDRs. Let's see a good one. Let's try this. No. Worst. My right let me change. I can my stuff to razor. Perfect. Well, I think that we can lift the metal like that, maybe, yeah. Let me just put this better right. So I think I'm going to leave the video here in the next video. Maybe we can do a bit more for in the textures, maybe. Maybe not. Who knows? So, see you there. 75. 01 Placing The Bones: Alright, guys. In this video, we're going to start rigging our character to give her a good pose. So let's go to Blender. Now, here, it's really important that you have the regi fi addon activated. So we begin, let's press Chief A. Now we're going to Armature, regifi and then click in Human. Let's bring this down. All right. Let me scale this a little bit. It's to match kind of the height of our character. Perfect. Around here, who'll be good enough. Now, let me just hide my cloth because that's in the way for me. All right. Let me just hide it real quick. Hide this that here. Let me see. Alright. I have almost all my clothes tight. So what I going to do now is here, I will put this in front to be able to see the amature better. No, I will just press Control A and then apply scale. That's really important. And now let's start placing our bones where they should be. But before, let's click here to have symmetry. All right. Let me put this in median point. Perfect. Now, we can place our stuff where it should be. And the shoulder will be around this area, maybe. Now, I will place my arm all right. Let me see. Let me hide a bit legs for now. I just want to focus in the hand in the arm. On right. Perfect. Kind of this area. Let me just quick. You quick. The arm. All right. Real quick. Oh, what? We got something weird here. Let me see. What? Let's just press Control C, select all the bones, and now we can start moving this around. Place it kind of where the arm is. Let me pick just the hand here and place it roughly where the hand is. All right, kind of this arm. Let me see the elbow, all right, and the shoulder. Let me bring this bab a little bit. All right. They put this kind of around here, maybe. Yeah. Perfect. Now, in item, we can have the roll action that the role is for us to be able to rotate the bones like this, really important also. Or right now, let's start placing the fingers in our hand. All right, let's select one finger. This will be the thumb and place it here, kind of. Perfect. Let me just pick here the volume and then active the magnet to place it kind of in the middle of the volume here. I will place our joint in the middle of this circle will be the center. Right, let's continue. Perfect. Let me place this nicely here. All right. Oh. Perfect around this area would be nice enough. Alright. Let me here, I will just tweak a little bit row make this align with the rest of the bones in the fingers. Or let me see also here just in case let me tweak it here also. Just do something real quick. I think we got some stuff a bit rot. Well, we can twik it later. All right. Let's go here. Let me place this roughly where this should be. Alright, around this area. Round here. End up. Perfect around this area. Now, let's place each finger. All right, be sure that you have all the joints selected and not like this. We don't want this to break. We want this to be together with the rest. All right, I will place this roughly where it should be. Let me keep tweaking this a little bit more All right, I will go for the next around here. The places where they should be also around this area. Around here. Perfect. All right. Perfect. Around here should be good. Let's go to the next finger. All right. Go here. Let's put some basic stuff here. All right, but this roughly where this should be. All right, let's go to the pinky finger. Make it a bit smaller. All right. You can also use here the wire frame to guide yourself a little bit better in this. Alright. We can feel with this, right? Let me put this around the edge loop here. Around here. All right. Now, I will pick kind of the roll that we have in the bones. I think this should be a little bit more like that. Roughly. Perfect here also. All right. A little bit more like this. Let's see here. Let me just tweak this area a little bit around here. Perfect. It will be in the middle of the edge. Pt I think the roll there is good enough. And also here, let me just tweak this part just a little bit. All right. Perfect. Now, we can tick here also our fingers. Alright, let me see here. Perfect. I think that we can just reposition the fingers here with the joint positions. Let's just let one finger. I'm just placing it near the joint. Around this area, I think we had to be more careful with the placement of the joint, the robot arm. But that's not a big problem. It can be fixed really easy or kind of like this. Alright. Let me do some kt tea. Let's just bring back and stuff that we did. Alright, let's move this one also. Let's move it around where the finger should be around this area here also. Let's do it. A little bit like this. Perfect. Around here. I think this is good enough. Yeah. Now let's select the pinky finger. Let's move it around here. Maybe a bit inner do like this. Maybe Well, we also going to need to tweak a little bit the rig in this arm. Let's just deactivate the symmetry and just let's select each finger here. And I will just place it where the joints should be. Let me activate the volume here. All right, kind of in this place. Let me do it also here, and here around those areas. Perfect. We'll do it here. Here and let's go here also around this area in the joint. This rig doesn't have to be perfect because it is just a quick rig that we are doing just to pose our character so we can have a bit of liberty in the way we are rigging this because this by any means, is a rig to be animated. All right, let me put this around here, maybe. Alright. Maybe not. I will just leave it there, maybe. Let me just do something real quick here. Move it a little bit. Let's go back to the rig here. We'll just reposition the joints around these areas. Around here and here and here. Perfect. I think this maybe should be good enough of the thumb. I forgot the thumb. All right. Let's place the thumb nicely. Let me just reposition this. Alright. Now, let's place. I think we can just keep these bones here. They just will cause problems. I think we can delete them. Maybe not. I will just leave it. That doesn't it's not that much of a problem, maybe. I will just leave it. Alright, perfect. Let's bring back the bits. Let's pick one fit, and let's just fission sets where they should be around this area kind of Alright Aerfect. Let me sell like this. All right. Maybe it rotates this a little bit. All right, let me put this in local maybe on normal. All right. I think this should work. Yeah, this should work. Let me just place these parts, a bit better the pelvis and the spine plays it a bit better. Or right? Perfect. No, I will place. I think that's good enough. Let me just move a little bit flabby cool here. Let me hide the hair or now. Alright, perfect. Let me hide also the eyelashes and the eyebrows here. All right. Let's place now the face rig. Let me do something real quick here. I will just leave it in. Yeah. Alright, Birkin. Alright, let's select all the face joints. And now I will just control E and then add everything. Perfect. And now I will just place my Hake roughly where this should be. Make sure that your magnet is in phase and phase proj here. Because if we don't have that, maybe that will cause some problems when we place the automatic UVs. I mean, the automatic weights. All right. Let me rotate this a little bit. With a scale. All right. Now, as I said, we need this. But wait, this is on the middle right. It should be on the middle. White it's not on the middle. Oh. My stuff is not on the middle. That's that's weird. Maybe that was the reason that my finger joint wasn't in place. Yeah, I had my rig not centered. That's a little bit pin in the ***. We have to redo some stuff here. All right, technical issues. That's not a problem. I think that I will keep the symmetry. But wait, we have done some twigs in the fingers now. Oh, my God. Oh, right. There's not a problem. There's not Problem. Let's just do it nicely. Perfect. I'm doing this with symmetry because I want to have again, my symmetry in each hand. Really sorry for that technical issue. I didn't notice that my armature wasn't entered. Alright, let's place this shop be. And now we need to reposition our fingers again. Let's do it just real quick. Not a problem. All right. I will just place it. I see. All right. Kind of like here with something. Like this, maybe. But wherever else we also need reposition the joints again. Alright. Let's just ing this. Oh, I hand select my fingers. I think I will do this off of camera because it would be the same process that we did before. So I will pause and I will get back to you once I get this done. All right, I have my hands again in place. Alright, let's see, my feet. All right. Perfect. Let's go again with the face. Let's go here. And then let's activate the magnet with the face project active. And now let's just place these joints on the surface of the object. Alright. Let me high everything and just leave the face bones. Active. All right. So we have a bit more of a clean sin all right. Let me wrap this. We'll just deactivate the magnet. It will be around this area in the ear. Perfect. Let me activate the magnet again and just place this in the ear. All right. Let's go here. Let's just move this which in the Y axis or right perfect, we'll move this in the ink, and then Y, leave it around here, perfect. These parts will be the same. All right. Around this area. This one will be around this other area. I want this to be in the middle. Let me stack. Let me seeing. This not on the middle. Let me see here. Oh, I mean the phone. B in the middle. Alright. This is a bit. It is I will just leave it like that. Right? Let's keep placing the joints here. Perfect, around here. This one will be around here, this area. Perfect. Now I will active again my symmetry. This part will be in the corner of the mouth. Let me wrap the mouth, quick, and then just lacing it where it will be. Now. What I'm going to do will be to make the mouth a bit smaller and then just place the corners where they should be around this area. Perfect. Let me hide the teeth and the tongue a joint here. I will just hide it. Perfect. We don't have that in the middle. Alright, let's place the nose. Oh, I forgot to activate the magnet while placing these bones. Right? This should be here. Perfect. Alright, let's place this in the tip of the nose. This will be around here in the side. This will be in this area. We do some Let me see something real quick. Alright, let's just bring back everything. This part should be around here. And this part would be around this area, other area. Perfect. All right. Now, let's bring this joint here, it will be in the seek around in the cheeks. Let me move this a little bit. This part will be around here. This part is just to give a facial rig, really easy facial rig. Let me move the eyes do. We'll just place it roughly around this area. In fact, now I will just keep moving my bones. This will be around here. All right. A here should be nice enough. Perfect. Alright, let me bring this down a little bit. Alright. Let me place the ice bones which would be around this area. All right. Perfect. Now, these bones will be This is supposed to be the brows. They are not the brows. This would be around here. All right. Now I think we can leave them there. Let me hide the body and place the eye joint in the middle of our eyebow here. Let me just select this. I will now press Shift S cursor to select it. Now I will just select my armature and then the eyebone now I will just press Shift S election to cursor. Now here I will just select this point here. Again, achieve S, Cursor to selected. And then I will go back to my armatur, select the tip, and then press again election to Cursor. And that's it. Let me just move the roll a little bit, maybe in zero. Perfect. That should be good enough. All right, let me place the mouth here. I mean, the teeth and the tongue here real quick. Oh. Oh, real quick. Let me deactivate the magnet. Now I will just place it inside the mouth. All right. Perfect. This should be around here. All right. Around this area should be. Perfect. I think they are good in that place. Let me see with the open mouth. Alright, I think that's good enough. Let me hide the armature. I think, yeah, yeah, they are good enough there. Let me just close the out again. All right, here, I would just press out H and now I want my teeth my teeth bone and tongue bone visible. So I will make this bimter and place it where the teeth and and the tongue are here. Now the tongue will be around this area. Let me make it a bit smaller and place it where it should be. On my right. Now I will bring back again my body. And now I will save this let me place rigging here. All right? Now, I think we're ready to go here and make the wrecks click here. Alright, we're getting some weird stuff. What? Let me do something here. Maybe they should fix it. Alright. Let me see again. Regenerate rig. Let me see something. Alright. What's happening was that I got a bone that was not in the center here. This bones here should be should be in the center, exactly in the center because if it doesn't, it will cause some problems. So what I did was select this join here and then pressing here with a magnet with vertex mode active and then pressing G next and find a vertex or bone that is perfectly in the center to use it as a reference. And now we can just press click and that to fix the problem and make our joint perfectly in the center. So we can now generate the rig here. Perfect. You can see that is on top. Let me just move it real quick. See here. All right. Let me wrap my initial armature and just placed the numbers that I have in my transformed her. Perfect. Now is perfectly on the character. Now we can hide the previous armature and just use this one for now, perfect. Let me see my objects property and then just click here in front. Now what we can do is to select our character here, the body, and then select the armature. And if everything goes well, this will work and no let's press automatic weights. And I think it works. Yeah, it works. Let's see. All right. Let's see if this is moving. Let me just deactivate the magnet. This is moving nicely. This part is also moving. Let me see the feed is also moving perfectly. Let me see them. The face features. All right. Is also moving. Perfect. All right. So what I'm going to do now will be to start adding each stuff in my rig. So let's start. A we need to do some way painting, weight painting around the ya a bit weird. Right here, we just select the armature, and we go here to the bone collections. Maybe we can click here in dev. Now I will just deactivate all of this stuff and we can do some way painting, select the bone here. See this one. Alright. Maybe we can just subtract a bit of this way paint. It's a little bit maybe, but it's a little around here. Maybe not let's see how this looks without that way paint. Oh, but we also cut this tongue stuff doing something where I don't want the tongue to be influencing in our neck. I will just delete that. That should not be in the neck. My see the teeth. They are also doing influence on the body, let's see. This time, this doesn't it should work nicely, right, you can see, it's working nicely. Maybe with a bit of problems in the middle. Et me just grab this bone here. And then I will just put a bit of wave paint here in the middle. Maybe we can do some blur. Let me select this and see what's doing. All right. I don't liking how this is behaving in the middle. I will just erase that. And I will go here, maybe. I think. Maybe we can select our neck on, and then I will just smear this on top like this, just go to the orthographic view. I will click here in two in fall off, and then I will click here in project. We'll be able to work in both sides. All right. Now, this should work. I see Without much problems. Alright. Perfect. It's working cans, yeah. Perfect. Let me rink more of the rig here. Let me see this stuff. What are they doing? All right. Let me just hide the deformation bones, and let's see what this is doing. It's kind of nice. Maybe we when I need to do more way painting around the eye Well, let's go back here to the deformation bones. Let's select Let's see this one. All right. Let me here and add, and I will just add a little bit more of white pink here. All right. Let me see. Perfect. Now and aware let me just erase a little bit here of that. Let me go here to project again. And then I will just erase a little bit of that write little bit more. Let me go back a little bit. Fence here. Let me select the brush here. All right. It's kind of nice. All right. Let see here, the working nice. Let me just smear this a little bit around this area. Let me add a bit of white painting. All right. Now, working kind of nice, a perfect deal. It's still not perfect. Let's see what we can do. Let me do sabre see if we can do something here. Right. Perfect. Let me erase a little bit from here, a little bit from here. All right, a bit more of floor in this area. All right? Now, this is working a little bit better. But why? We are getting some. I think that's the nice. Yeah. Go back, see what's happening in this area. Maybe we're getting some weird stuff, just erase a little bit there. Now it's working a little bit better. Alright. I think that's good enough for now in the eyes. Let's go to the other eye. We're going to need to do the same thing in this eye. Let's see. All right, select this one. Also this part here. Now, here I will just erase a little bit of the influence of this bone. All right. Erased a little bit of the inclines of those bones. Oh, right? Perfect. Let me put this around this area and then just keep blurring the white paint in that area. It's a little bit, not too much. Maybe here, we can do stuff. Alright. I mean, that should be good enough. Alright. Let me bring down a bit the strength. Alright. Just a little bit there. Perfect. I think that's good enough. But these verdicts are getting weird stuff. I don't want the brow affect my bone there. H. Maybe we can do this. Let's try. It's not doing anything. All right. I think What we can do in this hoa? Is be pinning wight paint I know Alright. Let me see. All right. I think that we can leave it there. I don't want to spend too much time doing that part. Or why? I will leave the video here. In the next video, we're going to continue the rigging. We'll see you there. 76. 02 Rigging: Alright, guys, in this video, we're going to continue with the rigging. So let's start, see what else we can fix in the white paint. Alright. Here in the breast, we can maybe fix a little bit of troubles here. All right. Let me just erase all of this stuff here. I don't want that. Alright. Perfect. Now I will do the same thing in the other rest. All right. All of those I would erase all right. I think that should be good enough. Here, also, I will erase around this area because I don't want this bone to affect these parts of the model. So I will just erase a little bit here. That should be good enough. Let's go here and do the same thing. O light Per facts. Everything here should be perfectly. Now, so we can continue. Let me try something. I will just bring my fingers and I want to see the rotation of them right working nice. Let me see with Imetry Alright. All right, perfect. This Alright, that's good enough. I see here or perfect. So I will start appending the robot parts to the rake. So let me just sele this stuff here. Yeah. Let me see. Oh, right. You can make all of this one single piece. All right, one single piece here. And here, this one, I will go here, press Control P, empty groups. Now I will go here with this mesh, then left this bone, and then just apply the white painting with 100%. We'll put my brush here in project, and now I will just throw a little bit of wet paint here. Perfect. Now I will go to the fore arm here and then do the same thing, Control B, empty groups here, select this one. I don't want to select that one because if we rotate our hand, it will rotate and angle this to rotate. Though I will just click here and then throw 100% 100% white paint. Now I will select this one and this one will be appended to this bone. We'll do control P and P groups will select this bone. And then here I will just I put some wine paint around this area. Yeah. Now, the palm will put it in the rest of the area around here. Perfect. That should be good enough. Let me do some blur also, and blur here. That should be nice. Now, we can do here. We can just make this one single piece. Like this. And then I will do some automatic weights on this piece. Now, for these knuckle parts, we'll just append them in each finger here. Let's elect. This one, let me do something. Click here. Let me select the bone. Control P T groups, all right. Let's now append. Those bones where they should be. This bone will be with this knuckle piece. Alright. This bone will be with these other knuckle piece. Alright, let's do it with careful because I don't want to paint the other knuckles with that white paint. Alright. Let's go here. Let's select this bone, and this bone is for this knuckle piece. All right. Perfect. Just select this one. All right. Just white paint a little bit here. Perfect. And now this one will be for the last knuckle kis here. Around this area. All right. Perfect. Nicely done. All right. Let me do something here real quick. Alright. Where is se like the armature and my finger details, you move a little bit around here. Alright. I don't see here if this is working nicely, right? It's working perfectly. Let me deactivate this. So I will just keep adding my pieces to each bone. Let me do some demonstration here. I will do it in the sump, and then I will pause and do it in the rest of the fingers. So here, I would select this piece. All right, I will do P selection because I just want this to be isolated. Let's do something first. Before separating each part, I will do from P and then atom I mean, empty groups here. Perfect. And now we can select this. Maybe let's do something. We can assign that white paint. So in that way, we don't need to separate each parts, which would be really easy to do now. Let's do here, assign Perfect. This should work nicely, as you can see, working perfectly. Now, here for the joints, I will do the same thing. This joint this joint will be do something real quick. All right. Alright, let me just select the joint now select the armato control B Empty groups. Right here, I will select this bone or maybe this one. Yeah, this one would be better. And then here in edit mode, let's just click in a sign, and that should be good now. You can see. Perfect. Let's go here also with this bone here. All right, let me select my armature, select this one, rig and then click a sign and seeing nicely. Maybe we are having some errors in this area, but I think we can make this going a bit molar Alright. That's fix it, end up. No, I will do the same process in each finger, and then I will get back to you once I finish doing that, see you there. Alright, I have my rolled arm here racked and see that he's moving and nicely and perfect, maybe we need to do something up on the pose once we pose our character because it's not perfect. The rig this is just a quick wreck. That is not perfect for those areas. Now, let's see, lets me do some excess in this area here. There's something like when fits and is to add a little bit of weight paint in this area. Alright. Let me just lure this a little bit. And this should be good enough. Let me sling. I mean, not that much. Let me go here, subtract and subtract a little bit of this way paint here. Alright, let's do some blur. That should be good enough, maybe not. Las subtract A in this part, right. Now, that should be enough. Perfect. All right. Let's add the robot leg to ric Here, let's select this one. Let's select the rig onto P, anti grouks. Let's go here. Elect First one. And now let's do we paint and put this in red, everything in red. Now, let's select this joint, select the armature empty groups or right let's select this bond and put everything in red again with 100. I mean, yeah, with full white paint here. Now I will select the calf, the anti armature, A B t groups. So here, select this bone. Boom, that adds the white pain. Now, in this area, I will want to select our mature Control P, and this will be an automatic weight. And that should do nicely. The weight pain there, and they bring bit All right. It's not to bully. I think that's good enough. All right. Et's see this. It's working nicely. Let me see here. And this is also working nicely. There is one thing that this is not rotating, but I think that I will rotate that in when we pose a character, I will just rotate this by hand. Because for this to work, maybe we need to do more work on the rig. I don't want to do that. Let's continue. We have our robot fed with our joint baste nicely. So what is left is to add the rest of the stuff to the rig. Let me save incremental here. Let me bring back my claws. Perfect. Now, here, I will just hide the deformation bones. We go here. Alright. Let me hide the meta ray. We just want this one. That we hide the deformation bones. All right. Let me bring everything here. All right. Let me just add something real quick here. All right. It's working nicely. No, I will just press, click the jacket, and then click armature Control P T Rooks. And what I'm going to do now is select the jacket. Go here. And then do data transfer, put it on top. Click here, vertex data. Vertex troops, es select the object here. Perfect. But wait. We have the open mouth there that I don't want to have visible. Meat. Select again the body and then do apply here, apply. And this should make our stuff move with the body right, we are getting some weird stuff here. Let me see what's happening. All right. Let's sing, white paint. Let me bring back my deformation bones. Alright What's happening here? Let me do some subtract. Now, that's perfect. Alright. Perfect. Let me go back with my jacket. All right, let me hide the open mouth. I will do the same process again. Data transfer here vertexroops. Fine. And now it should work nicely. As you can see, it's working perfectly. All right. Let's do the same thing with the underclass, select this, select the mature Control B, empty groups. Perfect. Now, select the other class, apply data transfer groups here, select the body, apply, and this should be good enough. Or else you can see, it's working perfectly. I will do the same thing with the leather part. That transfer, let me in the armature onto B and two groups. Artotta Let's select the body, apply. And these parts will be the same. I will just make it one ga, will just join them. And now I will do the same thing. Transfer vertex here, so that the body mature empty groups or right. Let's apply it. And now this should do the stuff. We're getting some weird visuals here. Let's do some quick weight paint. And what I'm going to do here will be erase the wet paint from the breast that are giving problems. O. All right. All right, let me put some of these red are there. Now, this should fix the problem. Alright. Let me see here. Pick. You can add a bit of this reddish stuff here, maybe a bit of flour. That's the Alright, I think that I will just leave it like that for now. Alright, let's continue. Alright, let me hide this stuff here. Alright, because we're going to need to put some bones there. Alright, I will just let me hide this. Alright. Let's see. Let's pick the strap on P, empty groups. Let's go here, at a transfer vertex data, verte groups here, apply let's do the same thing here. O P, and p groups. L this stuff here, tras fer, B taxa. Let's select this strap now, groups, and this should work nicely. For this part, I don't want this to be forming too much. So I will do this up here. I will just control B and then select empty groups, elect our object, select this bone, and then just apply the quick wet paint there. Nicely. And perfect. So what else we need put them of these parts. I will just P and groups, sparing them. And now I will add a ran fern VertexaPertux groups. But this time, I will just select jacket, apply I need to apply these weighted normals. Quick. I laps I will not apply it now. Let me just leave it like that because I want to test some stuff later. I I select the color. Here, the color. I select the armature enter groups. B here, transfer, here, vertexatgroups, select the body, and then you apply. Now we need to break the close parts. These cylindrical pieces, I will just merge them in one object. All right, merge them in one object. Perfect. So for this stuff, I will have to do some stuff in the rig. I would have to start modifying it. Let me save incremental. Perfect. Let's unhide the rig. Alright. Let me see something. I will create another bone collection. It will be hanging bones. Let me move it down. Around here, right. Now I will hide my deformation bones and everything here because I don't want any of these to be in the middle. So now I will just Adding one bone. But before that, let's just shift and press ser toward N. All right. You can add a bone, pressing Chief A and see it here. One bone. Let me rotate it. This will be for the front hanging piece. All right. This piece will be around here. Perfect. Let me do a sign here, a sign. And now I will do some subdivide, maybe in two maybe three or I think this should be nice enough. I will just leave that that now. Here, I will do some until P. P keep offset. So if we move the pies, these bones will also move Alright, let me change the names. I will be F rummed before I mean, um. 01, let me just copy this. All right. Place it here, 02. I like this again, to three, like this again, do four. Now, I will just select this again, and I will place this in the side las part around here, but I will delete the first one. Alright. Alright, let's do it real quick. Let me duplicate this again. And before duplicating it, let me change their names. This will be addressed. A side. L, copy this name. Perfect. It's important. If you want to symmetrize a bone to have the suffix here, the point L or point R, the blender and know which bone is available for symmetrize when you press symmetrize, this will do it because we got our suffix there. All right, let's do the same thing here, 02, and here will be 03. Perfect. Let me select this moving heat also. I will put one in the middle here and another one in this part. Perfect. I just change the names. Maybe 040-506-0708. 09. All right. Let me copy this bones also and move it backwards here. All right. And here I will put it one in the middle. Let me change the name. This would be Black. All right, one. Let me copy the name and just place it. G two, three, four. Perfect. We move it to the side of like this. All right, here. I will copy one time here. All right. And then I will do it another time here again. Perfect. Here, nicely placed. Hey, we can delete this phone. When Ry let me start changing again the names. It would be 05060708. 09010 and 011. Perfect. Let me create also another bone for these hanging pieces in the strap. Let's create a bone here. I think that I will separate the bones from the breast and the bones from the accessories. Let's do it real quick. Let me hide this one, maybe not. Let me create another bone collection. This would be theres. And I will just apply this bone there. Apply. Let me hide the other ones. And this bone should be here. The formation dealing in there to It this name. I will just copy the poem or we place it here. And then I will just place it like this meat. Then like this bone, like this one onto B, upset here, too, onto here, he offset. All right. And now we need one more bone or this hanging piece. All right, let me just put another bone here nicely right here. Now rotate this one. Alright. Here ft. Alright. Let me click here and then do another parent here. Deep upset. Perfect. That should be good enough. All right. Now that we have our extra bones, we can start adding these pieces to our rig. Let me hide the cylinders here. I will just click in this hanging stuff and here and then do automatic weight. And this should be doing the stuff nicely and perfect. What Let me just con C again. All right, let me hide the accessory stuff. What I should be in the accessories. What? W I have done something weird here. Let me just put this back. But right here, it should be in the accessories. But All right now they are working. Let's click again in the front cloth. Control P here in the Armite Control P, automatic weights and this should move nicely. We need to do a bit more of white paint. But that's basically giving us a good result. I will just hide this part. And now click tie up here. The armatur let me hide also the front one. Perfect. All right. No big here. Nice. Let me select this side class. The armatur do some control here, and then automatic weight. We can start posting our stuff there. Alright. Let me do the same stuff with the bog cloth. Alright. Maybe we can add one be here. And then I will just add another one around here. Also, let me change the name. All right. 11, this will be 12013 and 014 or right select the back dress cloth, and then select the armature Ansle P automatic weights. And this is nice. We're having some weird stuff. All right. I think that we will need to do some off. Let's do something. We can sat these parts a little bit. Let me go before we add our automatic weights. I will just upt this mesh. Add the previous one. And now I will delete the inside All right. Perfect, will delete the inside. I. And what I'm going to do is to rig this flat version here, also Pmtic weights. Perfect. Here, I will rig this one. Oh, right. Let me hide my deformation bones. Perfectly. All right, let me go here. I will put a bit of white paint with the pelvis bone active. Right. Our faith. Let me see if we are doing the same stuff. This area right here, we don't have that much of a problem with the inside part. All right. There is nice. All right. So with this part tricked, let me see. Let me move it just a little bit. Let me just like the torso trick. I see. Let me see. Everything's going well. Alright. Let me hide torso consoles. Here select this. And I will just erase the influence of those bones in the parts that are under the strap like this. Perfect. Here. Yeah. Yeah. Nice. They do something here real pick. I will just raise this inflns because it is from the side class bones. Perfect. All right, class. Now what we can do is to bring back our main class with a thickness. Let me height this just for a while. Now I will click the armatur empty groups. Alright. Let's bring back our flat version. Now here with the thickness version, I selected, let's add a data transfer where the troops right. Let's select the flat version and then do Control A here. Perfect. And this should do everything fine and perfect. You can see it here without any box. Perfect. Nicely made. Right let's go here also. Here, we don't need to do that same stuff. We don't add that same issue. Let's see. But what I'm going to do is just to put the pelvis influence around the strap art. Around here, I will just add the pelvis influence. Perfect. Round here be good enough. Let me just do some blur. And just extract a bit of those influence. Write a bit more fluor. Let me raise more white paint there. Write a bit more in this area, a bit more here. All right. Here, perfect. All right. Nicely made. Let me do some blur here. All right. Perfect. I will do the same stuff here in the front version. Let me apply the, you know, this white paint. Perfect. Here now, I will subtract the front, the top influence this area. Right. Let me do some fixes in this area or right. I don't want this bone to be influencing that other bones. All right, what we have done like we're selected on this right. All right. Now it's working nicely. Now we have break the class arch. Now let's go to the accessories, and we bring back my stuff here. And here, these two, I will just select both of them do some topi and then empty groups. And I just going to select one of them All right. Let's go here. All right. Let's select this bone. Select this one and then do assigned here. Perfect, see, it's moving around. Let's Alright. Let's do the same here. Like this bone, like everything. Let's just click press A, then assign perfect. And you can see it's moving nicely. Maybe we can just modify up it. The position, place it around this area, and that should be good enough. Let me do something here real quick. We'll just raise the influence of that bone in that area nicely. Now, let's do the same stuff with these hanging best here select this stuff right. Let's do some convo B anti groups. Select this or right here. Now I will just place a little bit of influence here. Nicely done. Let me change also the name of this p. It will be there. Neck, Boler is right. That's nice. We got almost everything in place. Let's add hair, also. That would be really easy to do. I will just merge all the hair in one single object. All right. Now I will just select the armature conto P into groups. Select the hair again, go to the white painting mode, select the head, bone here, and then just flot everything with red here. I let me select my stuff here. All right. And now everything should be moving nicely. But you can see, we still need to do some more fixes. It's almost perfect, but it's not that perfect because we are getting some issues in the neck area. Also, we need to attend our eyes and our eyelashes, eyebrows and mouth and tongue to the wrik and also the sore. So that would be for the next video. We'll see you there. 77. 03 Fixing Rig Issues: Alright, guys, in this video, we're going to continue with the rigging of this model. We need to fix a lot of stuff, a lot of errors in weight painting, and also we have to append our eyes, eyebrows, eyelashes to a rig. So let's start. You can see, I move this. You can see that here is moving also. But this part doesn't have to move with these bones. So, let's try to fix that. Let's go to paint, vertex pain mold. Let me select that bone. Let me see which bone are causing that deformation. Let me see here maybe some of these bones. Maybe let me just hide the controls of the rig. You go quick. Here, perfect. Let me hide all of these that I don't want right now. Alright, let's pack. Go back to the vertex weight painting. Alright. We'll just keep deleting those those white paints. Alright. Just to remove the influence of these bones in the skirt. I mean, the dress part. All right, perfect. And now this should be good enough for us. Let me see or maybe the arm All right. Now it's moving good. Let me just go G. Perfect. We have to append also our joint in the elbow here that I think I forgot to append. Let's select the joint on the armature anti groups. Here, let's go to white paint, select this bone, and then just add a full influence of this bone in that joint, and that should be good enough. You can see here doing good. Perfect. Or maybe we can put the inflames in the previous one here. Let's see how this works. It's kind of working better, I think. Maybe not. I will just leave it here. Perfect. We'll just leave it like that. All right. There is something that I don't want to have in and is the influence of the breast bones in the jacket. So I will just erase that influence or pick. Perfect. Also in the head, we have some influence in the neck collar jacket. I see, let's just remove all of that influence there. That I don't really like to have there. Also here. I will have to delete a lot of weird stuff here. Let me select my sl here just to be able to move the head and see what bone forming. I mean, this one, then it just erase that. Alright. Which other bones that is having Laking this behave like that? All right. Let's see just real quick. Let me just go here, select this bone, and I will see which bones are influencing in that. All right. Behaving a bit weird. Let's think which bones making. That we're out here. All right. Is not Alright. This is really weird. All right. The E C four is making my ear behave. We're all right. Nice. Were also. Maybe what? All right. Here? All right? I think that everything now should be good. Enough? No. That's just the right now, everything should be nice in the neck area. All right, let me just cancel the rotation, praising R. Perfect. Everything now should be good there. Let me test my rig just to see if there is other parts that need to be fixed. All right here. Let me do something real quick. Let me select by stuff here. Let me do some blur, maybe. And here I will just select the torso, the middle torso bone. And I will add a bit of influence in the middle of the jacket around here, maybe. Yeah, kind of. Because I don't want I want this to deform well. Let's see how this goes. Let me erase the influence from the sleeve. I don't want my sleeve to be moving with the torso bone. Let's think. Let me blue everything. You know quick. Let me see now. I that good. Yeah, working nicely. Alright. Everything is nice. Let me blue a little bit in this area here in the arm bones. Perfect. We're getting some clipping on top of there and see what's happening. It may maybe strat a bit of influence there. Alright. Let me see now what this is doing. Perfect. Nice. Let me do some blur here. Maybe the blur wasn't the best choice in that area. I think that maybe a bit less less blur. I think that I will leave it just like that. I don't care too much about that area. All right. Now, everything here should now. Let see what's happening here. Of, you can see that I need to do some fixes in the body. Alright. Let me hide my body and my armature, pressing this bottom here. I don't know the name in English. The cash bottom, I think. Alright. Now, let's rest. Let's go to our vertex painting. But first, let you are mature. Let's see what this is doing here. Alright. We're getting some weird stuff. Alright, let me see if I can fix this. All right. Then maybe some blur not working. Let's see strength. Alright. And here I want this bone to have the full influence that area. Well, we get him some weird stuff here. That's not good. Let me see. Let me out G my the formation that we have done, let's see now what it is doing. It's a lot better right now. Let's see a bit more of lure. We also a bit more of lure in this Areo. Let's see here. All right. Let me see Dario Alright. I not the best trigger, but this is just a basic brick. I think this should work without problems. Let me see if I can substrate a little bit in this area. A little bit of influence in this area. Alright. Perfect. Let's blure a little bit more. All right. Let's see. Let me just move again. My stuff. Alright. Let's test. All right. You see real quick. Alright. I just don't want that art to be moving that much. So, I will just mirar the influence around that area, maybe label to make this not move like that much, maybe. I think this should be good enough. Let's see. I think that's a lot better. Alright, let's go back with our stuff here. Alright, let me see my jacket and everything should be good enough now. Let me see here what we are getting. We're getting some weird stuff in this area. All right. We can also import our textures here just to have a better visualization of what we are doing. I think that I will just do that. Let me go here to the befor shading. And here, let's select just in another tab, maybe could be this one or maybe this one. If you don't have any of these tabs, just go here to the corner, dig your cursor change. Change. Let me see around this corner. Let me choose. Alright, you can see here. And then just press the eper shading key. Alright. Shader Editor, right Perfect. Now, here, I will just import my cloth textures and my textures here in each material. Here, let's press chief A, and let's write image texture here. I will just duplicate this image few more times. Maybe four should be good enough. And now I will just start importing my textures, all right. That should be the cloth. Here, I would be the albedo or the base color. I should be in RGB. All right, perfect. You can see that we start having our textures inside Blender. Let's go now with the roughness map. Is the body, this is the metallic. This is the roughness map. Any other texture that is not a base color should be in linear or raw or non color. Like the roughness map, the color space should be here, or linear rect or non color. I will just put it in linear rect here. There is no difference between those. It's just maybe preference, right. Let's go here again. Let's select the metallicness. All right. Let's just put the metallicness in linear. Let's put this here. Where is it? Specular. You know, the metallicness. These around here. All right. Perfect. Now let's import our normal map. Here, linear. Let's put it. But first, let's just add a normal map with hf A, let's write normal map. We have this normal map node. Let's put the color here in color, and now we can put our normal map in our SDF. Let me see something. As you can see, we have our normal map inverted. So to fix that, I'm going to add a new node. GP curve here. I will put it just in the middle of the image sector and the norm map node here. I will just press here here to the ring channel, and then I will just invert this curve, and that should fix our problem. You can see now the normal map is working nicely. Or right. For some reason, we're getting some weird stuff here. For some reason. I think I know now what's the problem here. All right, see, real quick in the Ubi Maps. We have two UBI maps. But I don't want Alright, I will just separate these ones. All right. I will just copy the Ubi Map name here. Let me see what maps are there. All right here, what is this? And here I will just delete this one and everything is working nicely. I will just put it back together. All right here, I'm going to delete the Ui map name, the Ui map part, and I will just apply the UIMab name to the diffuse here. And this should fix everything, and now it's working nicely. All right, we also want the missive. So I will just add another image texture. Much texture here. Perfect. Let's pick our emissive texture here. This emissive. I think. Let's put this in RGB because it's some sort of a base color. All right. Let's go to Mission and just apply the mission here, base color. Now we can increase maybe the behaving of that. If it's doing something Alright. I like it should be good. Let it just in one. Alright, let's just continue with the rest. And I will get back to you once I import all my textures here. Also, I forgot to add bandages to the body, but I will just import everything and I will get back to you in a moment. A right now that I have all my pieces, I mean, all the textures imported. Let's close here to the cornea because I want to set up some stuff before when anything, I want to crank up my transmission. Let's see. Here, I think my lender just freeze emit pulse, or right now that we have our transmission crank up. Let's just go here. I want to activate my tracing here. It should be activated. Now let's go back to the material tab. It's active. This retrace it. This retrace it transmission, also. If not, the transmission will not work, as you can see. Just active that. And now you can see that there is too much of deformation in the transmission. So what I want to do is go here in the thickness and then select value. Let me see if I can find it real quick. This is a round. What is value? Thickness value. I kind of I need a tweer Alright. Let me just add here value note, and I will just put this in a thickness area. And that should fix everything here. All right, though, we have our One material made. Also, be sure that you have the roughness drop to zero. So you can see that now we have our stuff imported. Let me bring back my bandages because I forgot to append that to the wrig so let me unhide my rig or right, let's go. Let me just cancel this movement that we have made before. Now, what I'm going to do is make every part here a single object. I will make the bandages one object. And here I will make these bandages also one object. This one will be the same right one object, and this one will be another object. They we can make this to one single object. All right, or maybe we can make the bandages in the feet one object that will be a problem. All right. So now, let's select the armature. Let's go here, empty groups. Let's select the bandages. Let's go here and then add a data transfer or let's active this vertex data, vertex groups, or let's select the body now. And then just apply this, and this should be perfect. You can see it is a lot better now. But I forgot to do something here. I forgot just to select this one. I will join with the rest. Let me do again, the same thing empty groups. Now here, let's add, Is that a transfer? Let's go up. All right, Bert flubs. Let's select the body. Control A, to apply everything. And this should be good now. Let's do the same thing with the bandages on the arm. Right Control P, empty groups. Let's go to the bandages. Let's go here that transfer. Perfect. All right, vertex groups. Let's select the body, apply. All right. Let's see now that it's there. These parts, I will just join them in one object. All right, give me a se. Let's just join them. All right, we got something weird. We got the same problem that we had in the chess piece. You can see here that we are getting some weird stuff. Just let's change that name with UB Map. Diffuse UB let's just change it to UB map, and that should fix any error. Right now we can just join those objects as you can see, everything is going good. Now's select the armature console P empty groups. Let's go back to our Badges Ps. And this time, I would go to wet paint and select this bone. And now I will just add the full influence of the bone in that piece. And that should be good enough. Maybe we can also add another bone here that for that piece. Maybe we can do that. Let's go here. Let's bring back our hanging stuff. All right. There we have it. What All right. Let me bring back this. Now I will just press Shift A in the ding mode. Shift A. Perfect. Let me select this bone, and then I will just move it. I will just move it around the area here on the right. Look quick and nice. All right. Around this area should be. Perfect. Let me just move that and then maybe do some subdivisions. Alright, maybe subdivide once or maybe two. Maybe just once should be nice. I don't want that many organs. I mean, that many bones here. It should be good enough. Let me change the naming of that bone. Let me call dev and be bandage 01. Let me copy that name and then I will just apply to the rest. That's 02 and 03. All right. Let's select this one and this other bone, let's press Console B and then keep offset. And that should be good. Now, what is left is just rig this piece with that with those bones. So I will select the first bone here, and then I will just put some influence to the end of the bone. Let's select the other one. Let's put more influence around here. Then the third bone and more influence, all right. Now we can do maybe some blu, do something wrong here. All right. Maybe some blur. We can blur this just to get a bit more of a better transition there. I want to get in some weird stuff. Here, I don't know why. There is All right here. We're getting some weird stuff. Let me just erase the influence of that bone and just leave it in this part, the first part. Maybe maybe we can just delete that. Maybe not. I want to leave the influence just in the beginning. Alright. Now I will just raise the influence of this bone in the beginning. So now everything is nice enough. Alright. I think it is nice enough. Alright, let me smear a bit of this influence, mix little bit that area, and that should be nice or this piece here. Right a little bit more, maybe a bit more of glue. Like now that's good enough. But we can hide that bone that bones. And now everything should be ged nicely without any error. Alright, we're getting some weird stuff in the dress piece. Here. Let's go here and let me see what bonds are influencing in this area. Let me just erase that influence. That was this bone. See here also, maybe here, here. Alright, now, everything should be good enough. Now we need we need our sored to be rigged, but that is really easy to do. Let's just bring our sores here. Alright. Let me hide everything of the character. Here, right, let me hide the wig. And now what they're going to do is just to merge all the parts of our sort in one object or right let's let and then just control. But you can see that we got some stuff here because we don't have the UBI Map name in those objects. The UB map tab here in this item, the UB Map tab. Alright. It's just paste that Ub Mv name in all the pieces. And now everything should work nicely, right? We're still getting that error. Perfect. Now everything should be nice. You see that everything is nice enough here. Perfect. Let me call this ford. All right. Now, what I'm going to do is press Shift A, single bone, scale it. Scale it. All right. Or maybe we can we can do this inside our wig here. Let me create a new collection. It will be destroyed. Alright. And in this collection, let me hide everything here. All right. Also the defuncton bones, this collision, I will just press Control Shift A. But I'm not edible right. Let's press Shift A that we can have this object. I mean, this bone, I will just put around here. The beginning, I will just put the beginning around where the arm should be holding the sort around here just to move the sort a little bit better. All right, let me change the name of this bone. The For perfect. Now, let's select the sort and the armatur Control B, empty groups. Right now, let's go to the white paint tab, select this bone, and then just add the full influence of that bone here and you can see that our board is rigged nicely. Alright. So now we can bring back our controls here, perfect. Alright, let's bring back our character. Alright. Now we have our character here. Let me hide our sword. Also, I will hide the sword bone in this tab. Alright, now we want to append our eyes and our eyelashes and our eyebrows. To the ik. But what I'm going to do will be select the eyebrows, select the rig onLPEtGroups, will be the same process. Now let's go here. Data transfer vertex data, vertex groups. And now let's select the body. All right. This should be good enough. All right. Let's see if we are getting everything nice, you got to see, right? So let's do the same thing with the eyes. Let's select the eye lashes, the eyebrows, Control P, empty groups. Let's go here. At a transfer Vertex data, Vertex group. Let's select the body, and everything should be nice. You can see it here. Perfect. Let's go here with the lower eye lashes. Let's do the same process. Control P, empty groups. All right, data transfer. Perfect. Vertex data, vertex group, and then just select the body. It should be good enough. Perfect. Now for the eyes, what we want to do with the eyes will be append that to this middle bone will be this one dot i dot, right? So let's do that. All right, I will go here. But first, let me separate each I in its individual object. Let me use this real quick. Or, right. Let's select this I with L. All right. Let's press it here in normal. And then just press selection. It would be the eyeball Right. And this will be the eyeball left. Perfect. So now let's select our eye here. And here. Let's select this bone. And let's just elect the eye and the armature and press bone here. And that will append our eyes to that bone. Let's see if everything is working nicely. You can see now that our eye is following the control. Let's do the same thing with the other eye. Here, let's select this eye, select the armature. Let me just select these parts and let's just rest Concho P and then bone, and this should be moving nicely. All right, let me unhide my cornea mesh. I will do the same thing here. I will just separate one of the corneas. We'll call this Uh, maybe right. And this will be left. Alright, we're getting some weird stuff here. What's happening here? Alright, we're getting this weird stuff. Let me see here. What? For some reason. My lection is not working very nice. This should be good. Well, let's select this part. Alright? Let's go here. Let's merge these two. Let's just merge it. All right. Let's go here, then merge by this ans. This should merge everything nicely without any problem. See maybe we have harp there. Alright. Let me see the other eye. Yeah. It's just working nicely there. All right. Now, let's select this cornea. We are going to do the same thing. All right, let's select the armature. Let's just select that bone and then just press topi. Bone. Let's do the same thing with the other eye. Let's select the armature. Let's select that bone contop bone. And now we're having our eyes rigs nicely here inside glender. Let me hide my deformation bones. I think that everything now is working nicely, but I almost forgot to add the teeth to the rig. Let's hide the body and see that we have our teeth. Alright, let's bring back our deformation bones. All right. Now I will end the upper teeth with the upper teeth bone. Let's just do it real quick. Let's select the teeth and the armature. Let's go. Here, pose mode. Let's select this one. Then just do conto B bone. Here, perfect. I do the same thing, but now with the lower bid hereto P bone. Okay. Alright. Oh, I just selected the tongue. Oh, let's go back. All right. Let's select the T. Now, let's select this bone. The bone. Alright. It should be gluten off now. All right, you can see. Everything is working nicely. Let's select the tongue. Alright, let's select the armature. But this time, I will just control E, maybe let's do some N automatic weights and see what it is doing. I I think that working nicely without any mistakes. Perfect. It's working nice. Let's go here again. Let's unhide our body. And now I will just test my rig to see if there is another error or bug or anything that we need to fix. I think everything is good enough. But you can see here that we are getting some weird stuff. All right. Alright. We're getting some really weird stuff there. Let's try to fix that. Peak? Alright. For some reason. My teeth not following. We rest All right. Is on would be right here. There's a lot of stuff here. Let's first fix the jacket part. Let's just fix that. Real quick. Alright, let's go here. Let's select the armature and then select the jacket. Let's select this one. The middle bone piece. Maybe we can select this one. And now maybe select this one and then just add a bunch of influence in the neck color area. And now let's test this, and now it's working nice and it moves the head. But if I move this, we'll move also the color perfect. That's nice. We're getting some weird issues here. Let's see what is happening Alright. We're getting some weird off there. Why is this bone not moving? Hard to know. All right. Why is this bone not moving? Let me set. This bone, maybe? Yeah. Oh, that's not the bone. It is Art. This is the bone that should be moving. The formation bone. Let me see if it is that deformation bone that is not moving. Yeah. For some reason. Right? Let me append that to the head. Let me select the upper teeth. Now select the deformation spine, then do contro B, keep offset. And now this should be moving nicely with the rest of the object of the route. Everything should be nice enough now. Let's bring back our body. All right and see. I I working nicely? Without much errors. There are almost no errors here. So now we can start playing, adding composers. We can even start playing with some facial pressings maybe. You can see now we have the ability to add some facial spresons see it here nicely. Yeah, super beautiful. Perfect. We can even open the mouth. We can move this. We can open the mouth. We can move our tongue, everything that we need impose our character. Even we can move this stuff. Nice. All right. Let me see my sword, also. Let me unhide the sword. Perfect, let me just select this one, and you can see that we have our sword here, I'm ready to be posed. Right Perfect. So I will leave the video here. In the next video, we're going to start posing our character. So see you there. 78. 04 Posing The Character: Or white guys in this video, we're going to pose our character. As you can see, I have made the rock that she has in the concept here. Though this is really straightforward to do. I just made a sphere, and then I just chop it a little bit inside brush with a flip brush and then do some dynamesh and some serums and some automatic UBS. And then I throw that to Susan Spender and just apply some gradients and some basic colors. This part is just a plain with opacity texture and some strokes to represent, like, the part that are around the rocks. So the pose that I'm going to do will be the same pose that she has here in the coset. All right. It's a really straightforward pose. It's a really easy pose. So there's going to be a lot of problems, so let's start making it. The first thing that I will do is to make a plane to represent the floor, all right, like some plane here. Maybe I also like to put this plane, maybe some solidify or maybe we can just extrude down just to have a bit of sickness in the floor. Let me change the name of this row and I will just remove the icon, so that's not longer electable. Alright, we can start doing our pose. All right, let me select here the sort collection because I want to move away my sword. I also like to have another tab here just to see how the i pose is working. So now we can start doing some poses. All right, let me move away the sore for now. All right. So let's see, she has a bit. The feet are a bit separated apart. So let's do that. Let's do something similar. This is around around here, maybe. This is something here. Let me just bring up the floor a little bit. I should want to elevate the sure, just a little bit to touch the feet. All right. Let's continue with the fit posing. Maybe it can be something like this. All right. Perfect. We can move the feet and separate them. All right. Is in some three quarters. Let me remove the symmetry and just keep moving the feed. And it's also heavy we move. Around here, we can just move backwards. The feet. This one can be a bit Oward. Let me seeing right. Let me rotate this controller, kind of like this. It can also rotate our controller and also the and I will just move it a little bit. All right. I think maybe we can also oppose the waste. Maybe something like this would be nice. Just to have a bit more dynamism in the way the waste. All right. We can also move kind of like this. We have a bit of contra pulso. All right. Let me just fructate a little bit ahead. Oh, we're getting some troubles here. That's weird see what's happening. What is that part. Alright. Let me go here. Do the weight painting. Let me select this one from where is that Let me hide the teeth for now. All right. And now I will check where is that weird stuff coming from. I think it's that one, let me just put the frame just to see exactly what is that vertex, right. Then check. I think it's di one. I think so or maybe dig one. I know it's this one. It doesn't have any weight painting. We'll just copy this and then here I will just copy this stuff. Let's select first this one and then this one and then we'll just press copy. And now you can see this vertex has the same white paint that has these vertex right now everything should be moving nicely. All right. Perfect. Maybe. Yeah, that's not the way that the upper part is rotating. And we can make in a bit more profile view, maybe something like this. Let me just move the feet a little bit backwards around here, maybe. Also, I would like to just move down this box console just to make the feet a little bit more flex. A little bit. All right, let me also rotate this control up here. Make the fit. I mean, the leg to this direction. All right. Here, also, let me move this maybe something around here and just rotate again the waist. Maybe around here should be nice. All right. I see that it's nice there. All right. All right. Let me think maybe rotate this a little bit like that. Now, let's try to rotate this. I like this. This part, also, I will just rotate it a bit. Also, the head, I will rotate it. Let me just pose a little bit better the arm. Let me move this control a little bit, all right. Now I will pose the stored. Let me use the normal mode here and just rotate this in the y axis. So I can have a bit more of control there. Maybe we can also use the local and it will be the same. Perfect. Let me just fold around there. All right, it should be kind of like this right around here, All right. Let me just keep moving this bone. Me do just something real quick. Maybe we can change the shape those bones. I We can have a bit more more a better view of what we are doing. I don't have that bones in the middle. Alright, I will just rotate the hand, maybe not that much around here. Oh, right. Let's be seeing what else we can do. Let me see on the front and liking it too much with something like this. All right. Perfect. I just rotating a little bit. The wise area let's sing. Let me just raise the hand a little bit more with something like this will be good enough. Alright. Let me move this controller. This controller, right. Also, I will move these bones here. We have a bit more better shape, we're getting some weird stuff happening, but that I be fixed later with some coating. Once we apply the pose, All right. I'm just posing the limbs and there I will pose the fingers. Let me seeing we can just rotate a little bit more. This part. Maybe this part also can be moved just a little bit. Let me put in place these rafts. It should be around here. Lyte just rotate it. Oh, let me put the median here. Now, let me rotate this a little bit. Around here should be good enough. But I will rotate it is playing a little bit more to match the camera angle that we have in the concert. I mean, to match the angle in the concept around here or right this should be good enough. And also, we can try add habits of different lighting here. We have a bit better view of what we are doing. Strain contraptts a little bit. Alright, let me just remove the wire frame from the body. Alright, let me pose the eyes. They should be looking at the rocks. Alright. Let me move. They had just around here, maybe. Yeah. Let me move again the rocks, put it in place. Perfect. All right here, let's make the ice. L to the rocks. All right. Maybe we can make this a little bit more spray, more horizontal. Right. Maybe something like this should be nice. Maybe not. It this a little bit around here. All right. Maybe this here would be nice enough, perfect. Let's just keep tweaking the body. I will make the presion. Also, let me move let's to tilt the head a little bit to this area. All right. That should be better. Perfect. All right. Let me make the facial expression. She's like, smiling. So let's try to make that. This would be really straightforward. Maybe something like this. Do not rotate the control, move it. All right. Something like this should be nice. We can tweak these controllers here to just shape a little bit better. This smile. Perfect. Alright. We can push a little bit inwards, the lips. And this can be that maybe. We can also rise the eyebrows a little bit like this. Alright. Let me just rise the head a little bit. Maybe something like this. All right. Let me make This could look at the at the rocks. Right there, there seems to be looking at the rock. Perfect. Around here should be nice. Right. Let me remove the symmetry around here, maybe. This doesn't look good. Maybe just move it little bit. All right, so let's start posing the fingers. All right. Let me hide the dressed s. Perfect. And the sword bone. So now we can start posing the fingers. All right, let's just flex this one. Let me put this in local so we can console a little bit better. But I just forgot to deactivate the symmetry. Alright. Let me put bad fish in local. And now we can just start playing with the pose on the fingers. All right. Let me move it also. Let's eat. Little bit. Or let's do the same thing here. Perfet around here would be good enough around this area and also let's pose the pinky finger. All right. Perfect around here. And then just lex it. Nice. Let's pose also the thumb. Around here, Perfect. Should be around this area. All right. Now let's start posing this hand here, the left hand, all right. It seems like sump is a little bit. Like this, the pinky finger is a bit flex. All right. This fingers a bit rice a bit flex. Let's open rice, the middle finger. This is kind of like this. All right. Let me just flex a little bit more these fingers. All right. Right. I should be good now. Nicely done. Alright. Let me just keep tweaking or it's far here trying to make a little make it a little bit better. Right. You can also watch your hand and try to do some pose with your hand because your hand for hand posing is your best reference. So let me see. You can try to do something like this maybe All right? Maybe not that much. All right. I think that's good enough, maybe. All right. Perfect. Maybe we can also make the cylindrical stuff a little bit smaller. Because in the concept, you can see that they are a little bit smaller there. Maybe not. Let's just see S. Just a little bit ser. Seem like this should be nice enough. Perfect. Right now, let's start placing the dress part, smoothing it a little bit upwards to give more silhouette there. I like this may also increase the focal length here, maybe to 70. I'm saying like that should be good enough. Let me move this bone here. All right, maybe we can move again this one. I will move also this bone here. Something like this should be good enough. All right. Let me try to bring a little bit this hole to be visible, a little bit more here. All right, something like that should be good enough. Or write a thing. Let me just put rise this egg a little bit. All right. Is it like this. All right. Let me just change the background color around here. I will change it to a little bit more bright color. We go here. All right. Just want to change the background color. Let me just put a plain there. We just add a little plane here because I don't want that gray background. We'll be there. Alright. Maybe something like this. Well, maybe not. I will just the little plane. Alright, forget that go work with this. Alright. Et's just keep posing this. I think this pose is good enough. We're getting some clipping through, but that can be fixed. Also, we are getting some weird stuff here. Let me go the dress part and see what one is causing me those problems on right. These ones but on discussing me those problems. Let me sit here. Let me bring back my my wife frame here. I think this one's right. Let me just add the same vertex, white paint there. Poppy. And now that should be good enough. Perfect. I see it done. All right. We can maybe make the sort a little bit more inclinated. Se let my short bone here. Let's make it just a little bit more like this. The sword can be also a bit bigger. Around here. I We can also move the sort a little bit like this. Abe that let's see. We can move the sort a little bit like this, maybe. All right. Let's also move the hand. Something like that. W be good on right There is something weird here. But let me see here. The front angle is looking a bit weird. Let me try to just move. Is this part more like this. All right, that's better for the front view. Bright. That's a bit better for the front view. My see we can maybe just rise the shoulders a little bit. Not a little bit just like this. That'll be good. Right. Now we have to readjust my eyes. We are looking to this point. All right. Around here. Maybe we can just make a bit more subtle this smile. Perfect. Let me just move again a little bit more this Ages part. B drive. Perfect. Alright. Maybe we can move. The upper upper part. Bit more like this, maybe. Maybe not. Let's just try. I mean, not much like that. All right. Oh, no. Let me just try to repose this part. All right. I think this should be enough, maybe. Maybe we can also move or not. Maybe not that much. I think that everything is nice enough here. We're still getting deformation while moving the head. Hey, let me just try to bring down the shoulders. I mean not. I think the shoulders like this are better on the right. We can also do some more fixes while making this by just using the scot mode. You can find it here. What is it? And find the scot mode here. We can do some more fixes by just using that just to get a little bit better sealed and all the pieces. All right. I think that the pose is in a good place. Let me just put this in text to. All right. I think that the eyes are good. No, like now, Alright. Let me try to move. Alright, no, that's that's bad to do. Alright, I think that I will just leave it like this, the post, and now I will just start doing no more fixes. Let me safe incremental. Right, I will just do some fixes with the schooled mode. Let me just select the brush here and then add this the topology option and just try to fix those lipping errors. So let's see what else we can do. Maybe we can make a bit more of space in the back area. They this time activates the topology. And then just pull this jacket part. Let me also use the mask lazo brush from here. It's around this area. Let me just find it. Just press here and then just select the lazo because I don't want to I don't want to move this leaf area. Give me a sec. Alright. Maybe that'll be nice. Now we can just start moving a little bit more this jacket area. Awards, I'm like this. Alright. Perfect. Let's just move it like this. Alright. Maybe we can still pulling the jacket, a little bit more. We can also we can put some bones there. But in this way, it's a bit faster to do. But it's a bit more destructive. That's why I saved before to have diversion without these changes that we are making We're in the school mode. All right. Let me just fix that part. Perfect. Let me just keep fixing this clearing here. I think that should be good enough now. Let me put back the topology option here. Alright. I see here fe pick? Oh, right. I just forgot that I had this with some mask, Larry. Let me just keep working on this jacket part. All right. A little bit like this. Let's rise like it part a little bit more. Maybe something like this should be meat. All right. I think like this should be good enough. I think that this is ready to go. Maybe we can also pull the neck higher a little bit more up Right. Make it a bit make it a bit bigger. This neck corner part. All right. I think that will be nice enough right now. They just keep pulling some stuff here. All right. And now I think that our pose is ready to go. And now we can export this and import it inside ourmoset. You start doing the final renders. Let me export this host import it back inside Marmost. And then I will just start doing some renders Let me just fix this part here real quick. Alright. That's nice enough. Let me fix this issue here. And now we at more stuff here. Just do some Alt and keep fixing these rs here. Real quick. Let me activate again, DitopOton here. All right. Let me do something real quick. All right. Perfect. That should be good enough. For now. Let me pull this part a little bit. Just like this. All right. We're getting some weird stuff here also happening here. All right now is good enough. All right, in the next video, I will just do some final renders and prepare my scene. I'll see you there. 79. 01 Rendering The Character: Alright, guy, as you can see, I have done some rendered scene inside my marmoset, and now I will just do some little breakdown of what I have done here. Or let's start for the lights. Let me hide everything. And now I will show you what they are doing. So let's go with the first light that is some sort of a ring light that is in the concept. You can see here. There is a little a little yellow ring light there. And I thought that's pretty cool. So I just wanted to add there. And that also bring our character a bit out of the background is just, like, a pop out for the character. Also I have a little key light. That is here, just to put some lights in all the character that's the light that's the main source of light here in my scene. Alright, let me see. The third light is just another ring light that I have on the right. You can see here just to give more more separation with the background, just to separate a bit more the character from the background here. I also have another light. This is a light that is on the leg on the robot leg, just to give it some nice reflection there because without that light, the robot leg looks too dark without reflection and anything. So I just added this light there just to give it a bit more of reflection. Also, I have added more lights here for the for the legs, you see, you can see here I have added one light here that's pointing to the back of the green cloth because without that, our clean cloth looks too dark, and I don't want that. So in order to fix that, I just added a light there. I also have added another light on the side of the robot leg just to give a bit more separation of the robot leg and the green cloth. That is a bit too dark, also. Without that. Without that, our leg looks too dark. And also one last light that I have added was just a little light here that's pointing to the face, just to give her a bit more light here on the face and avoid some weird shadows that can happen sometimes. So I have added a light there. All right. I have explained my light, so let's go with the camera options that I have. We go with this one. Alright, you can see here. In the color mapping here, in the color management, I have put my tone mapping in reinhard and also I have tweak a little bit the these sliders. I have rank up a little bit clarity and a little bit contrast. Also, I think that I also have weak the contrast center. I don't remember if that's the default or not, but my contrast center is in 0.5. Right here in curve, I also have done a bit of work. You don't see here. I just tweak it a bit this curve. I just put it and I just put it like that. All right. Also, I have added a bit of vignette just to give the corners at a little bit, a darker tone. You can see. Without that, our corners, let me just make this bigger. Alright. You can see that if we increase this lighter, it makes the corners a bit darker. So what I have done here is just crank up a little bit, just like that just to give a little bit of dark tone in the corners and make our character the center of focus. Also, I have added some more cameras just to have some more angles. You can see here, I have one angle. I have some closeups like this. You can see that I have some focus, some depth of feel here in the closeups. You can do it just going here to lens, and then here in focus, you can change the death of feel. I just put it in retrace it. If you want your focus to be stick when you move your camera, activ this sticky focus option. And then just to have now your focus, select this icon here, and then you can just place it in whenever you want to be focused. In this case, I want my pace to be focused. So I have put it around the eye, the face. You can see here, and that will make my base in focus. If I put it in another place like here in the shoulder, this will be in focus and everything will not be in focus. So I have just put it here. With this option, you can change a little bit the settings and the blurriness that you can have with the focus. So I just put it in 0.8 and that's what I have done in all my other all my other cameras that are more angles like one on the chest, one here on the arm on the sword, one here on the leg. So that's basically what I have done here. Now, let's see my sky and the background. What I did for the background was just a little DRI that you can find it here in P Haven. You can find a lot of DRIs here to have, like, a base lighting scene. So you can download anything that you want here, like some nature ones, some studio ones and that stuff. And also for the backdrop, I have just changed the color. I mean, the mode to color. By default, this will be an ambient sky or blur sky. I just change it to color and just give it a little bit of bluish color, just to have a little bit more contrast between my character and the background because you can see in our character, the predominant color is the yellow and the green. I just added a little of blue just to have a bit more of contrast there. You can see that I haven't changed the brightness of my HDRI. So now for us to get a nice render a high quality render, you can change the resolution here. You can put it in four k. You can see that we have some presets, but I will just change it. Sometimes that I like to do just to get my resolution is to set my camera here. With the safe frame, this will be the resolution of your image that will be safe. All right. So let's go back here to render and now we can change our resolution. You can see that is a bit white. I want this at a bit rectangular, not that white. So let's see what we can do. Let me make this more like a square, and now we can change a little bit how I want my resolution to be my my Aspect radio also. It's maybe this one. Or let me. This one? I think that one is kind of nice. Yeah. Let me see if we can just do something here. Oh. That's bad. Alright. Alright, I will just leave it in 1920. Alright. So if you want this to have more solution, just crank up here, and that will just scale then the value that you have here and will be the double of that value. You see here that I have 2028, and here I have 38, 40. So now what you want here is just to change the past of just put some custom pass of what you want, where you want your image to be safe. So, I will just select a real quick path here. Let me just find it. Give me a sec. Maybe a little bit. Or right now that you have set your path of where your image will be safe. Let's go here. We need also to add our cameras here. Let me add all my cameras. Let me add this one, maybe this one, also, this one, I will add all my cameras. And now we can deactivate or activate some cameras. If you want one specific camera to be active, just leave that one activated. So in this case, I will just render the main camera to that is this one. All right. Also, you can have a little of render passes if you want your dep pass or to do some compositing inside. I mean, photoshop or your IDs, like object IDs or material IDs. So lighting, you can see here. You can have bit occlusion and all that path for compositing stuff. You can see here that you can find also the friend, if you want just to render the Albedo map that will make everything just flat, you can see here in a moment. You can see that everything is flat here because that's just the albedo. And here you can also see the missive ones, the reflectivity and all that stuff. Go now, is just to press here in render image and you can get your first render of this character. Is will take a while maybe that's depending on the computer that you have. But often Marmoset is pretty fast on doing the renders. So let me just pause a little bit. And now you can see here that I have my render perfectly done here and see all the details that I have All right. If you want this to be more high quality, just crank up the resolution here and you can get even more quality. And here you can find it. All right. That is for this video. So I hope that this has been useful for you and see you in the next one. 80. 02 Outro: All right, this is the end of the course. I hope this course has been useful for you, and you have learned a lot from it. And I just want to congratulate you from reaching this far. And I'm excited to see the result of what you have done. I'll see you in the next one.