Creating sci-fi stylized Game-Ready characters

1. Trailer Skillshare: My name is Marco Smilio. I'm a freelance character artist working in the game industry, and I will be instructor in this course. In the second part of this course, you will learn how to create a style game ready characters ready to put in your game engine. The part one of this course was uploaded at an earlier date. In this course, we cover how to make this high pool character. In this course, we will cover the entire workflow from taking our hi poly base and turning it into a game ready character, narrated in real time. The key chapters are cretpologizing our high pol character. You've been wrapping our character, making the texture from high poly to low poly on our character, sextoring our entire character, adding a basic aging and opposing our character for the final renders. And finally, taking final portfolio screenshots of our character. The way I just seeing about is that at the end of this course, you will be able to create exactly what you see in this writer. And you can apply these techniques for any type of stylize and even realistic treated characters. We will be using Zers and blender for the topology, Ubon wrapping and rigging. Substance Painter for the text ring and MarmosetTolbak five for the final renders. With a total of 39 plus hours of video content in this course, it's considered a large course, but I feel confident that at the end of this course, you will have the knowledge on how to create efficient game ready stylish characters. This course has also been completely done in real time with not a single time lapse. So you can follow along with every single step. We also added a keyword registration so that you can see which button we are pressing. This course is intended for intermediate artists. It is essential to have a basic understanding of the tools mentioned. I hope that you will enjoy this course, and it will have a positive impact on your life. 2. Preparing the Model for Retopology: Alright, guys, so let's continue with this model. In this video, what we're going to do is to prepare all the Subtool for free topology. So before that, we're going to explore the lowest subdivision of all the Sub tools in order to reuse them if needed. So let's do it. Let's go here the Subtool palette. Now, let's click here in all O that way, all the Subtools will be in its lowest subdivision. So what we're going to do now is just to go to Zip logging, visible. Let me hide the weapon because I want the weapon in another file. But let's go here to visible, export. Now, let's go here to the character folder. And now let's export our character. Alright, maybe we could name this male character demon under the male character lowest to B to B or topology. Let's click here in Accept. And now let's just wait for this to finish. Alright, so the character is exported. Now, let's do the same stuff with the weapon. So let's go here to the weapon area here. And now I'm going to export the entire weapon. Let's click here in Lowest subdivision. Here, right. Now let's export everything here. Visible export. Let's click here, M character. Weapon, lowest subdivision for topology, right? As export this. All right, so the character and the weapon are exported in its lowest subdivision. Now, to get back all our subdivisions, so let's click here in all high. That way, all subtols will be in their highest subdivision. So what we're going to do now is to decimate everything. So it doesn't it doesn't weigh that amount of polygons. So before that, let's do some quick save. Alright, before doing the the destimation, let's go here to plugin. And now let's find the clean Tool utility. I think this plugging it doesn't come by the fault with CbRush. I think you need to search it. Let me see if I can search it for you. Al right here in the Maxon website, you can find the clean tool utility that you could download and install it in CRH. So, let's go back. Let's go back to CbRush and now what we are going to do will be to go here. Let's put it in the left side. And now let's go here to dynamic subdivisions to real subdivisions in the all visible objects. So before that, let's make sure that we have all that all the pieces that doesn't have subdivisions have dynamic subdivisions. In order for this to work, be careful because this will increase quite a bit the size of the file. So I'll be safe again. All right. So let's click here in this button, DSO. Now zebras will go through all the subtols and I will apply all the dynamic subdivisions. So this maybe will take a while. You can see how the polygons are increasing quite a bit. So let's just wait for this to finish. So now you can see that our total polygons are increased by quite a lot. I think we had before 80 million, and now we I mean, 18 million, and now we have 35 million polygons. So in order to reduce the total amount of polygons, we need to do the dynamesh. So in the same step plugging stuff, let's go here to decimation Master. And this will be the most tedious part of this process because we will need to go through all the subtols and applying the settings that I will tell you now. I could, like, click here in preprocess O, but in my experience, I got a lot of issues and errors using this preprocess O. So the only solution that I found is just doing one by one to each sup tube. So I will just do it once, and then I will let you do it for the rest. Basically, it will be the same thing. So let's go to the jacket. Maybe to the first soup tool that we have the first visible soup tool. Also, we need to clean our file of the Invisible sub tools. One thing that we could do to erase all those sub tools is just use the soup tool muster and then click here, delete Invisible. Before that, I would like to save again. Sorry for me to save in that much, but I don't want to lose any progress. So let me save this. Alright. So let me go down. Let me make active again my weapon here. And now I will just delete all the invisible Subtools that we have. You will see how to do it in just a sec. All right. We have everything here. Perfect. Now let's go to SubTool Master. And now let's click here. Delete Invisible. And this will delete all the non visible Subtools that we have in our file. So let's click here. You can see a warning here, this says basically that this action cannot be undone, so we don't care. So let's just press H. That's why I saved before just in case I needed, like, one of those Subtools. But let's click here. Now you can see that cebrus will go through all the visible subtols and it will start erasing of all of those subtols. All right. Alright, it is finished. You can see that this deleted 2 million polygons. And now this is the real amount of polygons that our character have right now. So now that we have erased all of those polygons, I will go to the first Subtool here. And now, what I'm going to do will be just maybe with this, I think I need just a tiny bit more solution in that in these panels, give me a sec. I think I need more solution there. Alright, let's go to this sub tool. Now, let's click here. I use and keep poly paint. This should be active. Now, this should be active just in case you want to, like, keep your poly pain that you have made here inside zebrs and this could be really useful to use all the polypin that we have made to make like some it map later. Although we could change it inside blender. It doesn't care. All right. Let's click here and now let's click here in preprocess current. This will do some calculation and cache the information of the Zuptol to be able to do the actual decimation. And now let's click here in decimate current. Let me put this maybe in 20% decimate current. You can see that from this amount, it drops to this other amount, right. There we go. And now, what I'm going to do will be just go through all the sub tools. Through all the sub tools, doing the same thing that you saw me doing. So let me go here to so to be able to see the stuff that I'm decimating. So let's click here, preprocess current. This will go through the mesh and analyzing it and saving it for decimation. All right, you can see that from 1 million polygon, it drops to 200 I mean, 200,000 right. I mean, do it one more time. You see this inner, I mean, middle or piece, we could We also divide it a little bit more. Let's click here again, right now, let's click here. You can see that these drop quite a bit. So that's basically what I'm going to do with all these sub tools to you in a bit. Alright, guys, I estimated all the subtols on the character, also on the weapon. So you can see that from 34 million polygons, we dropped down to 11 million polygons. That's quite a big difference in the size of this. Now it's more manageable to blender. So that's basically it for this video that was the preparation. In the next video, we're going to explore everything and start doing some rit pology on this character. So see you there. 3. Preparing the Blender Scene for Retopology: Alright, guys, in this video, we're going to export this model to blender and prepare the scene there. So let's go and do it. Alright. In the previous video, we decimated this model. You remember that this model was around 34 million polygons, and now it is 11 million polygons. So now I think it's perfect to explore to blender. So we have this. I think I have exported the lowest subdivision. If I don't remember. Well Alright. Let me see. I think I have exported fully remember. Alright. Alright. We have already exported the lowest subdivision. So let's export the highest subdivision or the decimated version. So let's go here. Let's click here export visible exported. Alright. Let's see. I said to export this decimation. Alright, simation for to play. Alright, there we go. Perfect. All right. Now my model is exported. So let me also export. Oh, it's not exported. That's my bad. Alright, let's wait for this. Alright, now, the model is already exported. So let's export also the weapon that we have also decimated. Let's go here, visible export. Let me export this so quick. This would be right. Weapon. Summation for rapoloyr. Let's pave it. And now this will export it. All right. Now, our model is already exported. So let's go here to blender, and let's start doing some stuff. Let's import the FBX. We have that we have exported. Let me see. Let me find it. Alright, here we have the character. This is the lowest subdivision. I have imported it here inside blender. Now, before importing the rest of the things, I will make some folder just to organize better this scene and be able to work nicely and clean. I will call this collection low. And also I will put I will do a right click and then select this green color for the collection. So now we have here the collection for the lowest stuff. Now I will make another collection. I will call this character character. And now everything here, I will just drop it inside that other folder. I will create a new folder and I will call this weapon. All right. Let's create another collection. I will put it on top of the low collection. Alright, I will call this high. Perfect. Now I will do some right click. Now I will press here this red color. And now let's create a few more collections. I will call this character High. And this will be character weapon high also. Perfect. Let me put it here. I suffix of low. Alright. Perfect. So now we have the and now we are going to keep importing our stuff. Like here, this is the weapon if you need to click in the collection in order for Blender to export it. I mean, to import it inside the collection that you want. You can see here if I hide the body. As here we have our weapon so perfect. Alright. Now, let's import the high poly of our character. Let's go here. Alright where it. Thinks this one. Yeah. It's imported. This will take a while since this is a quite big poly count, a little bit, we'll pause. Alright, here we have our high poly. We can see it here. Perfect, super nice and good. Let's import the weapon. All right. There we go. The summation here, right? The wait for them pot. All right. So now we have our stuff here. Let me hide the body. So here we have also our weapon. So there we go. We have our scene to start making the topology. Also, I think that we will need to make collections inside these other collection to keep organizing our scene and be able to work better and nicely instead of having this mess here of tools and stuff. All right. So before the video, I will move to another folder, the pieces of the low poly that we cannot reuse. I will drop it just instead of deleting them, and we just drop it in another folder. I will call this usable. All right. It's just in case maybe for some reason, I need something of those models. I don't need to report those models again. So I will just hide it and remove the checkbox. And now I will see which models I cannot reuse. Like this one, for example, I will just drop it here. The inner suit I cannot reuse it, so I will just drop it maybe this will be an option, but now I will not reuse it. I mean, we can reuse models, serious models that has good topology. But there are some models that I will not reuse because I will make them a bit differently in the actual low polyversion. I mean, this stuff, we could reuse it. I will delete the floaters. All right, admit the floaters because in the low poly, they are not needed. Or the can be reusable. They think, I mean, it has good topology. Indeed, maybe we could reuse it. This stuff here, we cannot reuse it. These straps, we could obviously reuse them these straps. They can be reused. This piece can also be reuse. Let me delete these floaters. I don't want the floaters in the low poly. All right. This piece, I will just drop it in the non reusable folder. Obviously, the pouch cannot be reused. Neither these things will not reuse this. Although I think I will not also reuse this piece. Maybe we could just make it in the same in the same polygon cluster that we are going to create for this strap. I will just make it one single piece of geometry. So I will not reuse this also. All right, give me a second, so I can drop it here. These pieces also, I will fuse them. Alright. All of this poach will be not reused All right, drop it here. This head also. I will just drop it in the non usable folder. This trap, we could reuse that. Also, this little piece would also be reused. The shoes cannot also be reused. I think I will just delete the shoes, maybe. My not these pants also. Let me hide this. All of these here. I mean, they have good topology, but they cannot be reused because the way it is created, maybe we could use it as a starting point. I think we could reuse that in some way. Maybe I think so. We could reuse All right. This strap, I will just make it with the pen, maybe. All right. This stuff here, I will not reuse it also. All right. As this entire piece, I will not reuse it because I will make it one single polygon stuff. The jacket chary will not be reused. Also, these pieces will not be reused for the topology in the low poly version. All right. All of these. All right. This ad will not be reused. Let's see here. If we could use kind of some of these would be, but I don't think so. I will just drop this because I don't want to lose it. I'll just put it here. Also, this piece. I don't know what that piece is, so I will just drop it there. I will not reuse this band. Wraps could be, but no. Let me just drop this inside the folder. Alright, these pieces here, we could reuse them. Also the other armor. Here in the mask, I will not reuse it also. All right. Of these will be here. Also the hair will also drop it there, or write this cable piece, we could reuse it and maybe extend it. So I would just leave it here. Alright, I will just put the tips of the strap. I mean, this piece would also be reused. I will just leave it. Alright, this little piece here would also be reused. I mean, yeah. All right. The body. The body cannot be reused because we will need to make the entire topology for the body. So this entire body, I will not reuse it. Also, these eyes cannot be reused. This Corin costne cannot also let's see, maybe this eyelash I don't think so. Let's see the eyebrows. Maybe they can be reused. B also a little bit optimized. I will just lift them. Let me move these there. I don't know about these pieces. We'll just rub it in the other folder. All right. So this will be basically all the stuff of the geometry that we had that we maybe reuse. But I'm not sure. Maybe we will just delete all of these and make the hypology from scratch. But yeah, there we have some base geometry to work with. And here we have our poly version. So I will end the video here. And in the next video, I will start making the hypologyO the face. We're going to make the ry topology of this handsome guy. Yeah, it's pretty handsome. Yeah, yeah, yeah. Alright. So see you there. Alright, give me a second. 4. Making the Face Retopology: Alright, guys. So in this video, we're going to start the rhtpology of this character. So the first thing that we are going to do will be do the rhetpology of the face. That's one of the most important things in the face right. So how we are going to make the rhtpology of the face? Let me see if I can just hide everything. But the face. Give me a sec. All right. All right. So what I just did, it was just press Console E. I mean, Console Y and then H, we're sick, just like that. All right. Now, what we are going to do right now will be to define what are the main loops of the face. I will show you real quick, which ones are the main loops of the face. So the pace needs to have some loops in order for the face to deform well and animate correctly. So there are a few ones. Give me a set. Alright, we have like one loop that goes just like that. Like, if it's like a mask, we have another loop that goes down around the mouth and from the nose around the mouth, just like that. For this part of the nice label fold to deform correctly, we also have a loop around the mouth. The mouth itself is like a circular loop, you see, a circular loop, and also we have another loop that goes around the jaw all the way to the forehead, just like that. So this is basically what we are going to do right now. It's easy, it's not that hard to do. So let's start. Let me erase everything that I have here. All right. So now what we're going to do? Let's go here. Let's create Give me a sec. Alright. Let's create another collection. I will call this body. And now I will press Console A, and then appent a flame here. Oh, this is too small, I think. I think I exported it wrong. Yeah, I mean, scale the scale is not correct. Let's see. Kale is not correct. Item properties? Yeah, it's not correct. Let me see something. Alright, so I just export it with the wrong scale from zebrus. So let's try to see how we can fix that without need it without the need to export everything again. So what I'm going to do, I will just add like a cylinder or a cube. And now I will just make it the length of the body. You can see the scale of the character. Now I will go here. I will in export, I will scale I will just put some ten in the number. So if we put ten there, once we export the model, it will be in real real scale, real world scale. So now that we have put ten there, let's go here to login, right, FBI export. Let's switch from visible to selected. And now let's export. I think, give me a second. Let me export it real quick. All right. Real quick, right, scale reference. All right. So let's go back. All right, West Mic Alright. Let's go back to blender. And now I'm going to import that health reference, you can see, it's quite big. Alright, let's go here to this icon, and now let's press this cursor here. And that is the function of that cursor is to enable or disable each object from being selected. So you can see if I just disable this, I cannot select anymore from the viewpot this object. So now what they're going to do? I will just go here then scale this up like that. All right. Let's go here and put this in this 1.01. All right. Yeah, I just want to put everything in 1.01. Just like that, I think would be good. Around here. Perfect. Just a little bit more. All right. Alright, I think my blender is freeze. I think I just press the wrong key. Give me a sec. All right, so let's just leave this around here. I think will be good. All right, let me hide everything again. All right. Let me hide the scale reference. All right. Let's go here. Let me select the body. Control Y and then H to hide everything. All right. Now, let's select the body collection. Let's press Console A. I mean, Chief A and then plane. You see that we have our plane here. And now let's start doing something. All right. I will just go to Edit mode with tab and then go up I will just go here, and I will start making some stuff. As you can see, let me draw it with my there the notation here. This is what I will basically do I changed the color, there's the color. Alright. Let me see if I can change the color. Right. I will just make like this in this area. Who was he? All right. Sec. Let me change this to erase. Perfect. This cannot be your face. Yeah. All right. Let me annotate it again so you can see better the guide. All right. So this is what I'm basically going to do. So now let's go here to this magnet icon. Let's press here in phase and then this phase project. And now let's go here to the modifier step. Let's go here and let's type mirror. With this icon here, let's select the body. All right. And now you can see that we have like two planes. That's because the mirror modifier is mirroring our plane. Let's click here so we can see the polygons, the actual vertex stuff from the other side. And now, let's go here. I'm using a plug in just for some visualization. It's called speed topo, but you can use a blender vanilla for this. I'm just like this type of visualization. In case that you don't have this plugin, you can go here to this icon. Now, you can go to Bp display and put this in front and you can see your playing there. Even you can change the color. Of that plane, but you need to switch here in this area. Let's go to this arrow, and let's switch this to attribute, I think. Yeah, you can see it here. Now, it's with the color that we have put here. You can see. But I will not use that. Let me switch that to white again. All right. So I will just active my topology shading and I will start placing some polygons. All right, and see also, don't forget to active this option here, the clipping. So the edges and vertex will merge at the center of the object. At the center of the mirror is the origin point of your model. Also, you need to be sure that you have applied all the transformations by just selecting everything. You can see you can select everything, and then let's press Console A and then K here or all transform here. That's very important to do. With all the models, even before exporting. So now we have this. Let's keep adding some stuff. All right. Let's keep string with A. All right. Kip making this loop here. Let's try to have an edge that goes around here. You can see that's aligned with the corner of the eye, just like that. Maybe we could with this one around here, just to follow the flow of our shapes. And you can see that we have a plane change here. I will want to hold that in the topology. So let's keep adding some more polygons. All right, let me delete. This one. Alright, now we have our first loop there. So let's add the loop that is around the eyes. Be sure that you have the same amount of faces on the top of the upper eyelid and on the lower eyelid. So let's go here. I will put two here. Now I will have one. No one. No one. This is just for the eye to close nicely without having any issues while closing the eyes with the rig. All right now, let's put this one there. All right. I think this could be good. Let's see how many phases we have one, two, three, four, five, six, seven, eight, nine phases. So let's try to do that also. One here. We have two right now, two phases, two we move this around here, three. All right. Let me select this or five. All right, six, seven, eight and nine. You can see that we have it here. All right. So now we have the main loop of the eyes. Now, let's create the main loop of the nasal label fold from the nose. Let's just extrude this now. One thing that you need to have active is an atom that is located here in tons, I think, it's called F two. You need to activate that. If you cannot find it here, you can go to get extension and then just type F two and you will find it there. So what that addon does is if you select one vertex that is in the middle of two other vertex like this one is in the middle of these two. If you select that and then press F, you will create a new phase as you can. I will use that feature a lot. So just to have it in mind, now let's select the edge, and now let's extrude all of these and make it around the mouth, just like that. All right. I'm not caring too much about how many polygons there are here. All right. Perfect. So, what other thing we need. We need a loop that goes around the shin at the forehead. So let's duplicate one of these phases. All right. Put it around here. Maybe here we could add another loop just to hold better, the shape of the shin, just like that. And now we can start extruding. Alright, we could just extrude, like, big shapes here just to make these quickly. And now we can subdivide them. All right. I just want to have the loop placed nicely here. And now we can start filling everything. All right. Now that we have basically the main loops, we need to add a loop around the ear. So let's just do that quickly. Let me select this. Just a quick loop here around the ear, a circular loop. It's like that. Perfect. I would not care about much of the amount of pass that this loop has because we we can add more later. All right. Perfect. So now we can start filling the spaces that we have around the face, like connecting all the loops together. I need also one of the most important loops that is the loop that is around the mouth area. All right. Perfect, just like that. All right. Like this. Now let's start filling the spaces. So you can see here. Maybe we could add a few more edges there. We could also add a few more here maybe to better capture sp. All right. Although I think that's too much here. I think, yeah. Let's just leave it like that. Let me connect these two. Maybe Let's add just one here. All right. Another one here to support better shape, another one here. Will also add another edge here to hold the shape of the eyebrow here. I mean, this could go just around here, better support the shape and flolow that we are having there. All right. Let's start making some faces, connect everything together and see it here. All right. Just like this. It let me add another edge there, and now we'll just extrude like that because I want this to connect or maybe what we could do is just to continue this edge rope just like this, and that would be it. All right. Let's see. What else we could do? Let me place this edge here, another edge loop there, another one here. Now let's start filling the gaps. All right. My one more here, another one here. Perfect. All right. I bet this one. Not in the right place. All right, let me delete this edge. All right. Let's move this edge there to redistribute the polygons around. Alright. Perfect. Let's keep filling the gaps. Et's add two edges there. One more here. All right. One. And now, what I want here is to have this loop, like a circular loop. So let me delete this stuff. Let me add another edge loop there. Now I will just keep rooting this just like that to have this circular edge loop there. All right. Let me slide this a tiny bit there. All right. Just slide this a tiny bit. Let's add two edges there. All right. We can have it. Let me erase that red stuff here. Alright, now we have our ring clean. So we could connect this edge here and continue These were low just like that. Maybe not. Not that good. Let me delete that. All right. Let's add another edge group there. Perfect. Now, we could add another edge there. Perfect. Let's see if this is an equal amount of vertex, unequal even number. Let's go here to this arrow, and let's just click here in statistics so we can see how many verte that we have and polyols that we have right now. And you can see that this is not an even number. It's 25. That means that we have more vertices in one area than the other. All right. Let's see what we could do in this case, when we just need to add one vertex. We have 11 and 12. So maybe we need one more around here. So we have 12 and 12 in the upper eyelid and the lower eyelid. So let me add another edge loop there. All right. Let me try to close this there. Alright, let me add another sub here so I can close this. Let me just put two instead of one. And now we could just close this gap. All right, one thing that will be helpful for us right now is the string crap modifier, as a modifier that grabs the geometry around one object. In this case, we're going to use the body as the source for this to grab. So let's select here in target. Let's select the body. Let's put this on above the surface or maybe this could be on surface. So now what we can do, we could use in scoop mode, we could use, let me put this wife frame on so I can see my polygons. We could use the smooth brush here just to relax the vertices here, and the shrink crap will stick the faces and the vertices to the surface. All right. You can see it here nicely made. Pretty good. All right, let me apply the shringcrap modifier. All right. Let's see if the middle edge loop is not broken because sometimes if you apply the shrink wrap modifier first instead of mirror of the mirror modifier, the middle edge loop can break. All right, let me put this edge loop back here to support the eyebrow shape around here. This one will be here. Perfect. All right. Maybe here we could just, like, move this around here so we can have one edge roots that goes around this plane change. All right. Just like that, this will go down all the way to this. Maybe we could just add another one here. All right. Alright. Let's just keep extruding. All right. Just like that Here. Let's see what we could do. Let me add another group there so I can have a smaller group that I will go and just create a polyrup around the nose, just like this. Perfect. Just like that. Nice and easy. Alright. A All right. If we could start filling the gaps. All right. Just like that. All right. Let's try to close this I would like this to end there. We have a triangle there. I mean, since this is a game character, it doesn't matter if this has some triangles, but the triangles could not be in areas that form too much, like in the elbow. Like if the triangle goes against the flow of the polygons, that cannot be there. Like this triangle, I don't like it. So I will see how I can make it better. Because, I mean, I need this to be here. What we will do is just add another edge there, so we could close this. Just like that. Now, let's go here. Let me add another edge there so I can close this. Maybe, let's create an edge loop around the nostrils, like that. Perfect. Let me a sea Let's see. I like that. All right. Perfect. And now, let's just close that. So now we have one hole here that we could just fill this up. Let's just select this circle and then just extrude it with A, and then just shrink it, extrude it again, shrink it. And now what we could do what we could do is just see, we have an even number, so we could go here to face and then do some great fill. This only works if you have an even number of purchases. They'll be sure your best friend here is the even numbers. So you can save a lot of time by just using great fill. So now here I need another edge Alright, but that's too much of perdics to have there. I kind of don't like that idea. Let's just keep working on another part. Just to think a little bit of how I can fix that issue. Alright, let's merge those two polygons. Let's see how we can distribute these better. Alright. This call goes up. Just like that. We could add another one. This could be merged together. This can go around here. All right. Just like that. We could merge these together. Maybe not. All right. Let's see. All right. And now we have an end going here. We need to fix that end gun. So I will do something. Well delete these four pass, and I will just pebble this and adding more polygons there. Now we could just connect these together in a nicely way. You can see it here. All right. Nicely made. So now here, I don't want these many edges to go down here. So I will do just one trick. All right here. All right. Let me add this another one, or maybe we could just connect them without any problem. I think that amount is good. So I will show that trick later now. Because it was necessary. Maybe we could use it right now. Let's see. Maybe not. I don't think we go. It's just to an incept there. Maybe we could just leave it there, yeah. Let's delete these polygons and then just let's attach those merge those middle edge loops. Right now, let's keep adding more polygons. Be sure that it's the same amount of polygons in the upper lip and in the lower lip. Alright. Just like this, we have one, two, three, four, five, six, seven, eight. We have eight there. All right. Let's go here also. 13, four, five, six. Let's see. Let's try to not have any triangle here with the body topology, because after we do the hepology, we need to take back this model back to ibrush because we need to reproject it. Why? Because we need to make the inside of the mouth that we're going to make here in a topology, and then we're going to bring this back to ibrush to reproject everything and do some cleanup in the mouth area. So let's keep working on this. I need one more polygon. I will just add it here. Perfect. Now I can just merge these together. All right. Perfect. And just merge that together. All right. All right, perfect. Alright, let me do something here. I don't like how that's flowing. I just like it like that. This could be stitched together. Maybe not. All right, let's add another polygon there. Let's keep adding more polygons. Perfect. Just like this. Let me add again the shrink crab, select the body. So I can just relax this area. Just like that. We could also leave the shrink crap here and just keep working with the magnet and the shrin crab activated. Just be sure this is active. This icon. All right. So here, what we have here. We have six. So, how we could do some great fiel. Would be an option. Yeah. Alright. Now, let's select the circle here, the hole on the mouth area. And now just break it down. Move this one around there, just like that. Perfect. Now let's move this one up just like that. Perfect. Because we're going to leave that part open so we can we can make a mouse back. Let's add another Edgeup there. Let's add a few more dgop around the lab. All right. Now we can save. Save incremental. All right. Perfect. Let me just merge in these vertices. Let's go here. Let's bridge those. All right. If we could add another polygon there. All right. Oh, here. Let's bridge those. All right. Let me just do this here. Right. All right. Let's keep adding more polygons to fill that empty area. We could just add, like, a few more. Here and there. All right. Just like that. Perfect. Let's just keep adding more polygons. Et's see how many vertets this all have. Let me add another extra. We could have an even number, and maybe now we could do some great film. Let's switch these pans. Let's see what this give us. Not that good. Not very good. I think this one would be. Maybe this one or this one would be awesome. Let's I don't think this could work. It's too nasty. No. I will not use secret fill in this part. Because I will just do it cleaner by hand. Because I want one edge loop around this cheek area. I mean, this plane changed there, we could. Now, let's see what else we could do. We just keep bringing the flow just like that here. Alright. Et's see. I think that one is an overkill. Maybe we could merge these ones? No. All right. Perfect. All right. I Let's see. Let's add one edge there. Let me connect those. All right. And now we could add just another edge there and now let's merge that. Let's go here to scoop mode, relax this area on the shi there. All right. You can see here that we have our main loops in place, the eyes, and everything there. I mean, this loop here, I don't like it that much. But we have our closed loops here. So maybe we will not care too much about that. Let me add a few more loops around the eyes. Perfect. Just to have more density there. So so that the ice cold close better. All right. Now, what we need to do is just to fill the gap in the forehead at the temporal area. All right. Let's. Alright, let's just keep adding more polygons here. Perfect. Just like that. So let's adding more polygons here and there. Alright, around here, go be Perfect. Around there. All right. Well, how many polygons we have there? I don't want to add more much more polygons here, although we need more polygons, like, at least one or two more there. But now it's not the same amount of polygons on the top eyelid and the lower eyelid. But my face is already clean. If I add more loops around face, it will be a little bit too messy. So that was cool too. I want to hold the shapes. But also at the same time, I need more edges. Let's think about that a little bit. Alright, let's just keep adding more hooligans here like this. Maybe here I will just keep adding more stuff. Perfect. We need like four or three. Let's just keep with three. All right. Yeah, we need another one. All right, let me use my smooth brush here just to relax that area. Let me do some safe. Alright, now, I need to close this area. A we are going to do that. Let's see. Let me add a few more hooligans. Alright. Just like this. Perfect. All right. And you can see that we have the space now to close that area without adding extra, nice and good. Let's select the face and let's click here in shade smooth so we can see how it looks with the smooth shading. You can see that now we have our low polyphase without triangles. At least for the phase, we will have no triangles. I mean, for the body itself, we will have no triangles. Now with the clothes and all that stuff, we will need to a triangle for these to be optimized. But for the bodies right now, I want a triangle because the reason that I said before because we're going to import these zeros and reproject and all that stuff. All right. So let's just keep. Let's put that Edge there. All right. So I think that I will end the video here. And in the next video, we are going to maybe we could do something better in the shin. Let me just do it real quick. Sorry, but I cannot ignore that that we could do something better. Alright, let me bring this edge loop around there, just like that. This also could be here. Perfect. That's cleaner. Alright. That's a lot cleaner than the thing that we had before there. Also, maybe we could maybe do some stuff there in this area be better. Indeed. But I will just leave it there. All right. Give me a sec. Sorry, but I will just add a few more stuff here before ending the video. Alright, now, now we're going to end the video. So in the next video, we're going to continue with the topology. So see you there. 5. Continuing Head Retopology: Alright, guys, so let's continue with this model. In the previous video, we did the face topology. So now we're going to complete the head topology. So let's start. So let's just keep taking these edges and just keep extruding them up. Like this. Let's just extrude, like big big extrusions, just like that with big polygons, we can address anything else later. Let's just make something and then later, we could start cleaning them up. All right. Let me use my my sco brush here, my smooth. All right, just like that to smooth this making this nice and even. Just like that. Good. Perfect. Now let's just extrude around here. Alright. Perfect. You can see now that now we need to put some more plylops Alright, let me do something. I will just apply my shrink wrap, and then I will just reapply that shrink wrap or select the body. Perfect. All right. Now this is poked. Oh, I had this in front. Alright. Let's continue. Also, I will do something. I will go to BU and I will change the clip start here, and I will put just one point, I mean, 0.001. So the clipping start a lot later. All right. Now we could merge these together, vertex together. All right. Let's see. We could add maybe two edge troops there. Perfect. We need more egg loops in the area. Perfect. Let me put three here. All right. Let's just keep adding more and more polygons. Till we feel this entirely. All right. Right now, we have a lot of polygons going through the phase going through here. We need to reduce that amount. How we can do that. We can do that by doing some tricks in the topology to reduce the amount of polygons. I will show you in a bit. Just let me try to redistribute the nicely and good. All right. Perfect. All right. This not working too good. Very good. All right. Just stitch. Those verte? All right. Now, what can we do to reduce the amount of polygon that goes around the scalp here, the school all right? So let's go here. I will show you one of the freaks. It's like a reduction from three polyloops to one, I think it was. Yeah. So let's take this. Let's take this middle the middle edge from these four vertex. This one. Let's just slide slide that like that. And now with the knife brush, let's just add an edge here. Now, we could just saw those edges, and we got rid of the do atrops you can see here, this is a quad. This is another quad, and we have reduced the amount of polygons that goes there. All right. Let's just keep working. Perfect. Let me put this in front because I want to see what I'm doing. Right. Like that. I think it's a lot better. Yeah. Perfect. All right. So, let's keep adding more polygons. Perfect. Let's feel this here. All right. Here also. Perfect. Let me add a few more here. I think there is much polytons going on in this area. Yeah, indeed. We had another edge there. This could be like that. All right. This could be like that. Perfect. All right. It's just a let me move this here. The other edge there. Now I will just merge those together. All right. Perfect. We need to solve more parts. All right. Let's just try to close this gap. Alright here, I think we will do the same brick. Let's just press F in this area. Alright. Okay. I quite not like the way that it is flowing in this area. So let me just delete one of those pass because I think we will do it in a better way. All right. There is definitely too much polygons going here. Alright. Let's say we could add that there. The, let's add another one. I need another true there. Perfect. Let me use my mouse brush to relax the polygons. Perfect. I need smooth this area. I repeat. Perfect. Let's add another group here. All right. Is most also? All right. Let me say real quick. All right, and now let me apply this shrink wrap and then add it again because I want to apply the stuff that the shrink wrap modifier is doing. Right. Let me put some music Alright, perfect. Because their rhtpology is a little bit tedious, so I like to do my rhetology with some music in the background. All right. Here, we could merge these vertex together. We could also do the same to those vertex. Let me add another edge there. Perfect here also. All right. Just keep adding more polygons. And now let's add another edge there. Perfect. I All right. We could merge these two together just like that. And now let's just try to stick these ones just like that. Perfect. All right, let's just continue the topology here from the the jaw just like that. We will need to do some reductions here in the chin also. Yeah, I did. We will need to. So I will do something. Let's see what we could do. Let's just do this basic kind of the same thing that we did with the other pieces. We could now both those two. Perfect. Is it the same here. All right. That's better. All right. Let's see what we could do here. Like this could be. I think so. This could be an option. Let me try to make that these gon stretch. All right. Let's just complete this part. All right. That could be there. Let me add another edge here. I think that's good there. Perfect. Now I will do, another loop that goes around here to start truding down to the neck. Let me save. Right? I look that goes like this. So we can now extrude down. All right. I think we need to do more reductions in the topology. I think it still has a lot of polygons going down. Like here, I will do another reduction. Perfect. All right. So now, let me safe incremental again. And now, what I'm going to do? I will just deactivate the magnet and I will just extrude down this edge here. Let me fill this down to make it straight. Let's just press S, then C. And now let's press zero. This way, this is supposed to be straight as you can see, straight there. Let me use the proportional editing maybe maybe not. Maybe active that. Let me put nicely the polygons here. All right. I like that. Real quick and easy. All right. Perfect. Now, let's add a few more a tropes there to support the formation here. All right now, I will start using my my magnet snap the vertices on top of the neck. Alright I will need to do more, even more reductions. Yeah, indeed. I will add another one in this area. I will just reduce starting from here. Maybe it would be better starting from this area. Not there, maybe here. All right. Let me just remove those edge loops. All right. All right, let me do something. I will apply the shrimp crap again. And now I will just do more Let me apply add another shrimp crab. All right. Perfect. Now I will just start relaxing the polygons. Nice and easy. All right. Let me see how many. I need to add more edge loops there. All right. Perfect. So now you have the neck. Let me save. Perfect. Let's try to make the ear. The ear is always a complex part to do in the topology stage. So let's just try to do it. Or I will just make some So edge rope that goes around in this part is called the helix. I don't remember well, from this part of the ear, all right. And that group will be attached to the other edge Perfect. All right. Now from here from this area, we're going to keep rooting this just like that. All right. Just like this. And easy. And let's see later if this is still easy. All right. Perfect. All right. The most complex part is this inside of the ear and also this other part. Let's see how we could do this without adding triangles there. Because, as I said before in the previous video, I don't want to add triangles, at least right now. We could add triangles to force the triangulation in some areas. But at this stage, I don't want to do it. Alright. Let's add that polygon there. Let's try to make some ops that goes around. This part of the ear. All right. Perfect. Let's see. All right. Just keep adding more stuff here. Perfect. We'll add another edge there. All right. This could be attached to here. Another edge there. This will be attached. Now I will just make whole here or the art. To be. Perfect. Let me add another edge up. There we go. Alright. Let's see. Let's see what we will do here. Let me extrude this one here also. All right, this will not be a good idea. All right. We need another loop that goes down. All right. I like that. Let's feel this. Perfect. All right. Maybe just like this could be an option. Perfect. Let's keep adding more polygons here. All right. No, I will just ditch these together. Perfect. Let's see if I'm not talking too much, I need to be a little bit concentrated for this. All right. Let's see how we could make the nicely and good. It's just two days. Perfect. Let's add another edge there. Now, we could just extrude this. Let's add that polygon there. Let me remove that. Right? Perfect. Now, I will extrude this in. This is nine. It's not an even number. I need to add somewhere another loop this works nice. Maybe from here. Now what I'm going to do I will just do some great fiel and maybe we could do some smooth. Alright. I don't like this that star there. I don't like how that is flowing. Like having the vertex attached. I just don't like that. All right. Let's just keep adding more stuff here. This is kind of better. All right. It's a better. We don't have anymore a vertex that is attached with text edges. All right. Here, I think I will just reduce the amount of polygons that comes through the ear. All right. Perfect. Now we need to close this in the back of the year. Let's see how we could do it. Let's just add a net up there. Let me save. All right. We could do this I may do B with the F or some bridge right now, we could start placing. Maybe here we could add one H loop. All right. I like that. All right. I think we will add just one more aria. All right, perfect. Let's just relax that from there, And now we have our face and head. We've apologized nicely way. Let me see how this looks without the frame on down. Alright, perfect. We still need to do some stuff like do the iVaCs. It's kind of easy. Maybe we could do it now. Also, I have noticed that I don't have my wrinkles active. Or my lacrimo. Let's see if we could make it. Quick. Let me just try to find my my lacrimal mesh. The hi poly. It should be here. You can see it there. All right. Let me remove this. I can select everything. Now I can do some Abe and then some hide. Now from here, what I'm going to do? We'll just do some little extrusion, just like this. And now I will just merge I mean, not merge, just some bridge just like that. Big and easy. All right. Just like this. Perfect. All right. Quite nice and good for this part. I might not make it maybe we'll just throw it there, just like that. I think I will do that. Just push it back here. Just like that. Perfect. Now, let's just extrude this in. Just like that. All right. We could do more cleanup once we reproject our mesh inside Zers. I like to fix all of these imperfections. Now since we have an even number, let's do some great fill, and this would work. But this in a nicely way. Alright. Let's do some shrimp crab. Like the body. Let's apply this. Oh, before applying, let me do some relaxing t. Just like this. Not working that much, indeed. We could do more relaxing side brush. Let's just leave that part. Just like that just for now. Alright. Let me try to stick together. Then let me try to snap this to the surface. Alright. All right. Right, I think I will just leave the video here. In the next video, we're going to keep working on the r topology of this character. We'll see you there. 6. Starting the Body Retopology: All right, guys, so let's continue with this model. In the previous video, we left the model in this stage. We did the hepology of the head. Now we're going to start making the topology of the body. So let's bring back the body. Let's see. All right, we have the body here. All right. So like we did in the head, the body have like main loops that we need to add before adding the rest. This is just for this to deform correctly. So let me show you what are those main loops here in the body. All right. We have one loop that goes around the shoulder like this. We have another loop that goes around the pectoral here, just like this. All right. So we have another loop that goes around the leg just like this. You can see it here. All right. And now the rest is just, like, start adding more loops like here in the torso, this belly area will be like this normal loop, you can see. And then that basically are the main loops. So let's start making this. Let me erase everything. All right, so let's start extruding. Let's make the loop that is on the on the shoulder. For now, I will not care about how many polygons this loop has. Also, I forgot to activate my magnet. Alright. Let's just make that loop real quick. I just want to have it there. So later, I can tweak it more if needed. All right. Now, we can add the other loop that we have here. All right. Let me remove that edge. Alright, let's keep. Let's keep adding more polygons. Like maybe some middle ones here. Perfect. We need a few more edges here. Now, let me do something first. This loop will go around the shoulder, just like this. This will go down, just like that. And then this will go here, the back, this will connect all the way here. Alright, there we go. Let's make the loop that is here on the waist. All right. This will go just like this around the butt and the inner part of the legs. All right, just like that. Perfect. Let me try to connect nicely that edge here. Alright. Just like that. Perfect. All right. So we have that. Let's make this other loop around here. Let me reduce the size of this just like that. All right. Perfect. All right, we also. I will just do it later. All right, let's focus on the first although we are not going to use the body itself, we're going just to use the head because the body is covered by all the clothes. But the body, having, like, the actual body can help us when we need to rig this character because we can rig this body, and then we can, like, transfer the weight to the clothes, and that will save us a lot of time. In the rigging process. So let's continue this. Abe, I quite not like how this is flowing here. We'll just leave it like this. Perfect. All right. Now, what I'm going to do will be just to start connecting everything. I want to connect first the head with the rest because if we made the body and then we need to connect it to the head, it will be a tiny bit tricky sometimes. So let's just start extruding from the head to the body. So in this way, we don't have too much trouble while trying to connect the body with the with the head. So let's keep adding more polygons. I think there are some places that we could reduce. Yeah, we could do that. All right. I want to have a loop around here. Perfect. Let me distribute. Also, I will add another shrink crap. All right. Perfect. All right, this part, I don't want that to flow like that there. Right? Let me start adding some edges. Perfect. This area we could start adding more polygons just like this. Let me do some Alright something. Let me do some relax here. All right. I will add a few more edges here. Also here, we need more polygons. Let me connect this middle edge rope. A few more polygons. Maybe not now. Let's add more polygons in this area. Wait for this. Let me save just in case. All right. Like four edges, I think would be good. Just like that. Let me put this edge there. Alright. Perfect. I need to reduce this area because this area is a little bit too dense right now. So I will just move that edge just like that and then just do the trick that I show you the previous video, how to reduce some edges into less amount of edges. And now we will add more edges around here. All right. Let's keep adding this stuff real quick here. All right. I think we could reduce a tiny bit in this area. A little bit too dense. This area doesn't need to be that dense. Indeed, we could maybe remove one of these edges. All right. Let me connect this middle one. All right, Let's skip. Alright. My Blender is a little bit back. Perfect. All right. It's like that. All right. Maybe in this area, we could do something to reduce the amount of piss. I mean, of edges we have there and just do this instead. All right. And now this area, we could just bring it here like this. Two, three, four, five purchases. All right. No one there. I fact let me do some productions. Just like that. Let me merge those middle edge loops. I will save. I will apply the shrimp crab. I will add it again. Alright, let me see how it works now. All right, it's better, a lot better. All right. So lein geometry here. We try to clean this part by hand. Alright. Let me apply this shrink crap again. Add another one. I'm applying, as I said, the previous videos, I apply it and adding again the shrink crap modifiers because I want to apply the deformation. I mean, the snapping that the shrink crap did, I just want to apply it and commit to it. Alright, we have an even number. Although I don't think it will be too wise to use the quid field. Let's see if there are some configuration that we could use. And there is not. Because we have a lot of polygons in this area. All right, let me try to connect these ones here, and then we will see what we can do. Maybe three could be good. Let me connect one here. Move, move, move. Alright. Perfect. Alright, perfect in that area. Perfect. Perfect. But now in this area will be a little bit tricky because we have a lot amount of polygons and we need to address All right and see what we could do. Perfect. We could do another one, maybe. But we could do here. All right. Maybe here we could add this P. We could add another one here there and then do some more relaxing in this area. Perfect. Let's apply this shrink crap. Let's add it again. Let's see how many polygons we have in the arm. It's another one. So we have uneven number. We had 17 before. Let me save. Perfect. All right, we have a little bit of the upper body. So I will just extrude all of these. We'll go to my edit, look to us and make this circle. All right. Then I will just put it here around here. Perfect. I will add a middle edge rope, another circle here. Perfect. All right. A few more edges here with this amount will be good. Now in this area, I will just rotate it a little bit, just like that. Because this way, we could emulate how the forearm deformate because you know that the forearm can rotate into itself. And if we left like these parts like this, once we dis rotate, it will, like, crunch on itself, you can see. But if we made this twist before deformation will be better because when this rotated, again, like that, this will just regain its form just like this. It's a tiny rotation. All right. Let me add a few more edges. Perfect. All right. Let's try to keep this a nice here. All right. I will now apply the shrin crab. I will add it again, shring crab. All right. Let me remove that in front. Where is my speed topo. All right. Remove this upfront here. All right. I will add more a troops around the joints like here. Also, maybe we could add another loop around here, the All right. I need another loop that comes all the way to this area. So I will just cut it with the knife brush and add it manually. All right. Is right let's merge those two. Also, these two. Now I will add this shop here. And then I will just connect it with a knife brush. Perfect. Where is the gap here or right this here? Perfect. Now, we could do somos. All right. Perfect. Now I will apply this string wrap. I will add it again. Perfect. In this area, also, in the elbow, I will add I will do some inset just like that. So this has a tiny bit more of geometry. So the rigor can use this to, like, keep the shape of the elbow while bending the arm Alright. So this part will be basically the same as we did with the arm. So let's make this circle. Let's go to edit, make circle. If the Alright, this works. Also, these loop tools, you can find it here in preferences. You can search for loop tools in get extensions. You just need install that atom, and you can have access to these loop tools is a really nice piece of stuff. A really nice tool, yeah. Alright. Let me try to get this nicely made. Alright, if this lets me. Alright. This would be basically here a a few more polygons. And now we could just merge these ones. All right. All right. Let's see. Maybe three. Let's add two that because we could do some reductions in this area. I will add more polygons here. So now I can do some reduction here. All right. It's all edges. Perfect. I know I one here. Let me remove this. This stuff. Alright, give me a sec. Alright, we are back. So let's just keep working on this. Here quick and nice. All right. One more edge loop there. All right. No one here. Perfect. Remove that edge. All right. Let's just keep merging these these vertices together. All right, just like that. I need to add new one, new edge. All right. Now, I could. I can add more edges there. Perfect. So now we have that area. So now I can I can do some relaxation. But before that, let's apply the shrink wrap. All right. Merge these ones. And now let's just relax all of these polygons. I like that. Alright, let me save. Alright, let me apply again this ring crap. Perfect. Heather. Alright. One thing that we could also maybe add wait, we have some junk geometry here. What happened there. Um, it's really bag. Oh, what happened there? Oh. Let me read the activity clipping because something happens here. All right. Why this happens? Who knows? Let's try to merge these ones in the middle and try to regain how this was before. Stuff like that. I think could be good. If incremental. Alright, let's keep working on this area. Right to see how we can connect the pod. I think we will need to do a lot of reductions. Alright. Indeed, I think that we will need to I will need to add few more edges in the pod area. Now we can connect this one. With this one. Let's add a few more few more stuff there. All right. Let's ready to connect this. This other one. Now we could do this and then do some relaxation there. Let's see if my shrink wrap doesn't get bugged. Alright. Do some fave. Let's add again, the shrink crap modifier, let the body. Let's keep adding more more polygons. Let's just extrude these middle ones. All right. All right. Let's keep adding more polygons. Let's see how we can be cooled. Let's do this. Alright. All right, perfect. Afraid to add this middle once. What is this? Where that polygon belongs? I don't know. Alright, let me remove the cliving. This belongs here. Alright, let's active again the cleaving. Right now, I need to add two more edges in this area so we could connect these nicely. Perfect. It's safe. Let's see what people do here in this area. X, let me add a few more edges. We could connect this one. Alright. Hey, we could connect this another one. Yeah. Let's see. Maybe in this area, we could do something. Be. Alright. Perfect. That's that another one. And now we need to do something about these two polygons there. Mm. Bit tricky. Indeed. Alright. A little bit tricky. All right. Maybe we could add another edge around here. Then connect these two. All right as to some relaxation. All right. Let's see. All right. I will do some extrusion and then I will just scale this down. Just like this, this middle egop for the belly bottom. A little bit deep, indeed. A little bit too deep. Maybe I will not make it that deep. Let me apply. Well, well. I I don't care too much. Maybe we could just leave it for the normal map. It is not that important for us right now. Let's add a few more edge loops around this area. All right. Perfect. This is just bugging me out. This clipping. All right. Now, we need connect this area. Just like that. Let's add a few more. It just All right. Just like this, safe. If incremental. All right now, I will just keep adding more polygons here and there and then just try to neck this nightly way. All right. Okay we could remove this one. Let me save. Maybe in this area. We could have code loop. Those are round. It's like that. And it could be nice to have it here. It's like that. All right. Let's see how the refill works in this area. If it does some decent job, maybe we will do some relaxtion. All right. Let's go to it. 105. So here, let's move S disease. Let's put this in 500. This actually did a pretty decent job, indeed. This did a pretty decent job, the grit feel, in my opinion. So now I can do some relaxation. But before that, let's apply the shrink wrap and add it again. All right. That's great feel really gave us a really good amount of time. All right. So now from here, we can just through this down. Let mix it just once. I will make it like that with S, C, and then zero. Just make it straight down. And now from here, I will just extrude down just like this. Perfect. I will do basically the same that I did in the arm, adding like a middle atrope around the knee. A few more telopes here, a few more other tropes around here in the cal. Alright. Let's apply the shrink crap. Let me add it again. Let's do some relaxation. If this ones to work nicely. All right. Maybe another shrink crap. All right. Just like that. All right. I will apply it again. Add again the shrincrab. Now this part, I will just clean it by hand with the magnet. Alright. I like that. Perfect. Let me add more edges in this area, although they are not necessary. All right. We need to also do some cleaning the spice something like that, Cop. All right. I All right. So I think this period is a little bit long. In the next video, we are going to continue working on this. I think we have some duplicated vertices there. Let's see the rated. What I did basically was just do some console. Select everything with A, then do some control M. No. It was it is with M. Let's select the body. Let's press M and then everything selected, M and then by distance. You can see that we have removed five purgess they were the ones that were duplicated. Now the shading is nice. Alright, we almost have our pins with the body. In the next video, we're going to continue with the hands and feet. The hands are a little bit complicated at the fits because we don't have any toe in the fingers. I mean, in the fits, it will be easier to do than the hands. So let's just do that. Then after we finish the body, we can start retropologizing the armor of this character. I'll see you there. 7. Finishing the Body Retopology: All right, guys, in the previous video, we left the model in this stage. So let's continue. All right. So now we are going to make the fat and the hands. And if we have time, we're going to reproject the model inside the rush. So let's see the fits. This should be pretty fast and straightforward because we don't have any fingers, any toes in the feet. So maybe let's see what we could do here. I will do maybe I will do some edge loop or polyloup around the ankle. All right. We have this here. Let's do the same here in the other side. All right. Perfect. And then one more. All right now, I will just connect everything. Just like that. Let me add another one there. Perfect. Let's do the same here. Alright. Let's wait for this, right, perfect. There we go. Let's add another sub there. Perfect. Now, I will just peel this. Perfect. Now here. All right. Let's keep extruding. Just like that. Don't stop extruding. All right. Let's see. In this area, from here, maybe I will just extrude this way. All right. Let's connect it to this area here. Perfect. All right. Let's see. Perfect. Al right. Let's just keep adding more polygons here and there. All right. Let me connect these ones and maybe add a few more edge loops. I mean, edges there, yeah. All right. I think this could work. Let me keep struding this. I will just make an edge loop around fied just like this. Holloop. Yeah. All right. One more edge. Let's connect this. Alright, let's connect this around there. And now let's add the edges that are missing. All right. Now, let's bridge everything. Perfect. One more edge here to better capture the roundness of the tip of the feet. All right. Let's keep making this. All right. All right, let's see what are here. All right. So when it closes Perfect. Let me deactiv magnets and add some more at tubes around there. And now with the relax too, let's relax a little bit the polygons in this area. Let me apply the shrink crap. And now let's apply add another shrink crap there. Perfect. All right. Now, we need to close these caps. So let's do that real quick. Perfect. There we go. What we have here have 12. Let's see how we can close this. H. Have some trouble. We are in trouble. All right. I think this will cause some vital. Fidal are not that good. I mean, I'm trying just to avoid these spitals all right. Let me do some smooth here. Now, I will just keep shooting more polygons to close this cap. All right. I like that. A All right. You more Let me close the EtchesTeubs. All right. Or let's close that there. And there we go. So smooth. Not working through very good there. All right. I will add another edge loop around that area. Another one here. All right. Perfect. Now I will just apply my shrink wrap. All right. I will say incremental. And now let's work on the fingers. It's a another spring wrap. Let's see what we can do here. All right. Here we have 18 vertices. This is an even number. All right, how we can handle the fingers? Let's see, we could add a cylinder here. Reduce that to maybe eight. Yeah. All right, give me a sick. Perfect. I just deactivate the clipping because I want because the cylinder was like tucked in the center because of the clipping. All right. Now I will just remove and delete these phases. And now I will just add a cylinder. Here in each finger, I will just do that. Let's make the first one, let's align it better around here. All right. Let's come here. Let's add another edge loop around this area, another one around here. So I will just copy this to each finger I like that. We try to align this better. All right. Let's keep duplicating this. All right. One more time. This will be here the pinky finger. All right. A little bit more work. Alright, let me copy this, and I will do the same, but with a thumb, I will remove these parts. And now I will just try to fit this there. Alright. There we go. Perfect. Now, let's see how this looking with the connective. It's like preview of the modifier to see what that is actually doing in edit mode. Let me align feather the edges to the joints of the finger. Perfect. Now, I will just close these gaps with Phil. Maybe before that, let's do some extrusion first. All right. Let me just do something just in case. I had one duplicated vertices somewhere. Who knows where it was. So let me duplicate. I mean, just extrude these holes just once. All right. Just like this? All right. Let's do something. Let's change this from medium point to individual origins. And there we go. I would add maybe. All right. Let me move this better. All right. Now we can close this just like this. All right. One here. All right. Let's do the same here. When I shop there and another one here. Perfect. All right. Perfect. Pinky. All right. Perfect. Let's go here also. Right here and here, perfect here. Here on here. All right. All right, perfect. Let me try get this better here. A All right. Now, what we are going to do, we are going to bevel all the group that are on the joints. So let's do it quickly. Let's do some console B to bevel them. With the mouse wheel, the middle mouse will let's just increase the number of groups that we have. Maybe I think this is too much, maybe Like this could be good. Not that much. Like one in the middle, just like that would be nice. Now, let's add edge loops in the middle areas. Just like that. Perfect. All right. Let me try to capture better the silhouette of the thump. Alright, now we can start bridging each finger. But first, let me apply this shrink Shing wrap right here, perfect. Sring shrink wrap. Alright. Now I will just bridge all of these fingers together. In a way that I have like a middle plylop like this, you can see that I have now a middle polyp. All right. Also from here. Let's extrude this part down to this area. All right. Perfect. Let's keep extruding. Perfect. Let's me add another loop around here just to capture this part of the thumb. All right. I will do another extrusion. It's a little one and another one here just to capture this other part of the hand. All right. Let's see. We to Hart. Reading everything. All right. Just like that. Perfect. I all right let's keep adding more et loops this time in the middle with fingers like this. Perfect. All right. Now, I will just extrude more Alright. Let's keep extruding. Let me do some safe incremental. Perfect. Let me remove these bases. All right. Let's keep adding more polygons. All right. And let me close those gaps. I will add more edge loops. I will connect this one. All right. I will connect this other one. Perfect. Oh All right. Let's keep working. Give me a middle one here. Let's add another edge troop there. A few more here. And now let's close this area. All right. Let me close this area in this part. Alright. Perfect. Just like dead. All right. Let's add few more here. I will do something here. Perfect. So we don't have that many polygons going down. Perfect. Let's keep working in this area. Perfect. T is. I don't like how Isaia is looking right now. I don't like this. Alright, I don't like that. Or maybe believe that. Let me know. All right. Let me remove that. All right. Let me bridge these areas in this way. So we have nege loop in each finger like wrap in each finger. I just would like to have this in that now we have a net robes that is around each finger. Is that another ship there? All right. Is one here? Perfect. There we go. All right. Let me separate these polygons. Maybe no. Maybe we could separate them. But et me remove all of this area. Let's wait for this to respond, all right. Perfect. All right. Let's see how we can do this. All right. Just like that. Perfect. All right. Let's see what we can do it in this area. All right. Let's keep adding more polygons. Perfect. Let me remove this. All right. I will need more hooligans. Let me just feel this again. All right. All right. All right, perfect. All right. Perfect. All right. And now I will just deactivate the magnet and add a middle loop here. That's nice way. But this part is not connected correctly? No, it's not how this could happen. This need to be connected here. All right. Perfect. All right. Let's see what we could do here. Close this. All right. Let's add another edge rop there. We could just remove that. All right. Let me see. Why is this not working for me? This will go down. All right, I'm doing something wrong. Let's just merge those. All right now, it's Perfect. Let me remove that edge. Perfect. Now we could add the middle up isaria. All right. Perfect. But let me save incremental. All right. But let's continue. May continue exhoingth this part just to have a close edge loop. All right. Perfect. Let me save, and now I will just apply this ring crab. I will add it again. Ring crab. All right. Perfect. All right. Let me try to have some close edge loops in this area. Perfect there. All right. We could add one edge there. Right. I need another edge here. Perfect. Alright, maybe another one here. Perfect. Yeah, seg. Perfect. Let's continue. All right now, let's just connect the perfect. As a few more edges there. And now I will do some relax with the shrinrap adtive Alright just like this. Perfect. Do the finger. All right. Perfect. Here in the palm. All right, let's save this. Perfect. Let's see. Let me apply the shrimp wrap. Let's at it again. And now we can keep struding more edges. All right. Just like this. All right. All right. Let's add few more. I just there. Perfect. All right. A All right. So we need to connect this. We don't have enough taste to be able to add. Maybe we could, maybe not. Let's see what this does. I mean, we will need to add another one here. All right. Perfect. Let's see. What else we will do here. All right. Let me reduce the amount of polygons that are coming down. All right. Like that. Many polygons are here, and here we have 18, and here we have 20. All right. Let me do something here. All right, perfect. Now we should have 18. So now let's select this hole, and let's select this other hole. Let's go to here. I think it was here. And now let's click here and Bridge troops. You can see that now we have bridge the hand to the main body geometry. Alright. So let's just add a few more troops there. Maybe we could just pebble this part a little bit. And now, let me just apply the shring crab. I will add it again. Shrin crap. Alright. And now we can smooth this area a little bit more. You have a clean flow of polygons in this area. All right. Me to subside. I will add another edge loop there. Perfect. All right. So. Now we have our body made. The only thing that is left is the mouth bag. Let's do it real quick. So now we need to apply the shrink crap. Let's go to the mouth. Let's select the whole of the mouth. And now let's just extrude it inwards. Let's make this straight by selecting that edge loop, then pressing Y, then you drag down, Y, and then you drag your stuff. And without doing a click, let's press Terro. And now this will be aligned to the Y axis. So now, see, let's try to make this a circle. Not working. Let me select the polygons from this area. All right. Now, let's see if this makes a circle. All right. There we go. Let's try to just to close this area. Like this. Perfect. All right. All right. Now, let's add a few more polygons there. All right. And now from here, we could do maybe some relaxation. Select these polygons. Let me select all of these without selecting the parts that not belongs to the Mud bag. Y All right. Relax. All right. We know that much. Right click and then press spa diss 500. We not working correctly? All right. So let's try just to increase the size, this part. It's like that. Perfect. Now let's go to scot mode and just smooth this Area a little bit. Alright. Perfect. There we go. Maybe one H loop here inside of the mouth in this area. We feel more just like that. Not a pig. I think that could be nice enough. Or, right now, we have a mouth bag, but we need to refine it a bit, a little bit more. So I'm going to end the video here in the next video, we're going to import this model to zebrus and reproject and everything just to clean a little bit more this mouth. So let's do that. 8. Cleaning the Body Lowpoly in ZBrush: All right. We are here. We are back. So now we're going to take this model and then importing it back to brush. Let's do that real quick. Let's export this for FBX. All right. Let's go here. Let's just export this. All right. Low poly body. For fixing. All right. Let's click here in selected Objects. Perfect. Apply transform. Let's remove all of these. I mean, yeah, let's just last the applied modifiers. Selected objects, this is really important. And now let's just export this FPX. Now let's go to Zbrush, here in our file. Let's click here in Import. Alright, let's find our model that we have just exported. All right. Let's click in Okay. So here we have the model. Alright, let's go here. Let's click here and let's write ten in the scale. Now, let's copy this and just paste it here. You can see that our model is here nicely and good. Alright, now, I want to hide everything but the body. So I will just click here. Let me get back my body where it was in touch Warm. We'll just drop it here in body. All right. Just want the body and my low poly body. Perfect. We have those here. Perfect. All right. Now here. Let's just do something. Let's let first, here, I will make a polygroup to separate this part of the mouth. And also, I will just separate the mouth back. Let's do some autogroups. Let's repair this lecture. Let's do the same here autogroups. Now, I just want these two to be one together. Perfect. All right. I think this could be good. All right. Now, let's do something. Subdivide one. Now, let's store more target. And now let's go here to project O. Let's click in yes. All right. Now, let's go to the mouth area. With the morph brush. Let's just clean that part out. Where is my morph brush? Let's press M. Here is it. All right. Go here. Now, let's just clean this area. All right. All right. Let's go here also. This inverse desolation. All right. All right. Let's do it another time. All right, Let's delete the morph target that we had and store it again. And now let's project all again, just like that. All right. Let's cling this area again. Perfect. This part is like that. Alright. Let's like this. All right. Let me hide this part. Let's see what happening here. All right. It's just clean that. Let's try just to smooth this tiny area without destroying the form. Just like that. Perfect. Aye I think it's good for now. Alright, let's see here. Let's start refining the mouth area. All right. Let me try to get the lower part with the Alright. Let me hide this area. I just want the lower part of this to be together with the green polygroup, the lower jaw, as well with the upper part. I like that. All right. Now, let's go here. And let's try to clean this out. Let me hide this other part. Perfect. Let's go with our tibio. And let's just try to scope the either part of the mouth. Alright. Just the form The forms of the lib. Remember that the lips, lower lip needs to have a shape that is more like this. See a shape like that. Do the lips look good? All right. So that's why what I'm trying to achieve here. All right. But you can see that we need to get a lot of volume that we have lost in the projecting process. All right. I like this. All right. I think this could be good enough. Let's go to the upper lips. Now let's just try to make the volumes of the upper lip. Let's remember that the upper lip has, like, three bumps around here in the middle and in the other area. So I'm just trying to make the volume the ear volume of those shapes. Like here, a tiny bit. All right. There we go. We could just keep refining a little bit more. This now that we have a better topology work with in this model, it's just some general adjustment because I will use now this one has the high poly for the body. I will just explore the highest and the lowest version, the highest subdivision level will be the high poly from now on for this model. All right. I would not care about too much with the body because I'm not going to use the body itself in the model. I mean, I will just use the body as, like, a tool to rack this in sier way. What we are going just to use will be the head because everything else will be covered by by clothes. And if and if the body is not visible, there is not a purpose for the body to be there. So I will just delete all those faces once we have the clothes. We apologize it. Obviously, we're going to duplicate the body to have, like, a full body version and just the head version of this character. Alright. Perfect. F more adjustments small ones. I like that. Perfect. All right. Right? There's a few more. Trying to define a little bit more these plane changes. Alright, I think I will not do anything else. So now, we have this. Let me try to fix these parts too quick. So now we have this. So now we need to export this. I will export two versions of this of each one of each the low polyerson and the high polyerson. I will export a closed mouth and an open mouth version. So let's do that real quick. I mean, yeah. So let's first open the mouth of this character. We go here. Right? Yeah. Let me select a All right. And now just bring the coarser here and then just open the mouth, a tiny bit, just like this. But before, let's add a layer. Alright, a layer here. Now let's just open the mouth. So in this way, once we bake the model, we don't have any aztefac in the lips area. All right. I have just remembered that I need to do something here. Right? You need to push this out. All right. Just like that. A. All right. So now, let's export this closed mouth version. Let's go here, see blogging, export, selected. All right. Now let's create another folder just to be a little bit cleaner. Body. We just got a folder body. Let's go here. Body, low poly U B, close mouth. All right. Just like that. Let's save this. Let me do some quick save also. Let's wait for this. All right. So now let's export the open mouth version. This Alright let's export this. Open mouth. Safe. Perfect. Now, I will export the open mouth version in the high poly part. High poly. Perfect. Let's wait for this to export it a little bit heavy. All right now, let's export the closed mouth version. Alright. But I think that we are not going to use the closed mouth version of the high poly, but I will just export it just in case we for some reason need that closed mouth. All right. Where is my cursor? Alright. There we go. Lepot that. All right. So now, let's go back to our blender. Now I will just put this in old Old. Perfect. Now I will just bring my My fixed models here body, bring the closest mouth version of the low poly. There we go. I may do some stuff before. I may go to this triangle icon. Now let's click here include custom split normals. And also, I want this material to be there. Now, we'll call this body, closed mouth. All right. Let's call this closed mouth score low. Let's bring now a open mouth person, or let's just call this body. Body low, we'll just call that. Body low, all right. We have our open mouth version. So let's click firsts. Let's click first closed mouth version, and now let's click or is the other way around. Let's click the open mouth version and now the closed mouth version. And now let's go here with data. Let's click in this plus icon. And now in this arrow, let's click in Join H shape let me hide the open mouth version. And now you can see that we have a plain shape that is the open mouth version. So in that way, we can add our Ubis without needing to add them twice. So now we have the open and closed mouth version in one object here. So I can delete the other one. Now, here in the hi poly, I will just bring my high poly stuff. All right. Now here, I will just import, let me hide the other hi poly. All right. Let's import the hi poly versions. Let's just import the open mouth version. That's the one that we are going to need. Alright, so there we go. We have it there. Perfect. So now we have a mouth bag here, nicely made. And also, we have the mouth bag in our high body. So in the bake, we don't have any issue. So there we go. We have finished our our body rhetpology. So I think we are ready now to start making the topology of the clothes. So in the next video, we're going to do that, to see you there. 9. Making Retopology of the Inner Suit and Armor: Alright, guys, let's continue with this re topology. Now we are going to start making the clothes. So the first piece of clothes that we are going to re topologize will be the inner shoot, since it will be the easiest one to do because we are going to reuse basically all the topology of the body for this. So let's select with our Selection. Let's select all the topology where the inner shoot is. And then we are going to duplicate it and then extract it. So let's select everything here. If you press W, you can select this circle selection. All right. So let's just select everything. And why you may ask Because the silhouette and everything is really close to the body. So we could just reuse everything, and we don't have to think about it. And also, since we are not going to use the body itself, just the head, we could just reuse the topology. From here, give me a second. I will go to the orthographic view. So I can select these parts nicely and good. Select these parts. All right. Now we're going to press Shift D to duplicate and then P to extract. All right. Let me move this to the low I mean, the inners inner sued collection. Let me call this, I will just call it like that. Then I will call the inner too low, all right. So let's hide the body. And now let's start making some twigs to here. All right, this just need a little bit of adjustments. All right. I will do something. Since everything is symmetrical. I will just delete one size and then apply another mirror modifier. Let me apply a mirror modifier. And also, I will delete the plain shapes. We'll just delete that. Alright. There we go. We miss some pass here. All right. So, let's activ the clipping. I now start working. All right. Let me activ my proporternal editing to do this quickly, and I will just stick this bird disease to here. Nice. Perfect. I will basically stick everything. Oh, I just miss that part, right? Let's stick everything here. Perfect. All right. Perfect. Here in the back, we still need to do some stuff. All right. That's like that. Perfect. All right. In the borders. Just like that. Tiny bit just Alright. Let's keep working on this. Let's see. I think the inner shoot is just one piece of geometry. Now, I was thinking on the string crap, but the string crap needs the light surface to be a one piece of geometry. All right. Skip taking these purchases to the surface. Perfect. Just like that. All right. Alright. Let's keep just taking this. All right. A little bit more. All right. I think this could be enough. Let's work on this in the neck. This needs to be on top because this part will be on top of the neck. So the need to cover the neck nicely. A and since we are using the same topology as the neck, we should not have any clipping issues while reading because the topology from this mesh topology, from the neck matches. All right, I will keep that stuff there. I don't want to change too much to topology. All right. Now here, let's see what we can do. All right. I All right. Just try to get this nice around here. Perfect. This will be around here. And this piece, we could just tick it with that other piece. And there we go nice and easy. We could maybe delete this polygon, add another loop here. Let me try get this on top of the surface. Alright, just like that. Perfect. Now we could delete that other piece. We could just take this. If we delete that. Alright, let's see what we can do here. I don't want to add another stuff there. So All right. No, I don't like much that idea. Let me add another love here. Alright. I don't like how this is connecting. No. Let me do this, maybe. Any tops. Yeah, we could just do this. And now from here, we could do this. We could just stick that together. Alright. But now we have some white area. I'm using out triangles because this apody will not be subdivided. The other one, like the body, we didn't use triangles because we were going to import that back to brush. But this topology will not be imported to brush. So we have the liberty and the freedom to use triangles because the game engines works with triangles, so it doesn't matter if you have triangles in your topology, because once you import your model to a game engine, the game engine will triangulze all your model, and all these squads will become triangles. So we use triangles to save time and to be more efficient and have a more optimized topology, because there are some areas that are really complicated to solve without using triangles. Where you don't are allowed to use angles or where you should not use or angles is when you are making models for films or cinematics. In that way, you cannot use angles because those model will be subdivided, and they will use displays and maps. So they need a really clean geometry for those stuff to work nicely. But since this is not going to be subdivided, we don't care. All right, I think that could work just for now. I mean, these parts will be will not be seen neither of these. So we just need to make, like, a fake thickness around here. And I think that will be it. Let's just try to do it. Alright. Let me do something quick. Alright. There we go. Perfect. All right. Let me deactivate my proportional editing, and let's just keep adding this sickness because we're not going to make sickness for this piece. We can just save time topology on this. So let's see how this looks with the body. All right, let me hide the inner shut hi poly. You can see this match is nice and good. Alright, there are some areas that needs to be adjust. Let's see. Let me hide the body. These areas needs to be stick. All right. Here, I think here in that area here also in parts. All right. Now, I think it's good enough. Let's see, hi there. There are some more areas. All right. Like here. All right. Is a few more. I think this should be enough. Well, we don't care about those like stuff because we are not going to the inner body. Alright. I will just leave that part just like that. Alright, I'm just worried about the neck area. If it's not visible, right, I think it should be good. So we have the inner suit. Let me put an underscore. All right, just like that. So let's see what else we could do. Maybe we could start with apologizing the inner armor. So let's get the inner armor. This will be maybe kind of complex. But we can do it. All right. So let's bring a polygon from the inner shoot, separate out that polygon. And now I'm going to hide the body and the innersoot. I will create another collection. I would call that collection inner armor just to be organized. Alright, I will call this inner inner armor low, just like that. Unless it starts really apologizing this All right. So we're going to make this armor an entire piece of geometry because these don't need to be a separated piece of geometry in each part because this is like one single objects. So let's do let's do this. All right. Just like this, let's try to make the polygons follow the shape of this armor. Just like that. Let's extrude one more here. All right, maybe here, perfect. Let's add another polygon. All right. Maybe three, I think, could be good. All right. We'll need one here. All right. This doesn't need to be like too high poly. I mean, the low poly doesn't need to have a high amount of topology. It could be simple. All right now, let's go here. Perfect. Just like that. I will make this a triangle just to get better this shape run there. Alright. If you were doing this armor for a cinematic, there, you need to make every piece of geometry a single one. And these floaters needs to be like sculpted or modeled in the armor itself. You cannot have this freedom of just adding floaters and then baking it and everything will be nice. Alright, let's just make this piece around here. Perfect. All right. Maybe two polygons there, two ages. Let's try to get this pebble here. Perfect. All right. Let's shoot that and then just tick it there. Then we close this area. Alright. Let's add another edge. Perfect. Alright. Let's bridge dose. Let me do one thing. I will just save incremental. All right. All right. I will need to do something. I will just, like, dig that there. I will stick this other piece there. I will add another edge and just do this. All right. Alright, let's continue. I will need, like, a mold triangle here just to capture this shape nightly. Alright. Let's keep extruding Me polygons. I need to capture this shape nicely. All right. So I will just add another edge there. All right. Let's keep adding a topology. Perfect. Alright. All right. Around this area, I think I will need to add Me topology. Let's extrude that. Just like that. Let's keep extruding. Perfect. I will need hatch angle there. All right. I will add one edge loop. All right. Perfect. Just like this. This too noticeable. All right, let me redo this area. All right. Just like that. I think this is better. Yeah. Let's keep extruding. Perfect. All right. And Perfect. Let me, like, just close that. All right. Perfect. Let's just keep adding. More polygons, get this shape. I will need I don't want to add another Edge Loop there. I will just do this instead. All right. Perfect. I would like to, like, model in this home. All right. So let's just do this. I will not care too much about these pebbles. They are too small to be modeled in. The normal map can take care of those. Let's make this hole with a tiny bit of inclination in the polygons. Though the bake can this part can be baked nicely. Alright. Let's just keep adding more polygons. All right. Let's see. I think this part, we will need to add. Maybe not. Maybe, yeah, I would like to have the silhouette of this plate. All right. Let me do something here. All right. Let me see how this is looking without that, all right. Let's just keep adding more more polygons. Alright. All right. Perfect. Let's just keep proroting these polygons. All right. Let me extrude. But just like that. Me polygons. I would like to make, like, a cut here. All right. And Perfect. But now, I have a pick two stretch polygon, so I will just split that into two. Two triangles. All right. Perfect. I will need one more polygon here, another more polygons. Let's just merge these two vertices. And now let's just fill that with some more topology. We'll separate these and then merge these ones. All right. So now we could continue with this. Perfect. Here, I will need astra angle. All right. I kind of don't like the way this polygon is stretching. Um, maybe we could just split that into two. Like just to force triangulation there. Because sometimes we need to force the triangulation. So when the models triangulate it triangulate in a nice way because each software tends to triangulate at the models differently. But if the model is triangulized before the game engine will not triangulate the model. I don't know if you can understand me. But let's just continue. This is two rectangular polygons. Let's try to split that into two. Alright, let's just keep extruding this. Perfect. Try to get these shapes. Alright. All right, perfect. Is pep of ties to have two polygons. All right. Perfect. Perfect. Et's have that there. We'll just add that tiny triangle here. Perfect. So we could get this bebel All right. Now I will just extrude all of these all the way down. All right. I will add two ups here so I can connect these. All right, here and here. All right. So we have that. We could do two things like we could follow the floor of these or we just don't care about them. Let's say we will see we'll see what we could do. I mean, because they can be just be baked in. We don't need to care about those stuff that could just be baked in. All right. Let me just continue these s. Let me extrude this down. All right. Let's just keep extruding. This could be just a triangle there. This one also could be just a triangle. All right. We'll need some All right. Perfect. Let's make this a triangle and add another edge there. This would be a triangle here. All right. Let's just keep pruding More polygons. All right. This part will be just few more edges. All right. Now, let's try to get this nice and clean. All right. I just try to get this nice and clean. Alright, let me save. What, what could you do is just, like, to follow to use the knife brush just to follow, like, the shape and the flow without, like, destroying the cylindrical loops that we have. Just like that. All right. Perfect. Let's see here. All right. Just like that. Perfect. All right. Let's add another loop here. Perfect. Now in this area, it would be nice to have another one. Perfect. Just like that. So this would be like, be baked a little bit nicely. All right. So we have the front part made. Let's try to complete this. Maybe we could do something here. All right. Perfect. Just like that. All right, Extrude this way. Let's add more polygons. All right. Just like that. Let's just keep extruding more polygons here. Perfect. All right. Let me add another triangle here. Perfect. Just like that. All right. I All right. Let's keep adding more polygons. Give me a sec. All right. Continue. Few more polygons. Just ready to fill all these gaps. All right. Perfect. All right. So here. This part also. It's just fell. These caps. Perfect. This part also. All right. Let me do something here real quick. Right now, we have two triangles here. We don't care too much about them. All right. It's like that. That isn't good. Let's just try to complete this. All right. And Perfect. Et's just try to get this batter nice and good. All right. Perfect. All right. Let me safe incremental. A little bit. All right. Now here we will start using some wrangles there. All right. Just like that. Perfect. All right. Perfect. All right. So we have the front part of our inner armor. We could continue this. All right. Let's try to get this part nice and good. Alright. And I mean, the bad part will not be seen basically because we have the jacket on top. But would be nice to have it also just in case maybe taking the game, the catcher will take his jacket off so he has something to show there. Alright. To get this thickness nice and good. All right. A few more edges here to hold better this curvature. All right. Here, maybe another one here would be. Like here or right. Let me move this part without another troop. Let me fix these areas real quick? All right, and now we could extrude one polygon from here down just like that. All right. Now we just keep extruding more and more polygons. There we go. Perfect. All right. I will need a few more polygons to get these shapes nicely. All right. Let's just keep proting this stuff. All right around here would be nice. All right, let's see here. Let's add one there. Alright let's add another loop around here. All right, another loop here. I think, well, we could just leave that. All right. And now let's just add enough loops just to close this part. Alright, there we go. Perfect. All right. Perfect. Now here we will just continue this just like that. Alright. Here, here we cannot use the moth Brush. Because we are not using the shrink wrap. We will need to clean this all my hand. Alright. Perfect. All right. All right, right. Let's continue. Let's continue. All right. I like that. Perfect. Just a few more extrusions and we will have everything done for the inner armor. Right. Let's see what we could do here. Let me add maybe one triangle here. And All right. Another look there. All right. Perfect. Let's just keep extruding here Perfet All right. Perfect. Alright, let me say real quick. Here we go. Give me a second. Let me see something. Alright, let's continue. Maybe we could just extrude this part. And now let's add ara angle there. All right. More extrusions in these areas. All right. And Let's add up one more there. There we go. Perfect. I will want a little bit more of resolution in Dataa. So let's just continue this. All right. All right, perfect. I All right. Just keep extruding. A bit more. We are close to finish this topology at least of this inner armor. Alright. Let's add another there. Perfect. There we go. All right, perfect. All right. More here. All right. Get this polygon. All right. Perfect. All right. Right to get this nicely. A, see, let's see, we will need to add another triangle. Perfect. All right. And All right. To get this correctly. All right. Get to get this nicely. All right, let me see. Will you extrude this big polygon. All right. Perfect. All right. We'll not care that much about that. All right, so let's see. Let's see. Way to get this nicely connected. All right. Perfect. All right. Let's try to get this nicely in place. All right. This doesn't want to be extrude right now. It's working. All right. Yeah, we could just use triangle. We could use another triangle here. Perfect. All right. Let's add another loop there. Angle here. North angle. All right. And there we go. D incremental. Perfect. So there we go. Now, let me try to complete this here. All right. Perfect. Let me increment all this. Now, let's see how this is looking without the high poly showing up spring back our body. Let's see how this is looking. So let's do something. Let's get back our inner body. I mean, our inner armor high poly. Let me try to select this. And now on the holes, I'm going to do something, and that will be, let me see something here. I haven't completed this part. Let's try to do it quickly now. Alright.'s a tiny bit here. Wrangle, not triangle. All right. That part will not be seen anyways. We need to connect that in some way. All right. Now, I will add just try and goes here. All right. Now, I think this could work. A will not be seen. All right. Now, let's do something. Let's select the the edge of this hole and now I'm going to do the activate my magnet. I will extrude it, get it down, bring it in. All right. Bring it down like this. All right. Now going to just collapse all these polygons down because I want to close the gap that this hole is making. And since we have the body there, it doesn't care too much, although this parts is looking too much. I don't think that would be a good idea. Indeed, let me just delete this stuff. Alright, let's see what else we could do. I see. I think we will need to, like, to continue the thickness in, and then we could do that that stuff. Yeah, I think so. Let's try to do it quickly. Let me bring back my inner armor. All right, we could do that here with this part. All right, let me just collapse this. Now I will just do that. Perfect. That part, we could just do that. But here we will need, just to continue the thickness in order for these to look correctly and shade correctly. All right. Perfect. Let's continue. It's like that. Perfect. All right. Perfect. L et me say incremental again. Yeah. So let's see how much this is looking now. Let me hide my stuff there. Yeah, I think that this could work there. So I will hide the body. I will take the hole that this is making. Oh, we could just make it a bit thicker. I think that would be nice. All right. Perfect. Let's just continue. All right. I would not care too much about the shape there because that part will never be seen. All right. Now we could just take this, extrude it, i it inwards, wrap it down. All right, let's gal again. All right, let's collapse that. Now we will just close that just like that. Here, we could do like something similar. Let's make this. All right. Perfect. Ready to get some thickness here. We are almost finishing with the inner armor. Perfect. All right. All right. All right. Let's just continue. Perfect. All right. I All right. I would want to something here. Maybe we could just take this part and get the sellout. All right. Y Array, let me safe. We quick. We are almost finishing. Just need to make some little adjustments and we are done. Alright. At I think this go to the shop. All right. Let me just straight close this. Like that. All right. Now we could just select everything in that hole. Let me see how this is looking with the body. All right looking nice. Now, let's just extrude this, push it in. Alright, push it in. Not that much, just a tiny bit. Let me add another look. All right. Now, we'll just do it again, and then I will just collapse that. Perfect. All right. We try just to have the areas a little bit cleaner. All right. All right, I think that now this could work. So now we have the topology. Oh, our inner armor. So let's see how this is looking. Looking nice, looking good. There we go. Let's take the head. You can see how this is looking. All right. So now I think we are ready to start working on the jacket. So we are going to make rtpology of the jacket. In the next video. Are you there. 10. Starting the Retopology of the Jacket: Alright, guys, so let's continue with this model. Now we are going to make the topology of the jacket. So let's start. Alright, here we have the jacket. Let's begin with this. Alright, let me take one polygon from the inner armor. All right. And now I'm going to make a new collection. I will call this jacket. All right. There we go. Now, let's bring that jacket into that collection. All right. We call this Jacket. Hello. Perfect. And now let's start making some polygons. I will make this a separated object. Alright. So let's begin. Alright, there we go with our first polygon. Alright. Maybe we could continue this here. All right. Something like that would be good. Perfect. I think I will need I will need some more edges around here to get nicely that rounder corner. We want polygon here more. Alright, let's keep with this. Let's keep extruding. Just like that. All right. Perfect. Let's keep adding more polygons. Let's keep extruding this. I will make, like, big extrusions, and then I will just make it smaller. All right. Here, I will make another extrusion. All right. Maybe let me take out one of those polygons. All right. Let's keep adding more polygons here to get this panel done. In this model, I will need a thickness, like real thickness. So we will need to make the inside of this model also. So let's keep working on this. I will have, like to erase the back part of this thing so we can have, like, a clean stuff there. Alright. Let me try to get this nicely. Alright. Perfect. I just extrude more here. I will add three edges. Skip extruding more polygons. All right. All right, perfect. Let's keep working on this. All right. Let me do something. We'd like to have a part just like that. All right. I would like to have more density of polygons in this area. So I will just make this here. Perfect. All right. Let's keep working on this. Perfect. All right. There we go. A bit more polygons here. All right. Perfect. A bit more polygons here. Just keep extruding. We'll just extrude like big Big polygons, and then I will just cut them. It's like that. All right. Perfect. Let's just keep sorting this quick. It only nice. Alright. Perfect. All right. Sometimes blender box and while extruding. And make the extrusion like a few moments after present F, a bit annoying. All right. Great to get this nicely here. Perfect. Let's keep extorting this real quick. All right. Just like this. Perfect. All right. All right perfect. Let's just make more polygons here and there. All right, one more edge loop there. We need another edge loop here. Let me lice this a tiny bit light. I mean, All right. Let's just keep extruding this. All right here. Alright, let's wait for Blendt to respond or right perfect. There we go. Perfect. A bit more polygons here. All right. We need to make a triangle in these parts. All right. Let's keep the loop from this area. Alright. Perfect. Let's make the thickness of this part. All right. Perfect. Yeah. All right. Let me put two. Just add two there. Perfect. Make a triangle here. We'll add another one. Another one. Let's wait for this. And now let's just move this to redistribute the polygons. All right. A Perfect. All right. There's something here. All right, I would like to have this polygon, just like that. All right, perfect. I will need to split these into 22 triangles. Because when a polygon has a phase that is like that, it's called like generated polygons. And those type of polygons cause problems. The way to fix them is just to split those polygon into two triangles. That way, everything will be good. All right. Let me say incremental real quick. Now here, let's try to get this nice and good into the topology. All right. There are some issues with the novels. I think I will re export without decimating this area. I think I will have to do that. Alright. Let's just keep adding more polygons. All right, I would like to have model in each like base here. So let's make it. We'll just make some triangle here. All right. Okay. Perfect. All right, there we go. Perfect. We have a hole there. That's interesting. Why do we have a hole. I think we will need to fix some stuff inside ebrush. All right. Perfect. All right. And Perfect. Let's just keep adding more more polygons. Till we get this all. Alright. A all right here. Perfect. I will need to fix that, indeed. I want, like, redo that part, I will just try to fix manually those holes inside brush and then export them because I don't want to redo this retopo. I think that before continue this apology, we will need to go to cbrush and then fix that there. So give me a second. All right, guys, I have fixed kind of this part. You can see that we don't have the whole anymore. But I have tiny bit of sharpness, but I don't think it's a bad thing. All right. So let's adjust this nicely. I also, like, pick more this entire piece to the jacket. So now we will need to adjust it nicely. I thought so. All right, let me do something. Let me hide this. I will take this. And now I will just move that where it should be. All right. Let me put this in median point. All right around here should be more close to the body or the jacket. Just like that, I think will be good. Now, let's do something. I will delete the other half. I will delete this part. And now I will add a mirror modifier to the poly of that buckle. I will apply that mirror, and now we could go back here and just keep adding the polygons that we need. All right. That's nice. Let's just keep working on this. Let's adjust these pieces again. All right around there. All right. But we have something weird in this high body. Let me see if I'm correct. Yeah, we have some flipped normals puking out this high poly. So let me hide the low poly. And now I will go to sculpt mode. I will get my grab brush. Then I would go here to brush and then select topology. I would active asymmetry. And now I would just let's see which one it is that is. Alright, let's go here. And now let's just fix that real quick. Also this piece. Alright, there we go. Let's keep working. Let's get back. Our low poly. Let's see what we could do here. Alright. Another one. Perfect. Right to get this nicely. Here. All right. Perfect. All right here, we need to do something. Let me do something. Again, in the high poly. I will just, like, make this touch more that other panel. Perfect. Let's get back our high poly. I mean, our low poly. All right. Perfect. Let's get this here nightly. Perfect. All right. So, now we need to do the other part. The other half. All right. Let's see what we could do here. I will add maybe let's just reduce the amount of polygons that we are getting this area. All right. Perfect. So let's keep working on this. All right. Now I need to have some stuff here to take that polygon. All right at last merge at last. All right. Perfect. All right here. All right. Let me split these into two. There we go. Perfect. Now, let's just try to get this. Good here. All right. Need another triangle here. Perfect. Let's just take this here. All right. All right. I will add a middle edge up there and just close those gaps. All right. Perfect. No, I don't like that there. All right. Here, I think would be good. I think so. Maybe not. Let me do this here. All right. Here, I will just take this. Just like that. Here, I need to do another stuff. Get this nicely. Alright. Perfect. And let's just complete this here. Let me save incremental. All right. Let me just reduce these polygons here. They are too much. And now let's work on this area. All right. I will need a troy. Oh, here. Perfect. All right. Let's try to get this nicely. Perfect. Let's get this. Here I need. I will add just another E. Right. Perfect. Al right here. I don't like this that much, so I will just make this in that area. That triangle there. All right. Here, I will need this polygon. All right. Great to make polygons stick to that. All right. All right, let's see. Let's see what we could do here. A All right. Perfect. Another head troop. Here. All right. Let me just take this here. Not like Ads. Just make this part just like that. All right. Let's continue with this. I quite not like the way but this is there. Y. I think I would just leave it like that. I wouldn't care that much. All right. Let's keep working. Perfect. Keep adding more polygons here. All right. All right. Et's just keep adding. More and more. I know. I'm just repeating myself. But it's because this is like brainless process. It's just add more and more polygons till the end. Obviously, you do need to think. You need to use the brain, but in the long term, it's very boring. Alright. And there we go. We have that part of the jackal. Let me see how this looks. There we go. There we go. Have something weird there. Let me see. So, have that part. Perfect. Let me see if I add a weighted normal pedo Let's continue with the jacket because we need to make the sleeve. Now, let's start making these sleeves. I know it's a little bit pain in the ***, but we have to do it. All right. Perfect. There we go. Just try to get this loop nicely there. It's just a sickness. And All right. Perfect. And this will be around here. All right. There we go. These type of polygons, they are good for the subdivision models, but I don't like them in this real time because this tends to try and triangulize a little bit randomly. I don't want these type of polygons to be triangulated in a different way. Every time I ip this model into another software. All right, so let's say incremental. All right. Let's see what we can do here. There we go. I just like to get a loop around the sleeve, just like this. A little loop around here. Alright, there we go. Perfect. All right. Let's see what we could do. Now, I will just preaches All right. Perfect. All right, here. More polygons. All right. I All right. Let me get more solution in this area. Perfect. All right. A Perfet. Let's make this piece here. It's not an even number of vertices is 29. Is not even. All right. If incremental, just keep working on this. All right. Let's see. Here we have it. I can do this to reduce the amount of polygons. All right. I would like to do something. I will just take this gated, separated. Go here, shrink crap, take this jacket. Alright. Let me active magnet and now I will just extrude this down. Just like this. Just like that. Again, and again here. Perfect. All right. Perfect. Sometimes this type of geometry that have an interior, thin crap tends to push down the vertices. So we need to bring them back. So let me add few more loops here. If this ones to work nicely, It doesn't. But I think we will work with this. All right. All right. Now, what I going to do? I'll just apply that shrink wrap. Perfect. And now let's work on this. Et me try to get this disease and edges to get the shuetO this leaf. The set of the wrinkles, of the slips or the folds. Slips. That's the worst. No wrinkles. Alright. All right. There are some parts that I will just use like split the knife brrush using the triangle? Oh, I didn't have my magnet activated. That stamp from my part. Alright. All right. Like that? Let's keep working a tiny bit more on this. Let me safe incremental. All right. Get a few more icks. All right. Let's see what we could do here. I'm just fixing this by hand. All right. All right. Perfect. All right. Let's see. Whatever we go. Now, we need to get the silhouette. Of those big folds better. I will use now my knife brush to get that. I will need more Eglops around some of these areas. Here, for example, Just get this polygon stick to the surface. All right. Perfect. Last, for this part could be here. All right now, let me use the knife brush just to get this stuff. Nice and good. All right. Perf perfect, perfect. There we go. There we go. Alright. There we go. Et's get this. All right. Perfect. Were you get this nicely. One more cd here. Let's add or steak this hooligans here. All right. I'll add a cut here or another cut here. What I'm doing now is like forcing the triangulation in some riots, so this can hold better shapes. All right. I like that. Here, maybe we could add one more here. Be aware to not make guns. You can see that I don't have any angun here. But you could make guns in case. That you do like this, you can see that now it's created than engon. Just try to avoid that. Let's just merge these three. Alright. Perfect. There we go. Here, I need. One more loop. There we go. Perfect. All right. All right, There we go. Perfect. Let's try to get this nicely. Just like that. And just like this. Here in the inside, I will need also to do some cuts like here in this area. All right. Let me say perfect. We go. Another cut here. We have to cut the int. There we go. Although I don't think this loop is needed. Yeah, it is, yeah. Let's just leave that here. Maybe not. Let's see. It is not kneaded, so I will just not add it. All right. Perfect. I think it's good there. Let me see incremental. All right. I think it's getting a, the shapes. Let me delete this No. Now, let's merge that sleeve with the main body of the sleeve. Now let's see if we could do some merge by distance. All right. Let's do Subsi. In order to get this cl there, I would add an loop here. I will delete that loop so I have a gap. Now I will get these two loops. Now I will just bridge them. Let's see where it is bridge. I think it's in edge. It should be here. Bridge loops this option. Now I will just delete this other loop. So now I have them merged together. All right. There are some issue here. So here we have kind of the jacket. I will end the video here because it's a little bit too long. There are some more stuff that we need to do to finish the jacket phy topology, like, make the interior. The interior of the sleeve will not be necessary because that part will never be seen. So I will just make the interior of this part, that part. But I will do that in the next video. So Are you there? 11. Finishing the Jacket and Making the Retopology of the Gloves: Alright, guys, so let's continue with this model. As you can see, I have upgraded my screen, so it's bigger. So let's start. So in the previous video, we left the jacket in this stage. So now we're going to complete that, and maybe we can start making the gloves. So let's begin. Alright, we need to make the inside of this jacket. So let's do it. Let's make the rims. Alright, let's see. Make this All right, let's just extrude oligus around the rims, just like this. Before that, let me do something here. I will just, like, do one extrusion in just to make that little rim. And now I will extrude inside the jacket. Maybe just like this, another one, and I will just collapse that down so I can have this. Alright. Now from here, let's keep working on this so quick. Just like that. Perfect. All right. Let me make the rim of this part. All right. I haven't put the magnet active. I haven't active the magnet yet. All right. Let's see what we could do here. Pass. All right. Let's see. We could get a little bit more of curvature in this part. Alright, maybe here we could just do this. Alright, perfect. Let's keep working. Maybe one maybe we could put one triangle there or maybe not. Maybe just like this. Co be right now. I don't like it that much. Wanna see. Maybe we could do this. Alright. Basically the same thing. Let's keep working on this. Perfect. Alright. All right, there we go. There we go. I think I need a bit more of curvature in this area. So let's add another edge loop here. Perfect. Let me collapse this. Alright, there we go. And now we don't need anymore that edge there. Alright, this is better. I captures a lot better the curvature. But here, we need still this water. Yeah. Alright. There we go. Let's keep extruding this rim around here. Alright. Alright, we have this. Let's see. I would like to add another polygon. I mean, another edge. Alright, let me try to get this close. All right. Let's see. Perfect. All right. I will end this one here in this area. Alright. All right. So let's see what else we could do? Let me try to add or make this part a tiny bit better. All right, so let's keep working on this. Let me do something here in the hi poly. I will just try to get rid of this part here. That let me hide the low poly. All right, let me do something. I will just delete all of these polygons around here because they are getting in the way. Alright. Let me delete that. All right. Faces. Here we go. Now I will just make a mirror. Let me delete a tiny bit more of this area. All right. A tiny bit more. Like that. This should be enough. All right. I think this should be enough. All right. All right. Maybe not that much. Perfect. All right. I think this would work. Perfect. And this part here. Let's try to fix that. Alright. Here we go. Now we have a cleaner bology here. What is this? All right. Let's try to fix that. Alright, now we have a cleaner inside. Alright, let's do something. I will delete that part. I will make a mirror here. Alright. He also right there we go. Let's bring back our low poly jacket. And let's just keep working on this. Let me do some tape incremental. There we go. Perfect. All right. P here. We need to bring that closer together. I think like that should be good. All right. There we go. Let's just keep making this. All right. Perfect. Now, I will just continue this here. Alright, I will need to do some stuff here. Alright, let's bring an edge here. Perfect. I can have another edge here just to hold that shape. And now I can just this Alright, I will add another edge, maybe not there in the other side here. And then we could merge these ones. There nicely and good. Alright, we have some stuff here that we need to get rid. We need to dress. We are not getting this shape. That silhouette that will cause troubles, while Baking. Alright, let's try to get that I think here could be. All right. Let's be say incremental again. All right. There we go. Now, let's do some stuff because I'm lazy, a tiny bit lazy. I will just copy the same topology that I have here. I will just copy that, Chief D, stick that stuff to the inside. And now let's just reverse the normals and there we go. And we fill that part. And now we can start just merging at last this re disease. All right. And now we have a bunch of this nicely. Now, let's just continue this by hand a little bit. All right. There we go. We add another stuff there. Alright. Perfect. It is important that the inside have, like, a matching topology, like the outside. So we don't have any clipping issues while rigging. So have that in mind. Very important to have it in mind. Also, if you had a naked body, your clothes needs to have a matching topology. So we won't have any clipping issues while rigging. All right, let me try to get this nicely here. Alright, perfect. There we go. Let's rebirth the normals. Perfect. Now, let's just merge this the ties. Alright, let's merge that. There we go. Right to get this nicely. Alright. There we go. Let me save. Alright, let's see. Let's see, let's see. Or why let's try to get this part also. Perfect. Normal flip. Let's fill this cup. And now let's just get all of these merged. There. Alright. Perfect. All right. Here. There we go. Let's feel this. All right. Perfect. All right, right. Let me try to get when this circular looks. If I can get it. All right. Let's try to get this. All right, let's just reverse the normals. And let's just fill those gaps right, let's wait for Brander to respond. Alright, there we go. We could use the solidify modifier. But in this occasion, I think it will cause more troubles than solutions. So I will not use that All right. Just try to get this clean and nice. Perfect. There we go. All right. Let's just keep brooding. And now let's save this. Real quick. Alright. Perfect. All right. Let's continue from this part also. All right, here. Another one here. Another one in this area. Another one here. Alright. A few more There we go. We just feel this. It's like that. Perfect. All right. There we go. Then just try to feel this this aptly. All right. Perfect. There we go. A few more left and there, and then we could continue with the rest of the stuff that we need to do. All right. Here All right, there we go. Let's see. More polygons. There are more and more polygons to come. With this model. A lot of pieces that we need to do free topology. Don't not be afraid. Embrace the free topology. Yeah. All right. I will just make a triangle there. I don't care. All right. And now here, I will just close this. Alright, now, in this area, I will do something. I will just extrude it a bit. It's like that. Let me try to get this here. To get these edges around here. Now, here, we're going to strut it again. I just one more time, and then I will just elapse that. Why? Because there are not need of the inside of the sleeve because it will never be seen. And also, these part will never be seen. As you can see, that part will never be seen. So now we have complete the topology of the uh, yeah. We have completed topology of this jacket. But now we're getting a tiny weird spot. Here, you can see that we are getting like that. Alright, I think it's for this. I think it's fits now. We had a tiny polygon poking out. We have a hole here. I didn't notice, but this is not correctly merged. All right. Now it is try to stick that again where that belongs. Alright, here. Perfect. Now, we have the inner armor, the inner shoot, and the body. We apologized. So we could continue with the globes. So let's start making the globes. Let's bring the high body of the globes here. Alright. I think that we could use we could reuse the topology that we made in siver for these metal pieces. So let's see, I think I haven't lit them. Let me make another collection here. Lobes. And now I will just get these objects. Let me hide this. All right. Now we have some topology for free for the for these objects, for this armor, maybe we could just delete a few edges that are not needed. Alright. We don't need that amount of edges here. Let me hide the rest. We don't need that. I think that could be good enough. Yeah, I will delete this also. But there we go. Let's do the same here. Alright. Let me see something. There we go. Here. Perfect. Here also. Let me do something first. I will take this. Here. All right. Now in this audio. There we go. Let me delete this polygon. Putting polygon there. All right. What is this? Let me hide that stuff. All right. D incremental. Let's continue. Let's hide the rest. And now let's get this nicely. Alright. Here, here and here, Dissolve. I will just erase those, and there we go. We'll call this glove armor low. All right. Let's get the hi poly of the clothes again. All right. We could also reduce the topology that we made for these pieces. So let's get them back. All right, let me hide the hi poly. Perfect. This just needs a little bit of reduction. This way we can save time because we already made this piece as a low poly at the beginning. All right here, I will just remove those supporting edge loops. Alright. Let's just remove them from all the pieces. All right. Perfect. From here, also. All right. Let's see here. We could do some stuff. Let me DeactiveRtplo is shading because it's bugging me out. Let me see topo. Let's deactive that so I can see better what I'm doing here. Perfect you A. This one's it. This one. Yeah. Perfect. And those here. Let me do something. Perfect. There we go. Let's now. Alright. Let me name this. Mm Armor. Low Perfect. And all of this. I will just name it later. All right. Let's continue with this. I will say if incremental. Perfect. So let me hide all of this. I will do the same in here. This is the body. All right. So I will do something here. I will just take the topology of the hand from here because I'm going to reuse that topology. I'm not going to make the topology of the hand again from scratch. I will just take this Bleed heating. All right, I will bring these to the globes. All right. I will just inflate that with d and C and now I will just use some shrink wrap modifier to stick that to my surface. And there we go. So free geometry that we can work with start making these globs. All right. Let's just fix that real quick. There we go. We're ready to go. Save incremental. Perfect. All right. Now, let me keep with the shrimp crop for a tiny bit more, so I can make this easier. All right, here. Alright. All right. There we go. Now let's just get parts nicely in place. All right. So we'll just add few more edges. But a few more edges here and here. All right. And now I will just apply that string crap. Ah, yeah. We need to delete the shape keys before applying a modifier. All right. So let's continue the topology here. Here. Alright. Just continue this topology. Perfect. I haven't taken this to the surface because I forgot again to have my magnet active. All right. Two more polygons here and there. I would like to have like one seam around here. I have to have this here. I can take that and use it as a place to add scenes. Alright. This part, it disperse a little bit too much, so I will just leave that alone. Alright. Something. All right. We have weird stuff here. I'm not really fog. Alright, I see. It's poly gonna don't like it. Alright. Let's just try to get this nicely in place. All right. There we go. Tina. Will you slip that. Just like that. Alright, let's just continue. Continue with this model. All right. Right to get the clubs done. Alright. Perfect. Al right. Let's see. More we should have it. All right. Two more polygons here. All right. Let me add one more here. All right. Perfect. There we go. All right. I need another one here. Alright. Let me see something here. All right. This part is not. We just push that in. This led me to it. I think now it would work better. Right? We just put that push that in a little bit more. This full loader. Alright. Here, also. It was a little bit too far away from the surface. Alright. Let's just get this. Perfect. All right. There we go. This should work. Let's save. And now let's just continue with this. You can see that we almost have this club done. I'm getting some issues here. Ready to see what problems are. It's just a little bit ******* out, right. There we go. All right. Let's just continue. Perfect. Here. Continuing D Sadia. All right. Perfect. Just a few more polygons. There we go. We hide this. All right. It's too way far. All right. Get to get this topology. Right? There we go. I would like to have something. I see in a sep would like to have more polygons around these corners just to have a tiny bit more of a solution there. I will just split these into two. Now from here, I will just start adding a few more polygons so I can have more solution that curvaturia. All right. Something like this be good enough. All right. Perfect. If we go, I will do something here. All right. Here. Perfect. Now here. All right. That's better. Let me safe incremental. It's just complete this. All right. Perfect. All right here and there. Perfect. And there we go. We need to do a few more stuff. I can add one triangle here. I'll be at last. Alright. Alright, let's see. Let's see. Let's see. What else? What else we could do? Let's try to get this stuff here. Alright, for Blender to respond, sometimes blender takes a few minutes. I mean, few seconds to respond directly. I will also need to add more subdivisions around here just like that. Perfect. There is just this part that is left. All right. Perfect. All right, and see. I need to add another. Another one here. All right. All right. Do more stuff, and there we go. I get this like that. No, I haven't at Magnet again. Don't be like me, please. Don't be like me. Let's just try to finish this. Alright. Let's just finish here. All right, we got something weird. All right. It just close here. All right. Perfect. There we go. All right. Just a few more. Alright. Let me do something here. Perfect. All right. All right. Let's save. We still need to finish this. Let me just screw all of this here. Perfect. This entire strap. Alright, this one, also. All right. Perfect. All right. All. All. Let's see. A little bit more. We are almost finishing. O. I think this stuff will cause troubles. This area will cause a little bit of troubles. So let's try to get this nicely here. All right. Perfect. Few more polygons. Alright. All right, here, here, here. Perfect. Let me hide the body. Just take erythropology. From here, I will just make a big polygon here. All right. Now, I will just take this whole. I will just extrude it inwards. Rare to get this cubator nice and good. Just like this. Alright. The sickness saria All right. Now, I will just get this grid it inwards to the inside. It's like that. And now I will just do it again and just close this. And now we have the globs apologized. You can see it here. It's safe incremental. And this should work. All right, there we go. Bring everything back again. All right. Let's add a mirror modifier. You can see it here. All right. We're getting some stuff. So I will end the video here in the next video. Let's see what we could do. Maybe we could start making the htpgy of the pant, and then we could start making the rhytpgy of the boots. So we have already, like the main character apologized. Not that quite because we still need to rteplojate a lot more of stuff. But at least the main principal piece of cloth topologizeT see you there. 12. Making the Retopology of the Pants: All right, guys, so let's continue with this model right here, we're going to start making the topology of the pens. So let's begin with that. So let's bring our pens hy poly here, and we're going to make the hypology of this Alright let's see. Analyze in a little bit how we can make this. It should be relatively easy one. Alright, I think that I will reuse the topology of the of the legs that we have made before, but we'll reuse that in order to speed up the process and not start from scratch. Alright. Around here, I think will be good enough. Perfect. Alright, let's split that. Here we go. Let's go back to perfected view. Alright, let's make another collection. I will call these Hence, there we go. Now, this topology, we call this hands low, all right. Let me hide the body and also the rest of the things. Alright, so we have this. Alright we could delete this Edge up. And now Alright we have a floating phase there. We could bring this down with a with the proportional editing. Also, I would like to delete one half of this model because I'm going to use the clipping function. All right. Perfect. I have just decrease the distance of merging because sometimes it tends just like to merge very close polygons in the middle trope. So I don't want that. All right. Now, let's bring this up around here. And now, what I'm going to do, I will just inflate this just a tiny bit. Not as much because I don't want this area to merge right? It has a bend merged together, I think. Oh, yeah. I did it. All right. Let me bring All right. Console C. That Alright. Let's bring the shrink wrap and use the pant as a life surface or the target. Now let's see what to give us. What this give us really strange. Why this doing that. All right, let's see. Well, I think that we will need to do some stuff. Alright, I will just delete the middle one. The middle area. Perfect. Let me increase the size. Alright, let's see here depend. Oh, I see. Now I know why it doesn't want to wrap. Well, because this is split into multiple objects. So let's take that by hand. All right, here we go. Here we have our stuff. Let's acti the magnet with the proportional edting. Now, let's just fly the geometry, the surface. All right. Also here, I don't like how that's looking there. I'm really not fun I'm not a fan of that. Alright. Let me the active, the magnets. Alright. I will just decrease this just like that. Right, there we go. Just try to keep this nice there. All right. I will do something. I will hide this pose. And now I will just merge the rest of the pant into one. All right. Now I will take this as a surface. There we go. I mean the active part. All right. Is Area kind of Al right there we go. All right. I will take this around here. So this is not that distorted. All right. Let's just keep fixing the polygons here. All right. Here we go. Perfect. Here, we have a good place to add a seam here. I mean, just align this edge to this seam here to this crease. Alright. Perfect. Let me try to get this lightly placed right in front. There we go. Perfect. I'm just pushing out some of the topology here. We'll have to clean this area. All right. Now we can just apply the shrincrap. Let me apply the shrincrab. All right. This mesh has shape keys. Now we can apply the shrincrab. Alright, let's fix this. Now, let's make let's make some middle e troop. Around here. Perfect. There we go. Tiny bid here. M one here in the middle. Alright. Perfect. There we go. Perfect. All right. So First, let me see how the poach is placed there. All right. I think we could make the pouch, the perded object. Yeah, I think I will just do that just to avoid maybe some issues. Alright, it'll be easier to make the pouch, a separate object rather than, like, make the pouch, a single object with the pens. It will be kind of difficult just to do that. I mean, it's faster to make it this way. Like, just separated objects. And then we don't have to think how we could have them together in the same topology. So let me just continue trying to clean this out so we could start making the same treatment as we did with the leaf in the jacket. All right. A here, and this would work. We're here. All right. Perfect. All right. How many polygons are left? Please stick to the surface. All right. Now, let's use our knife brush. Let's press K. Let's cut here. Yeah, we will just do this. All right. Here, I will just make like this. All right. There we go. Also, I would do something similar here just to get this hold nicely. Alright. There we go. Alright, let's get this nicely. Here. All right. Just remember to not destroy your flow, the cylindrical flow that we have here. Like, just adding I mean, adding these triangles won't affect the flow of the topology of the cylindrical topology. So that's why we are using triangles in this part that will be bend. All right. Y another more here. All right. Last, There we go. Let's get this. Perfect. We're not in that part. Let's try to get it just like that. Alright. There we go. Alright here. Great to get these too. Alright. And Perfect. Let's just try to get this nicely here. All right. This will be around here. Perfect. And now this will be here. Perfect. Let's just safe incremental. We have made a lot of progress without saving. That's dangerous because maybe sometimes blender tends to crash. And it's really annoying when that happens. So please remember to save your projects. I will always say that and will never get tired of saying that because believe me, that's super important if you don't want to lose all of your work that you have spent a lot of time making All right. I like this. We still have more big folds. All right. There we go. All right. And there we go. More folds here. All right. Let's try to get this nicely see how we could get this. We'll just do this up we don't care. All right, there we go. I think we are almost perishing with this. All right. Perfect. All right. All right, there we go. I think we have all the Siluet already catch. We could get a tiny bit more of Siluet here by just doing this. All right. And Perfect. Let's save this. Alright, let me try to get this nicely placed. Just like that. All right. There we go. All right. So basically, we have made pens nicely way. All right. Oh, yeah, here. I need to get this hiluet from this part. Just like that. Alright, let me add another soup just to get this in a better way. Alright. Perfect. Let me add maybe another edge loop. There we go. Let's stay incremental. Alright, here we will just inset because that part is where the knee will be A right here from the top. Let's just extrude right scale it inwards. Just like that. There we go. All right. Let's try to get this nicely. All right, let me try to get this in a better way. Alright, we need to get this little piluet although it's not that necessarily. Get a Silet. All right. Here, maybe we could do the same thing to get this more billed. And now, we could just extrude, sce it inwards, dig it here, and now we're going to extrude it again and then just collapse those vertex and just close that gap. Alright, let's go here. Let's do basically the same. But I need to align the better in a better way All right. Perfect. All right. Let's get this again. Call it down, push it up. And now we could just pull up this, and there we go. Let's safe incremental. Alright. So we have the pens. Let's apologize it here. Perfect. I All right. Let me save again. So, we need to make the topology of the poach. Let's wait for this to save. Alright, I will just save again. Sorry, but I'm a little bit paranoid with the crashes and all that stuff. So let's continue. Let's see. Let's bring back again our poach. We need to do the topology of this All right. Mm. Alright. I mean, this part will be kind of a pain in the *** to reapologize. All right. Let me see if I have. So I think we could start with the base topology of this. All right. B habit. Oh, it's here. Is not all right. Let's see. Let me see how this is this place. I think we could reuse this. But it will get some baking issue in this area. Let me see just a tiny bit. Alright, I have an idea. So I think we will need to, like, modify a tiny bit body because that area will be a little bit of a problem while baking. So I'm going to reuse this topology for my pouch. Alright, let's bring it to the pants. Alright, let me hide this again. All right. Let's go to item. As you remember, I forgot to set the scale at the beginning before exporting the mesh to Zerus. So let's just put this into 0.1 there. All right, there we go. Here we have our poach. So I would like to separate the ring part. From the from this other part. So let's go to brush. Let's active topology here. Maybe we could just push this a tiny bit in just to separate a little bit more that part from this rim from this part of the pouch. All right. Sometimes we need to do this in order to get some good results. All right, let me just inflate this tiny bit. And now we can start making some stuff. Like, I will add another edge here because I'm going to start sticking. I'm making the topology of the rims. We will need to do it twice because we don't have imagery. Alright, let's get this nicely here. All right. There we go. Perfect. Alright, let me hide. This piece, we just hide it. I think I will make that piece a separated maybe equal to it. I don't want to make, like to separate, too much separated objects because when rigging, they maybe will be a little bit pain in the ***, you know, but I didn't see here we have problem. All right, feel more. All right. Perfect. Let's get this. All right. Here we go. This would be around here. All right. All right. Let's add another sorp here also. All right. So let's try to get this here, good. And nice. Alright. Perfect. Get to get this here. All right. A All right, perfect. Let's get this nicely. There we go. Let's go with this. No All right. There we go. We have to kind of poach. Ma trying to make these straps. It should be easy. Let's get all of these polygons. And now let's just extrude them. Let' spread out. The scallet along the normals. Let's bring back our our magnet. And now let's just stick. Is polygon to the surface. These objects. Alright. We'll have to do something in this area. You will see in a second what we are going to do. All right. Perfect. To get all of this. Let me save. All right. Now here, I will need to do like this. And now I will just delete these to those faces. And then this edge and this edge, I will just bridge them, make some other triangles here. There we go. Let me save this. Alright, we need to make this part of the strap. It will be a little bit kind of more difficult, right, and see maybe we could get this area. Let me do something here. All right, let me just do that. There, I another one here. I will try to get these hooligans. I will do, like, a nameset And now let's just try to get all of these holgons align nicely here. Let me make a hole there. We just extrude that like that. Another polygon. Let me say incremental. Perfect. Let's make more extrusions here. All right. Perfect. Let's go here. There we go. We'll make like two loops there because the Oh, no, we have misses there. We'd like to get a little bit more of curvature here. Alright, now let's close this. Let's just close that. All right. There we go. That gets the nicely here. All right. It will be here. Perfect. I will add another edge. Look in this area. All right. There we go. I all right. Let me save that. And now, here we have our poach. We topologize in a nightly way that hopefully will not create baking issues in this area. All right. Maybe we could stick this topology the surface of the interior. All right. All right. Try to get away some of this stuff. Try to stick Curtis is in the corner here. All right. Perfect. All right. Let's go here. And let's just try to manually fix all of the dishes. All right, let's go here. All right. All right. Let's see. What we have here. Let me try to get these edges around the rim here. All right. All right. Perfect in this area also. All right. Perfect. All right. A more stuff here. All right. There we go. So I think now it is ready. Maybe here, we could just merge this stuff together because that amount of topology there is not needed. So here also. Alright. I there we go, Let's save this. And now. There we go. Here we have this. And I think that will be it for this. I think it's ready to go. But we have one misplaced polygon. I mean, vertex. So I think I will leave this video here. Oh, I just forgot about something. We need the strap that goes around This strap goes around this pouch. But I will not complicate myself, and just reuse the mesh that I have here available. I will just take this, throw it there, and I will not care about that piece. So here we have make clear there could some split normals. All right. So here we have our pants with the pouch there nicely placed. It's on high, everything. All right. So now, I mean, you can see that we have some clipping area, but we don't care because we're going to, like, just have the head show and the rest of the body will not be shown, so there will not be a purpose for the geometry to be there. I will not care about that clipping issue. So yeah, now we have made the pens. We're making some progress. We still need to make the boots. Like the boots here. And then we need to make the skirt with the belts All right. And also the cow armor. There are qui a little bit of work to do still. But we are getting there. So that will be for this video. See you in the next one. 13. Making the Retopology of the Boots: Alright, guys. So in this video, we're going to continue with the model. So let's start making the topology of the boots. So let's begin. So I will just take 11 polygon of the leg, I will just split that into another object. So now, as usual, let's create another collection. I will call this boots. And now I will take this polygon and I would call it boots low. All right. So let's start this. All right. There we go. Perfect. I would like to be the most symmetrical as possible in this. So try to be kind of symmetrical. All right. Perfect. There we go. Let's keep extruding. Perfect. More extrusions. H. All right. There we go. Let's just keep making this up. It's like that. We'll have to add maybe another edge loop in this area. Perfect. There we go. All right. All right. Perfect. Let's add another edge loop here. I will add another loop here with the triangle trick. All right. There we go. Just a few more stuff here. All right. I think I will need another loop here. All right. There we go. Let's just keep making this part. All right. Perfect. Let's take this polygon. All right. I'm just trying to follow the shapes. Add in some clean geometry. Alright. There we go. I don't want to add more polygons in this area. So maybe I can do this instead. All right. Perfect. All right, so let's continue with this piece, this buckle piece. All right. Let's extrude. Perfect. More extrusions here. All right. I will try to get this shape because it's a little bit pronounced. And it will be will look a little bit weird if it's just a normal map. So we'd like to have it model in the topology. All right. Perfect. All right. Let's make a triangle in this area. Just like that. All right. Perfect. Another issue up here. Perfect. All right. A if I'm not speaking too much, but this is kind of more of the same that I have been doing in the previous videos. Is the same process? Nothing have changed at all. All right. Let's see if this ones to bridge. There we go another triangle here. All right. Let's just keep adding more polygons. Give me a second. All right. All right, so we are here. And now we can do this just to get the strap shape. Alright. Perfect. Let's just keep adding more polygons. I think this is too much. Maybe 22 atrops there would be more than fine. So here I will just continue the apology. I would not care that much. Alright. Here we have it. All right. Alright, there we go. We have just a portion of this booth. Let's continue. Alright. Round here. Perfect. There we go. And All right. We'll add another edge like this. Another one here. All right, there we go. Let's keep working on this. And All right. Make a triangle there. All right. I All right, we will address the soul later. Not now. I would like to have the same amount of polygons in each size. Alright. Let's make this here. So now, we'd like to have iango here. All right. Perfect. Let's see. Perfect. Just more polygons here and there. There we go. Perfect, let's just continue with the same process. All right. Like this. Basically the same All right. It's safe. All right. Let's just continue with this. We're quick All right. There we go. Let's just close these polygons here. All right. Let's continue. All right. Here, you do something. All right in this area, I would like to have angle here. There we go. Let's just keep with this All right. All right. No, let's just keep extruding this just like that. I feel polygon serious to feel that. Alright, let's go here also, and let's do the same all right. Let's get this. Perfect. Safe incremental. All right. A et's just continue with this. We still need to make some like the other half of this model. Just continuing with this part. All right. There we go. And Let's try just to fill this cap. All right. Perfect. I would like to have some triangles here to hold. Those polygons. We'll add another edge loop. All right now, let's go here. Let's see what we could do. We could add also some triangles there. I'd let's just continue this. All right. Try to get this area now. Perfect. There we go. Let's save incremental. Let's do the same in the other type. Just like that. Alright. Let's just bridge these two together. All right. I have some problem here. All right. Try to get this better nicely here. All right. I All right, perfect. We could just continue this add another up. All right. Let's say incremental again. Alright. We're almost getting this. Alright, I will add another edge loop. And now I will just continue this here. Alright. Another tub. All right. There we go. Let's just keep with this. All right. I'll just add another red slup here. Alright. Let's just continue with this rtropology Alright, let's see let's see what people do. All right. This is most likely a midless process, as I sta before. It's just a polygon after polygon, after polygon. All right. All right. We like to act to act. That's why go there. Maybe. Maybe not. I don't like how this behaving. Maybe, uh, let's just leave. Let's just do like these big rsions to get the shape. And then we could start refining it. Tiny bit more. Alright. This is just to get the shape and make things quickly. Like, just to speed up the things. Alright. I go extrude this big hooligans. You get this nicely. All right. Alright. All right, let's just kip with this. Now we could bridge. Alright, now, let's just close here. Let's just close the loop. All right, now we could start filling this gap. We'll start adding more polygons. Start refining the All right. Perfect. Other polygon here. Mm. I need something here. I think I would have to attack right angle later, but let's just keep this. I mean, I don't want to have another. We'll just add a triangle because I don't want this lip. Maybe we could just leave it. Maybe not. Let's just add a triangle here because I don't want to add unwanted resolution. Alright. Let's just add this here. There we go. I still need to add more polygons into this. Add one more polygon here. Another one here. In this area. All right. Let's say incremental. We are almost finishing. All right. A let's just continue with this. Alright. Let's just keep working on this. Y. There we go. I was trying to get a troop? In this area. A Alright. Almost getting there. Let me safe. All right, it seems. Here we go. We'll add another tube. In this area? Alright, almost getting there. Almost getting there. Few more polygons and we are done with this boot. All right. Perfect. We could add another trip here. I like that. A There we go. Et's just keep adding more and more polygons here. All right. Perfect. I All right. Here I will have a like triangle. This will be a tricky area for 40 baking. So, let's just simplify that by just doing this. All right. Now, let's get this. All right. I Perfect. Get few more stuff. All right. There we go. I don't know it's very good there. Alright. A Here we go. G more polygons. We are almost finishing with this piece. Alright. A All right. Need to fill this big gap with something with more polygons. So let's just keep adding them. Alright. Or right at me at another triangle here. Perfect. There we go. All right. Perfect. A All right. Let me try to get this hooligan out. All right. We're almost finishing. Just a few more hooligans. Let's just try to fill these caps. All right. Perfect. Let's just try to get this nice and good. Alright. Let's just take this. Perfect. A All right. Almost finishing with this. Let's safe incremental again. All right. Just try to complete this here. All right. Perfect. All right, something that bugged. I hope this doesn't or let me see something. I hope it was nothing. All right. I just I have just saved again, just in case something happens. Who knows? Alright. Almost finishing with this. We need to make this so also. So let's just continue with this. Alright, let's just make this like that, like some deep deepness. Another of the edge loop. We could take this around here. Let me continue that. Just like that. I don't care too much about what it is behind let me add a triangle here just to get the shape. Here we go. All right. And Let's say here what we could do. All right. Let's just get another angle here. Perfect. And now I will just continue that to here around here. All right. This is kind of tricky area. Just try to get it right. Around here, we have something weird. Where at last. Alright. That's here. All right. I really don't like this polygon. I really don't like that. All right. And Maybe we could add another edge loop there. Just get this done in that area. All right. Get a few more stuff, and then we are good to go. Alright, here. I'll be good. Perfect. There we go. No one. Here, I will need to force the triangulation. This piece. Alright. It's like that. It's at another group there. All right. Now, let's get this. Part. The knife, Brush. Alright. Perfect. Let's get this. Right now we could just take this scale it down. All right, extrude it, and then scale it down again. No, we just take this and then collapse. All right. Perfect. Here we go. Alright, now what we need to do is the soul. Let's just connect all of these here. Let's just try to connect that a All right. Let me try to get this nicely here. All right. This area, we just at the triangle. The boom, triangle, and then boom. There we go. Let me just feel that we don't have uneven mound where this is. This will be a little bit complex where width. All right. But we have this, and now we have an even amount volumes. I will just make a loop there. All right. Perfect. Let's just Dave incremental. All right. Let's just keep adding more polygons here. Trying to follow like a circular closed loop. Alright. Perfect. Now we can close this gap. Just like that. Alright. Let me try to get this in a better position. Just like that. Let me do some smooth purchases. Perfect. There we go. So here, maybe, here we go to some great film. With a little bit more of spans. I think this is the best distribution. Let's stick with that. We'll just scale it down just to get. These are a little bit cleaner. So here moves purses. Alright. Here we know. We just like that could be. All right. Well, let me try to get all the high poly inside the low poly, so it bake correctly. All right. I think we could leave this here. So now we have the boot, which apologized. There we go. Right, you can see it here. We have the boot, the pens, the poach. Re apologize. So in the next video, we're going to continue with the calf armor with this with this piece, and then we're going to continue with the skirt and the belts. So see you there. 14. Making the Retopology of Calf Armor, Knee Armor, and Skirt: All right, guys, in this video, we're going to continue with this topology. So now let's begin with the calf armor, free topology. So as usual, let's make another collection. I will call this calf armor. There we go. I will take just a random polygon somewhere. I will split it. I will move it to the folder, and then we call this calf armor low. Alright, let me hide the knee pad. And now we can start working on this. Perfect. Let me just active this view. I will act embed the magnet. There we go. All right, let me hide this too. I think I have some apology for that here. If I'm not bad, I have delete it. Now it's here. Perfect. I will just take this. All right split. I will put this in 0.1. There we go. Let me hide everything. We'll just move that where this belongs. All right. Here. Perfect. Now I will just hide again those stuff. All right. Let's continue with the topology. I think it will be kind of fast to do. I know I say that before, and it took me a whole video just to finish that trypology. But trust me, I think this time will be faster. So let's make this. Alright. Perfect. Let's add this here. I will try to go symmetrical. Alright, let me add that there. All right. Perfect. O here. Let me add another one because I want to get in the topology that little stuff. What I'm going to do, I will just take these two. I will do some console B. And now I will change the effect to bird disease or write do something. Let's go here individual origins. And now let's just cut through here. Get this split it into quads. Just like that. Perfect. Now here. There we go. Now we can take this. Let's go to the loop tools and edit. Let's make this a circle. You should convert this into a circle in a nicely way. You can see it there. Here also. Perfect. Let's just increase that. Let's extrude one time. Let's extrude another. Again, there we go. Let's go here. Let's do the same. Let's extrude. There we go. Let's extrude again. There we go. Let me hide the hypodes quick. Perfect. There we have it. Let me add maybe some supporting edge loop. I think this could work. All right, so let's continue. Perfect. All right. All right. Perfect. Let's just keep adding more polygons here just to get the shape and form. Just like that. Alright. I we hide the boot on the body and the pant. Alright, let's continue. There we go. The rest should be easy to do because it's just matter of extrude and get that cylindrical shape right do it. Extrude a few times right here on a middle edge loop around here, maybe. I think so. Continue. We have one, two, three, four, five, one, two, three, four, five, three, four, five, six, one, two, three, four, five and six. There we go. Here should be Alright, we have an even number. That's good. Let's get this here. All right. I'll have to add another polygon there. All right. Let's see what we got. No uneven number anymore. Now we add another one there. Perfect. So here let's see if I can add this one. Extrude this up. Let me get this right there we go. Perfect. Let's just extrude this up here. Perfect. Let's keep extruding this. All right. There we go. Here, maybe I can add. Maybe we could add troop here, another one here. Yeah. B or maybe we could just do this. I would like to have the mount of polygons. I don't mind Maybe not. I think that's too much for this area. Et's just add some triangles there. Just like that. Let's get this. You can see how triangles can save us a polygon budget. All right. Get this here. Just remember that if you are making a topology that is meant to be subdivided, you should not make I mean, you should not make triangles in your topology. So have that in mind. All right, there we go. Et's get this. Perfect. Let's make a lower strap also. All right. Perfect. Et's just keep extruding. There we go. All right. That is here. A All right, let's wait for plunder. All right. There we go. All right. W here. There we go. I let's see how we can get this. You know, a very good way, but I think it works. Let's try to get this in the other side. Perfect. Yes. Let me try to get this close here. Perfect. Now, we could attach this here, and we could close this here. All right, we have a really big gap. I mean, stretch polygon here. But let's just add another to put in a troop we go, let's add another egg shrub here. There we go. Alright, there we have it. Perfect. Let's just close this. Let's do some grit fill. And there we go. Let's do the up part. If incremental. All right. Let's add another edge up here. Perfect. And now let's just close this. There we go. Go here. And All right. I think I need another edge loop here, just to get these areas. All right. To get in a better way. These areas here. All right. We are almost finishing with the call Farmer. It was a really fast recht, indeed. A Alright. Let's try to see here. We could get this to work, right? Perfect. Let's just keep adding more polygon still. We get this done. We'd like to add some edge loop here just to get this nice thickness ataria. Let's do the same thing on the other side. Alright. Perfect. Where you go. A Alright. Here we have it. Let's keep extruding. Make sure just a bunch, and then we could just adjust them just to save time because I want to finish this fast. Alright. Let me save incremental. Real quick. Perfect. If we go. All right. If I go, o Alright, we are almost finishing. There we. All right. Now, let's add another edge here. All right. Let's go here. Alright. Let's through this to here. Let me try to see if Lender wants to respond. Alright. Let me keep shooting more just to get this shape. All right. All right, let's add another edge Loop. Let's just attach it here. Alright. Now I need to add one more here. Maybe not. All right. At another edge here. There we go. Another one here. Let's try to get this. All right. What was I did in the other area? I think it was this. No, it wasn't right, I think it was Alright, let's just leave it like that. I don't care. So it's extrude here. All right. All right. Let me keep just truning almost done with this piece. I think we could do also the knee armor in the same video. All right. Let's just make a triangle here. Perfect. All right. U Perfect. Just feel more extrusions and we are done. All right. Feel more. Just feel more. Stay with me, please. Almost done here. All right. Let's do another extrusion around here. All right. Few more, few more. What's it here. All right now, now let's get this. Oh, I just forgot to fill one area. All right. Wait. Now, let me do something here. All right. Now, let's get this. Crude it. All right, just like that. Again, again, and now let's just lapse it there. Perfect. We could maybe just for the triangulation in this area. All right. So there we have our calve armor. Let me get the knee pad also. Let me hide this. So there we go with our calf armor. So let's try to make the knee pad here. Also, we have this. Knee pad should be an easy thing to do, I think. Alright, let's just hide this. All right. Now let's just extrude. One more time here. Medi active in the middle this option. I mean, the magnet. All right. There we go. A Perfect. All right. All right. More Perfect. Another extrusion here. All right. There we go. All right. It's not there. All right. Now we'll go at that triangle. And now here, let me just keep adding This it's not there. I should go up a triangle should come here. All right. Let me safe incremental. Perfect. Let's get the sickness here. All right. This will be here. All right. Let's try to get to edge loops here. Perfect. And now let's just close here. Just like that. I Perfect. Here, maybe we will get a little bit more of a solution just to get in a nicely way this corbatre Perfect. Alright. A All right. You more. Perfect. Now, let's just extrude here. One more there, one more here. All right. Let me add another edge in these areas. All right. There we go. I All right. So let's get this Extrude it one more time. With this activated. All right. So we could just try to get this attached there. All right. There we go. Et's see what the Whitfield give us. If we can save time. Let's just move. Alright, this is basically perfect. I will just take this. And I don't care anything else. Here we go. Maybe we could make. Since they are too close, we could just make it right angles. Alright. Try to get this nicely way. It's in a better way. Alright, I think I will have to do something. I need to add another edge loop around here. We'll just increase the volume with A and C is to, like, scale that along the normals and see how it works. With and Snug and C, that's what my bad A and S Alright. So there we have our knee armor. So let me hide the cow armor. I mean, the knee knee high body. All right here, you can see now we have the cow armor and the knee armor also. All right now we need to make the skirt and the belt and all the stuff that he has on top. You can see it here. All right. I think we could reuse the low poly version of that since that is kind of the low poly is basically a good topology. Let's see, skirt. Alright, let's get skirt. All right. Let me hide this and also let me hide the hi poly just a little bit. I see. I think it looks pretty cool. Let me see if we have the other part on top. I think it is here. Con fine it here. Perfect. I will just take this All right. I will scale this up. Let me safe incremental again. Alright, let's just take this and type 0.1. And there we have it. Nice and good. Although I think we we could have maybe some issues while this is rigging. I mean, it doesn't match. Is apology. I kind of don't like the shape of this. So I will do a small herttpology just for that piece. So let's get back our art And now we could get this polygon. Alright, let me just turn on the wireframe because I want to get a topology that is matching the one that is beneath. Alright. Just like that. Another one here. Perfect. All right. All right. There we go. This is just a small topology. Let me just fill this up. All right. Let's just get this here. We need to add, obviously, more resolution to this. All right. Perfect. Now let's get this shape. Nice and clean. Perfect. All right. Let's move that one here. I don't like this part. I just leave it like that. Alright, I think this could work nicely. So let me safe incremental. And now I will just do some solidify. To get this. And also, I will do something. Alright, let me try to get this too. I need more resolution in this area. I mean, we have it here, but we don't have it in the other side. Just like this. This around there. All right. This one around here. Now, I will do some shrink crap. I will try to get the shape. Perfect. Now I will apply the solidify the shrink crab and then just adjust manually. These pieces. All right. Let's save incremental this. All right, there we go. We have this piece. All right. Perfect. Let me de active the wireframe. Let's me add that. Just port in the triangulation there. Oh, we have an angon here. Let's just make that just like this. I don't think Ah, in the back part, we have the same engon. Yeah. Perfect. Thankfully, we noticed that we also need to make this part here. Let's try to make it quickly. Also, I will just remove these edges as they are not needed. All right. Let's do the same here. Let me get back. My skirt mesh. Around here. Perfect. A Alright. All right. Let's just keep extruding this. All right. Maybe we could add one more hooligan here. All right. Now, let's just shoot this one. A All right. Another one here. Let's merge dose. Perfect. Let's add another one here. There we go. So for this little piece, I'm a little bit lazy, so I will use the geometry from our low poly. So let's get that. G here. Let's select this one. We'll just move it. Alright. Let's hide this stuff. Spe 0.1. All right. There we have it. Alright, I think I will leave the video here. And in the next video, we are going to start making the rh topology of the bells. Yeah, maybe we could start making the rtpology of the bells on the poach. I think so. Would be good start with that. And after that, we could start making the shoulder pads. And then the mask and the hair. You can see we also need to make this big strap and the demon head, the eyebrows and all that stuff. But we are making some progress. So see you in the next video. 15. Making the Belt Retopology: Alright, guys, so let's continue with this model. Now we're going to re topologize the bells. So let's begin with this. Alright, so let's take this polygon. I will split that. Alright, let's wait for this. Now now we have that. Hmm. Maybe we could reuse some topology that we have in here. Let's see. All right. I thought that I had some other topology. But it seems that I have not have it here. Where is that? No, no, that's weird. I really thought that I had, like, the strap topology here? That's weird. Alright, I will just export it from Sibrus. Give me a sec. Alright, so we have it here. There we go. We have the belts here. So let's move those belts into its own collection. All right. Also this part. Right, let's just move that here. Perfect. Let me hide just for a minute the hi poly. So let's reduce the amount of polygons that this belt has. Like, these parts here are not needed. All right. Here those parts are not needed also. So let's just delete them. Perfect. We could even delete those here. I need to reduce the amount of polygons that are going horizontal. All right. Let's work on these belt first or maybe let's just work here. It will be easier. Right, let's just remove that. Alright. Let's just select all of these polygons and then just remove them just to reduce the amount of topology that is here. All right. Pages maybe Alright just like that. Perfect. I think that could be good. Let's go here also. Let me bring back this because I will have to delete basically from here to let's see, to here, kind of. Yeah. Let's just delete that part. All right. Let me just delete those pass. Alright. There we go. All right. I have moved out of camera, a little bit this strap in. So I will have to fix that also here. So let's take that and just push it in. Theater, we can fit that nicely. All right. So I'm thinking if making this belt, I'll incite the topology of this belt. I think I will make it, maybe not. Hm. We'll see. We'll see. Alright, let's just align this properly. Let's delete all of these polygons there. Let me hide this belt. Let's just slide that. This one also Perfect. Let's see here. I know why my camera go blow away that's that's weird indeed. It's just trying to adjust this belt. Alright. Just put it here. Let me just isolate this polygon these polygons. Let me also take the pouch, all of these because all of these polygons maybe this won't be with the same topology. Let me see. All right, just take this. Why do we have this weird this weird thing. It's really weird. Now we have a hole. What is this? Alright, see? We just close it just like that. It me delay custom split normals perfect. Let's try to keep filling this nightly. All right. Alright. All right, let's just keep doing this. Here we get this fitted. Let's do something. Let's just slide it down. Et's see? Just like this. All right. Let's see. We could put this in the long normals. Like this would be. Alright. Here we go. I think this could work. All right, here, this needs a little bit more of work. Also here. We need to fit that. All right. Perfect. All right. I guess, let's just put this nicely here. All right. There's a few more. All right. This one here. Perfect. So now we have some stuff that we need to include in the topology. Like this stuff, these other ones. All right, let's just take it. All right, let's see. Here we have this piece. I will just delete the entire section here. And now I will just extrude and include that in the topology. All right. It's like that. There we go. Perfect. Alright. There we go. More more stuff. Let's just extre this up here. All right. A more polygons. Let's wait for blend to respond. We'll make a triangle here. Maybe not. Here could be good. Although this is too closed. Whatever. All right. Let's just exhot that there. I need one, two, three. So let's just add three more polygons. Alright. Perfect. Let's just take this. All right. Et's just add another one here just to get that nice nice curvature. Also here, I will need another one. All right. Also here. Pebble this one. Now, I will just extrude it once. Stick that to the surface. Now we could do some we fill. There we go. Boom, or right here also. Let me continue this so quick. Perfect. There we go. Y. All right. Seems that we need to stick some more stuff here. All right. A few more. Perfect. That led to the same. Like the si. What I say, great feel. What's happening? What I'm getting an error message. It stays like two edge loops or close edge loops which the two edge calculated. Oh, that's weird. We'll just do it manually. Oh, we don't have an inert. Even amount of polygons. So let's just get this back here. A now we could do the grit fill. Not in nicely way. Let's just try to organize this better. So we don't have any vital for some reason, we're getting vitals. I'm getting spirals. All right now, we're good. Perfect. Me. Let's continue with this All right. So we have this piece included in the topology. So let's do the same with the other area. With this pouch, I wanted this to be included in the topology also. But I'll have to do something. Alright, I see. I don't have another piece like this. I have I did that. No. Alright, let me just duplicate this one. We'll move origin to geometry. And I will just add this one here. Just like that. Spokle just here. There we go. Let me hide this. Maybe we could also stick that to the surface. Alright. Let's just take all of these with us. And now this one, I will just put it closer to the strap so we don't have any problem when we bake this. Let me also move this around here just to be a little bit better with the rest. All right. Perfect. Maybe move. This one, a little bit more to the tour face around here could be. Just like that, I think this could be good. But right now, we could just extrude it and start including this here in the topology. Alright, this one, this part also. Perfect. All right. We could treat it once here. Perfect. All right. Let me move this bit in. Just like this. All right. This should be here. All right. Just like that. Let me delete that. Maybe not. Just put this here. And now let's connect this this area. All right. There we go. This one here also. Perfect. There we go. All right. Perfect. Let's just keep going with this. Just like that. Let me just hide that 'cause I think that I will just make it a separated. A separated topology. Alright, let's just keep with this. Alright. Oh I will add eventually more topology to this area. I'm just making these big intrusions just to gather topology fast, and then we could just add more density to capture a little bit better the details. All right. All right. And Let's just extrude it here once. Perfect. Now I need another way to add a loop. Let's just add this triangle. Just to get these parts nicely. All right. Here, also. Perfect. Et's try to get this. All right. Perfect. I All right. Let's continue. Let me try to hide a little bit this inside the pouch. Although this part will not be seen. Let's just get this nicely. Alright. Per ft. All right. This is continue this to here. All right. Right to continue this here. Perfect. Let's add another one. All right. Let me try to capture this part here. All right. Let me just make a hole here. Alright. Perfect. All right. Let's try to get this fix. Perfect. Alright. I Let's just get this there. All right. Let's save incremental. All right, there we go. Perfect. Let's keep adding a little bit more politons here. All right. Perfect. A few more All right here also. All right. Let's just add this here. And let's continue. With this. Just like this nicely and good. Here we go. All right. Perfect. I will need to add another loop here. Just like that. We'll need to force the triangulation in that area. Also here, I will just force the triangulation in this way. All right. Now, let's just try to lose this and not get spiral because it's here that we are getting circular loops. I don't like this. All right. Perfect. Let's add another edge up here. Just like that. There we go. Perfect. Let's add another one here. Let me delete this. We could add another one. Alright, I will just close this just like that. I don't care anything. Just go here. We just make a triangle here. Just like that. Alright. There we go. I need more topology in this area. So I will just remove this triangulation and try to get something. Maybe we could leave that. Yeah, I think so. We could just add it here, put it there. And then I think we are good. Alright. I All right. Let's just save this. And now we have this belt, pyropologized. Let me hide the high poly. There we go. Let's clear custom split normals. Maybe we could just add weighted normal because shading is better in this way. Alright. Perfect. So we need the buckle. I will just bring it from here. Since we have that. We have done that with poly modeling inside Zerush. So let's just reuse that I will scale this up. Let's just put zero point on one. There we go. We have it there. Bring back this right. It's nicely placed. Perfect. Let's also drink the rest like this wrap. Let me take this. All right. Let's put it here. Let's hi again this stuff 0.1. All right. We have it there. Now, what I'm going to do, let me hide the hi poly. Let me do some safe incremental. Now, what I'm going to do is just try to match the poly from the part that is under this trap. So let's just remove a lot of these vertices that are not needed. Just like this. All right. Here. There we go. Perfect. I here also. All right. I think it's good. There we go. And here, let's see if we have excellent apology. Yeah, let's just remove these supporting edge loops. Just like this. All of these supporting edge loops. I will just remove that All right. Just like that. I think we're good. Let me remove the custom split normals from here and also with a a weighted normals. All right. Let's bring also the other strap. Alright. Maybe I could just push this out a little bit. It, it will hurt no one. Alright, let's go here. Let me just remove all of these supporting edge loops. Alright. All right. It was no. I think we will keep this. All right. I think we could re use entirely this part. All right. So here we have these straps. So in the next video, let's see what we can make. Alright, we have the strap. We need to make the second pouch. This one. Where is it? It's somewhere here. Or we need to make this pouch. And then after that, maybe we could make the diamond head or the shoulder pads. We will see see you there. 16. Making the Second Pouch and Shoulder Pad Armor Retopology: Alright, guys, so let's continue with this topology. Now we're going to continue with this pouch here. I think this will be a really simple one to re topologize. So let's start. All right. Let's go here. Let me right. Let me hide all of these. Real quick. We'll hide just all of these pieces. Even the jacket. All right. Now let's make a new collection. Let's call this second poach. I will just take a polygon from somewhere, maybe from here. All right. Let's split that. Let me take this polygon to here. All right. And now start working on this and maybe we could do something. Let's see. All right. We don't have a senor in this area. Maybe maybe we could use this as this sender. All right. Push or to select it. Right now that's that three recsor is in the center of this pouch. Let's see if my idea is correct. Now, let's click here story into three courser. And now we could maybe do a mirror. Mm. Not quite good. Alright. This is not what I plans. Alright, maybe around here would be a little bit better. Let's like this. Let me treat your in. All right. So now we have this. Let's click here A line attention to Target. Now, let's just take this. All right around here, I think would be good. All right. And now let's just flip this polygon and put it here that we can have symmetrical topology, using the mirror modifier. It would be not perfect, but it will work. So let's start making this topology. This should be really easy to do. Let's just first make some big intrusions. Just like this. Just to cover all of the pouch. Let me hide these ones lead selection. Alright, I will just hide this Now, let's just keep extruding and covering the entire jacket. I mean, jacket, that's not what I meant to say. This entire pouch. Sorry. I'm just a little bit dump. Alright. Let's just continue this. Alright. I will do anything. Alright. Let's just keep extruding here. All right. Now, we could start adding more resolution to this. Here, we could add this H group. Here, also, maybe here we could add this one. Here we could also add this one. And from here also few ones. Alright. Let's just have this here. And now let's start taking all of these polygons to the surface. All right. Just like that. Really nice and easy. Round there. Also, this one around here. All right. Perfect. All right. There we go. Just a few stuff more. Alright, let's add another eggp around here. I would like to get this part here. Let me just move that there. All right by reasons. And now here we could make a triangle. Maybe not. Let's just continue this just like this. Perfect. At last. Alright. Now let's take all of these polygons to the surface. All right. Perfect. All right. From there, Perfect. Let's add another edge soup here just to get it nicely. This This parts here. All right. Perfect. Okay. All right. There we go. Let's do something now. I need to get this part here, or let's see how we could make it. All right, let me delete all of these phases. Maybe this one also may not. We could do we could just extrude one part and then do a triangle there. Perfect. I All right. Perfect, here and here. All right. Almost done. I like this. There we go. All right. All right. A few more stuff here. I think this could work. Maybe we could add another polygon, I mean, edge loop here and here, maybe. And this should be good enough. Maybe we could just put it here and try to get a little bit more of silhouette in this audio. All right. Also, I need more silhouet in this area. All right. Perfect. There we go. Perfect. All right. A few more stuff here and there. There we go. I was around there. All right, safe incremental. And I think this could be good. Now, let's apply the mirror because this is not perfectly I met riz you can see there are some caps that we need to fix them. All right. This will take some time. All right. Since this will be basically the same process, I will just pause and I will do this out of camera. And then when I have something to show, I will continue the video. So let's see you in a moment. All right. So everything is stick to the surface, right? Let me fix this. Also, I have added a tiny edge loop here. You can see here. It's just to get this part this area here, that silhouette, that part of right so let's continue. Now, for the rest of the, like for these traps, I will just reuse the topology that we have already made inside Cirus. So let's go here. Let's bring back our low polymodel Alright, let's see what we could reuse from here. Alright, let me take this. I will just split that. I will take these three things. All right. Yeah. Maybe take that to here. Now I will hide again this body. I will just scale all of the Objects were in the correct scale for this model. Later, once we finish all the topology, we are going to apply the scale. So this is one because if we are going to export an even inside zebras, the scale should be one. Because if it's not, it maybe will cause some problems. So now we have this topology. We have this other topology. Maybe we not need that. Alright, let me hide this so I can see a little bit better what I'm doing. So let me fix this maybe we could just remove some of those of those models. I mean, polyps. Yeah. All right. Let's just remove. I mean, just stick all of these to the surface where they should be. Alright, we need to stick this to the surface also around here. Perfect. This one around there. Alright, I will just remove this. Alright. Perfect. So this. Alright. Let's remove this other one. All right. Alright, let's just continue with this. Perfect. There we go. All right. Let's just get this done. A perfect. Let's just get this here. Perfect. Let's just keep adding more polygons here to get this piece inside the topology. All right. Yeah. Let's get this one. Perfect. Alright. All right, a few more. All right. Just get this nicely here. All right, let me just safe. And now, because I don't want to repeat this in the other side, I will just duplicate this and just put it here. Alright. Let's just rotate that. And now let's just try to get this place correctly here. Et me do something. All right, shifting. X. Here we go. The normals will be flip. So let's get the measure normals flip. All right. Here and then just add it rightcly in this area. There we go. Basically, like that. All right. Just like this. There we go. I Alright. I think here, everything else could work nicely. Perfect. All right. This around here. Perfect. There we go. Now let's get the other parts. Like this one. We don't need this. This could just leave it like that. I don't care. So now we have the pouch, the second pouch already made. Let's remove the custom split normals. Perfect. Let's add maybe weighted normals, also to this other thing. Here, also, let me remove the custom split normals. There we go. Let's bring back all of the pieces that we have hide. Perfect. This jacket in your armor, body. All right. So we have the second pouch. All right. This one is the app that I don't want. All right. What is this? Perfect. If incremental. Now we have the second pouch. And now we could start making the shoulder pad armor. So let's start making that. Let's wait for planter to save. And now let's work on that piece. Let's create another collection. I would call this shoulder pad, shoulder pad. Perfect. Let's see if Alright. Here we go. Little bit rotated, I think. Yeah. I think we are going to do the same process that we did with the other one with the poach just to make this asymmetrical. Let me split this. Alright, let's take this jacket low and just throw it on the shoulder path. Alright. Now I will just set origin to geometry. Perfect. Align these objects with a surface. Let's see. All right, so we will need to make this by eye. I like that. Try to get this nicely placed around here. Here we go. Around here, I think it's good. Let's see. I think here is good enough. Maybe not here. Yeah. I will save incremental. And now let's start making this. This shoulder pad. All right. Let's just try to get all the shapes that this shoulder pad has. Just like that. Perfect. All right. Let me add another polygon here. All right. A Perfect. Let's keep just adding more and more. More and more polygons till we feel all of this. Alright. All right. There we go. A few more stuff. Let's just get this all of these pieces nicely. Just like that. Alright. This repology' been easier since these are basically simple shapes, like super squarish ones. So this type of shape is really easy to repologize. All right. Perfect. All right. Let's try to get this one here. Perfect. Let's go here. Two more. All right. Try to get this straight, all right, perfect. Now, let's keep shooting here and there. Perfect. More. There we go. Let me just hide all of this. Alright. There we go. Let's just get this. All right. Perfect. All right. There we go. Just a few more. A few more, and then we are done. All right. There we go. Perfect. Let's get this piece done here. All right. Maybe in this area, we will add some triangle just to get this piece this part here. Maybe not a triangle. Maybe we could just do this and get this nicely. All right. Perfect. There we go. Alright, give me a second. Alright, let's continue. Alright, let's wait for Blanda to respond. Maybe here. We will need a triangle. Maybe not. Let's just add this polygon. Alright, let's just add another polygon there. Perfect. Alright. Et's just try to get the shape lately here. All right. Perfect. A All right. Is a few more extrusions. Is a few more extrusions, and then we are good to go. Let's just add another group there. All right. Let's close here. Let me add another group. Perfect. All right. Perfect. All right. I will just extrude this. I will just leave that part just for the bake. I don't care too much. Alright. Anyway, that part will not be seen a lot. Let me just maybe make it deeper just like that for this to catch a little bit more of light. Alright. Let's try to get this nicely. Alright, around here. There we go. All right. All right. Perfect. Let's add one more. I stop there. Let me remove that. It is here. It's like that. I cannot. All right. Yeah. Hm. That's weird. I cannot get this to work. Why is this flip? Oh, I see. That's why. All right. Let's see what we could do here. Let's remove that. Let's just trying to get this nicely here. Alright, I mean, that's too close for the bake properly, I think. All right. We will see. Let's just make this part all the way to here. So we can attach that here. There we go. Maybe we could add another polygon. In this area, All right. Try to get this nicely here. Perfect. The safe incremental. Alright, just a tiny part more, and then we're finished with this piece. Alright. Perfect. Alright. All right. Let's get this. Let's just put it here. There we go. Alright. Just try to close this nicely. Let's add another one here. There we go. And here we have shoulder pad armor topology. Maybe we could add one. Oh, I forgot about this. Let's just complete that just like this and there we go. So I think should be good. Let's hide the high poly of this part. There we go. Older pad. This is basically perfect. Yeah. The symmetry is nicely done. All right. Safe incremental. And I think this will be for this video. First, let me add these weighted normals Wilfre. And I think this will be for this video. Let me unhide everything. Alright, let me add another mirror modifier. Alright, there we go. So, this will be it for this video. We have made the second pouch here, and also we have made this shoulder pad armor topology. So what's left to do is the demon head. We need to do the demon head. And the mask, demon head, mask and the hair. Also, we need to make the rhpology of the weapon. You can see it here. We need to make the topology of this piece. So we're going to make that later. Let's first focus on the character. So that's basically it. See you in the next video. 17. Making the Retopology of the Mask: Alright, guys, so let's continue with this model. Now we're going to make the mask retopology. So let's start. Alright. As usual, let's make another collection. Let's call this collection mask. All right here, let's call this mask. Now I will just take one polygon. We'll split that polygon, and now I will just move that polygon into the new collection that we have created. And now let's rename this polygon. Let's see how we can put in the name. All right mask low maybe. Alright, I think this could work. Yeah, so let's continue. Let's start making. Retopology you real quick. Alright. If Lender wants to respond, I will be more than happy that it happened. Everything is hide. I really hate that. All right, you think now everything is all right. This not behaving. How this is intended All right. Let me a sec. Around now, let's continue. Alright, now, let's start putting some polygons here and there. Alright, let's put one here. Now, let's just continue this. All right. Let's keep extruding more polygons. Perfect. There we go. Let's see what we could do here. All right. There we go. Keep extruding just like this. Perfect. All right. Another one here. All right. Let's keep making this thing. Let me add one edge hop around this circle. Just like that. All right. Let's keep adding more polygons. All right. Let me complete this circle. Just like this. All right. Maybe here we will do this. Alright, I see. Let me delete that. I mean, I don't want to Oh, let's just do this. I mean, I want to have a closed loop in this area. Alright. Let's keep adding more polygons. A All right, whatever let's just continue with this retopology we are having some issues with the high poly All right, this is clipping out. But let's just push that back. Now, there should be good. Let's just keep adding more and more polygons to complete the ropology I All right. Let me put that there. This one should be here. All right. This one here. All right. There we go. Perfect. I try to fill this up. It's at a triangle here. All right. Let's continue. This should be here. This other stuff should be around here. Perfect. See if I'm not making a spiral. So, let's just continue this just like that. And let's just keep adding this stuff here. All right. More polygons. Right now, let's just do this. Scale this up here. Scale it again. Just like this. Alright. Perfect. Now, let's just stick this to the surface. Just like that. Perfect. Alright. Now here we could do maybe just shoot it inwards once, and now we can just collapse this to close that edge. Alright, now let's continue. This will be baked. Alright, let me add another edge loop there. Perfect. All right. Here. Let's see. Perfect. Let me add another edge there. Alright, I will need some triango. Perfect. Allright. Let's add another one here. All right. Let's keep adding more polygons in this area. Perfect. All right. A Perfect. All right, let's just at this right angle in this area. All right, perfect. All right, let's continue here. All right, let me do something. I will need another triangle here to be able to capture that edge nicely. I would have to add another edge troop in this area. All right. Perfect. All right. Here we go more hooligans. We are almost on. I really thought that we were going to have more trouble making this pry topology in the mask. But it was kind of straightforward. All right. Let's just add one triangle there just to get these shapes. All right. Let's just wait for Flander to respond. There we go. Alright. Let's just continue this. All right. A bit more of polygons. All right here. I think I will need to add a triangle. Perfect. Let's add another triangle here? Perfect. We're more here. Perfect. There we go. There's one more here. I Perfect. A few more extrusions. We need to get this site also. I think that part could be a separated object. Just to simplify ourselves, I think so. We just make a separated object because I don't want to, like, complicate myself, right. Let's just bring back our tiny guy here. Also, I don't think that we could reuse No. This her topology is not that good. I was thinking of reusing the topology of the hair, also, but I don't think so because this hair topology, it's also not that good. I mean, it's automatic topology, it's good for maybe sculpting, but not for production. This is not good. We have to do some proper topology. All right now, let's go here. Let's get this this piece, just take it, drop it here in the mask. Now let's just scale that in a corred scale 0.1, all right. Now let's hide that. All right, there we go. All right. Here we have our piece. All right. Let me hide this too. Also, let me hide all of these. Just to be able to see better what I'm doing. All right. Let me say incremental real quick. There we go. Alright. All right, perfect there. Alright, let's just try just to get this pebble here. All right. Perfect. Et's just close. All right. Here in the Saudin. Alright. Perfect. Let's just keep adding more polygons. Maybe we could get this stuff here. Just like that. Yeah, I think I will need I will need that silhouette there. But let's just try to get this hiluet Alright. Perfect. Let's just add that there. This also could be here. I will delete that edge. Now, I will do something. I will just do that. All right. And now I will just do this. Perfect. Also, here, this piece is not a great. This part is not a great. Perfect. There we go. All right, let's try to get this nicely. All right. I just make this. Maybe what we could do is this. So we don't need to add those triangles. Alright. Safe encromental. Et me hide all of these. Let's continue making it this sickness. Real quick, real nice. All right. Something like this. All right, here. Try to get this lower part done. Every here, we could just collapse these two. All right. Let's also try to get the Shuette nicely. Let's wait for plants to respond someday. Alright. There we go. Let's add one edge loop, maybe two edge loops. Maybe we could just put this in a triangle. Perfect. Just to say say polypjet Alright. Here. There we go. Let's save this. All right. Here we go. Let me add another another one here. Another Edge up. Perfect. Now, we call close here in this area. Alright. A All right. What is this? All right. Let's just keep adding more polygons in this area. All right. Perfect. Let me close in this area. Alright, now we have a weird spinal. Well, face. I would make a triangle? Because I don't want that spital. Alright. A Let me say incremental. Almost done. All right. A here we go. Let's just try to close little by little. The bag die of this mask be safe incremental. Alright. Let's see. Let's just drop it there. All right. Perfect. This will not scare. I will just close this, however. Alright. A's just try to close all of these nicely. Good. Because the mass will not be the form. There's no need to be too picky with the topology. I just want to close this gap. All right. When we Alright, there we go. Let me just start making big hooligans to close this Alright. Perfect. There we go. Alright, there we go on. So now we have the mask topology done. Perfect. Let me hide the high poly. There we go, here we have the mask. Also, we have this other piece that we need to do some twigs. Let me hide everything, but this just to just this stuff better. I will just do some shrimp crab just like that. Feel quick and easy. Alright, let's just apply that string wrap. And now we have correctly made the masks. Let me unhide everything else. Alright. Let me get the hair. Alright, we also need to unhide some stuff. All right. So we are almost finishing this model. I mean, this retopology, at least for the character itself, because we need to make the retopology of the weapon also But at least, I think that that would be a lot easier to make, since this is just a hard piece of metal, basically. W be easy. Alright. So in the next video, we are going to continue the topology. Maybe we are going to start making the demon head before the hair itself. So see you there. 18. Making the Retopology of the Demon Head: All right, guys, so let's continue with this rpology. Now we're going to continue with the topology of this demon head. So let's start. All right. As usual, let's make a new collection. Let's call this demon. Let's see if this wants to do the job. All right. Demon head. Perfect. Now, let's just select one polygon from here. Move it to that new collection. It's called the Dimon head again. And now we can start making some stuff. As you can see, I move the Dimon head from here to the middle of the world. I did that in Zebras. So I can have symmetry without a problem. And also, we could use symmetry inside a substance fainter when we start making the textures. So let's start this re topology. All right. Since this mesh will not deform, I will not care too much about the, like, essential edge loops because this mesh will not be deformed. So just to speed up things. Let's just do this in that way. Alright. Perfect. All right. There we go. Maybe we could make that. All right. Although I don't think we need a triangle there. Alright, let's wait for this to work if this wants to. There we go. Give me a sec. All right. Let's just keep making this. Y. All right. Let me make another edge loop. I mean, polyloop here just to get that part nicely. Let me add a new edge loop there. All right. Perfect. Let's try to close this edge oop. Just like that. Let me move this here. All right. Maybe now we can we could close that. Perfect. Let's just keep adding more polygons. All right. Perfect. Another up here. All right. Let's just keep adding more stuff. Let's wait for this to work this one. Alright. Let's just get the nose shape. Perfect. All right. It's not optimal. I don't like it. I try to get this cleaner if we can. All right. Let's see. Let's see if this works better. I kind of don't like it either. Alright. Maybe we will remove this edge. Maybe not. Let's just merge it here. All right. Now we can do this. Perfect. Alright. Perfect. Let's keep adding more polygons. Now, let's get this check bone. All right. Here's a few more. Perfect. A Just like this. Alright, let me do something. I just did merge by distance just in case I had any double verticas. Alright, let me try to get a closed edge look around the eye. Alright, I see. Perfect. Now, let's just close this. Perfect. All right. There we go. Let's just keep adding more polygons. Is that another troop there? All right. Is that another troop here? Perfect. All right. Did we go? A All right. More stuff here. Perfect. Now in this area, we just make an edge loop that goes like this. Let's continue this edge loop in this area. Let's merge those. All right here. Now we could merge these edges. Perfect. All right. There we go. The most complex part of this model is just this demon head. The rest is basically simple. It's just this part that is the most complicated one. But it's not impossible. All right. Perfect. There we go. Perfect. Let's just keep adding more stuff. All right. All right. It's I just tried to get this form in the topology. Alright. And All right. Perfect. Another troop here. I mean, yeah. Perfect. There we go. All right. Let's see. Here, two more polygons. All right. Just try to close this part in the center. All right. A Perfect. Few more polygons. All right. There we go. I All right, let's just wait for this. Perfect. Just keep trying to get this shape. All right. Perfect. There we go. Let's see how we could close this. We'd like to get this part here. All right. Another up here. Perfect. All right, there we go. Let me say incremental. Perfect. Now, let's jump here. And now let's try to get. I think this teeth, I will make it in a separated object. Alright, let me separate those. Like these ones. All right. I see. This is not what I wanted. All right. To get all the teeth. All right, let's wait for this. Alright, I hate blunder. All right. I have separated the teeth from the head itself. So let's continue with this. For now, I can hide the teeth and just focus in this part. All right. Perfect. Let's just make extrusions to make this fast, and then we can add more later just to get better the shapes. All right. Maybe we could do this. All right, merge, merge, and merge here. All right. Perfect. There we go. And Let me try to get the inside of this. Just like that, maybe let's add another one. All right. Another group here. Another one here. Perfect. And now let's try to get this nicely here. Let's wait for blender. Alright. This one should be here. Maybe not there. A little bit more like this. Also, this part should be a little bit more like this. All right. Perfect. All right. A new troop there. There we go. I'd be safe incremental. Alright, now, let's try to get all of these shapes in this area. All right. Let's try to get the chin. Just like that. Now, let's just make some big extrusions to get faster these flat shapes. All right. Perfect. All right. There we go. A Give me a sec. All right. We are almost getting the pace entirely. Let's try to get this part here. Wait for blended to respond someday. All right. Perfect. Now, this area will be really dense. Yeah, as you can see, it's really dense. I think that we will need to do some reductions. All right. Let me add another egg rope here. And then I will do some reduction in these areas. All right. Just like that. Now it's better, more manageable. All right. Let's keep extruding here. All right. It's not good. Now it is nice. All right. Let's just add another e strop here. Perfect. All right. It's a bit more polygons. All right. Here and here. And Ds, yeah, let's just try to close this out here. With for this. Alright. There we go. Perfect. All right. Bit more polygons here and there. All right another edge in this area to get better that shape. All right. Let me try just to reduce the amount of polygons that are coming from here. All right. There we go. Let's just try to close this up. All right. Wait for this. Perfect. All right. Let's see how we can make this. Alright. I Perfect. Another edge loop here. Now we can close there. There we go. Now I will need to make an edge loop in this area just to get the thickness. Alright Perfect. All right. There we go. Perfect. Let's just keep adding more and more polygons. Trust me, we are almost finishing this topology. There is just this demon head left at the hair and the weapon. And then we can finish the pology and then start making the textures. I mean, the UBS, the baking and the texture. The UBS and the baking are relatively fast processes, not like the pology that is super tedious to do. So we could get more fun once we start making the textures again. Alright. Perfect. That was All right now, let's just try to add some stuff. Let's see how we could make it. All right. Maybe just like this. Alright, let's get this stuff to work. I really hate Liner one. It does that I would like to get another up going around here also. But I will do it later. All right. Perfect. All right. A little bit more guns. Let's just try to close this. Alright. There we go. I'm finishing from this part. We still need to make the horns and the teeth. All right. I will add one edge loop here. Y. All right. Give you another edge here. Perfect. Here we go. Alright. Et's get this four dices, and let's just make another phase. Alright. Maybe we could make another Step incremental. Let's see how this is here. Alright. Perfect. Alright, let me see how many stuff there is here. All right, nine edges. Here, I think this could work. We have three edges here. All right. I just ring. I mean, all right. Now in this part, we could just reduce a little bit of those polygons. All right, because we don't need that many polygons in that area. All right. So now let's just close here. Alright, let's just save incremental. Now, let's get the horns. All right. Maybe here we could just collapse those edges. All right. Now, here Oh, W W did happen? Let me just type incremental. All right, something weird happened. Let me see. I really don't know what those errors are, but let's just hope that those are not big errors. So let's just continue this. All right. Perfect. There we go. Let's go here, also. All right. Perfect. Let's keep adding more polygons. A All right. All right. Perfect. Alright, now let's just get these parts nicely. Alright. Alright, it's not working. Alright, there we go. Perfect. Let's say incremental. All right. A Perfect. All right. S more. All right. Let's see. Perfect. I think I will need another edge loop here. Perfect. A All right, I will just collapse these edge loops here also. Here, also, we will collapse those. Alright. It's not that good there. It's very good. All right. Perfect. All right. Over here, we will just collapse those. Alright, let's make a triangle here and there we go. Let me say incremental. All right. Let's make the here. This should be fast, I think. Yeah. Perfect. Here. Perfect. Then here at last. Last, perfect. All right. There we go. Perfect. Alright. And let's add triangle here. Maybe not. Let's add this there. I'll just try to get this other edge top. Now here we could add a triangle and now we will close that. Perfect. Now, let's just try to get this shape a nicely way. Perfect. There we go. I All right. Let's see. There we go. Safe incremental. Then we have the ear. Let me separate the eye from the head. All right. Let's try to get the eyes. Now, let's split them just like that. Or right now because we are going to oh, I haven't closed that part. Oh, I just forgot I haven't closed this part. So I just tried to close that. There we go. So let me hide the high poly and also this low poly. And now what I'm going to do I will just try to get this first the top polygon and this bottom polygon. And now I will just press Chief S and then Cussor to selected. And now the cursor will be in the center of this sphere. And now I will just create a Ubi sphere and scale it down just like that. But before, let's make the UBI sphere, and let's change this to 16 and this 16 to 80. Perfect. Now we could just Pre scale it down, Chase mood. Let's do some mirror. Perfect. There we go. All right. Let me hide the demon head. You can see it there. The incremental. All right. Then we have the I. Now let's just make the eye socket. Let me hide both eyes. And now, let's just scale this down. Let's see if this wants to. Alright, one more time. And now we could do some grid fill. Let's see. I think this could be good. Yeah. Maybe we could do some smooth vertices, just like that and perfect. Safe incremental. And now we need to make the teeth. Alright, let's hide both stuff. Okay. Let me just duplicate one polygon from the head. And now let's just make quickly the teeth. All right. All right. All right. A little bit more polygons. All right. Let me just close that with the collapse vertex. I don't want to maybe not. It would be more a problem than anything. Alright. With Phil. Maybe maybe like this could be good. I All right. Now we have those he. Let's make this one. Let me separate this front one from the other one. Alright. A All right. Perfect. Another up here. Perfect. Right now, let's just select these ones. Let's do some bisect. Let's select here where the knife is, where is my knife. Let's just select bisect just like this. Perfect. There we go. Now, let's just do this is All right. Plead. Perfect. And now let's just cover these teeth just like that. I will not care too much about the shape. Fats. All right. That's that. There we go. All right. I Perfect. As you more stuff here. All right. There we go. All right. All right. Perfect. All right. Perfect. There we go. Let me say incremental. There is just this piece. The lower is left to do the hepology and then we are done with this demon head. Alright. Perfect. All right. And Perfect. Now, let's just copy the one. Let's just paste it here. Let's go mesh normal slip. There we go. And now we can close in this way. Face. All right. Let's just continue this. Perfect. All right. Perfect. Here also. All right. Almost finishing. Perfect. Perfect here. All right now, let me just apply the mirror and get these edges where this should be. Alright. I Perfect. Now, let me just add a few more edges just to get tiny bit better. Those shapes. All right. Perfect. L et's get this part. All right. Let's go here also. All right. Et's say incremental. All right. And then here we have our cheese. Alright, now, there we have our teeth. Let's hide this. Alright, now, there we have our demon head which apologized nicely and good. So the last thing for the character to do is the hair. Also, we need to make the eyes and, like, tweak a little bit the eyebrows. And these piece, maybe we could even make the reductions here. It will be pretty fast. Let's just delete those. These ones Perfect. Something like that. There we go. These two maybe this or let's just add one and there we go. We go here. Lets split normals. Maybe here, we could add some weighted normal. If incremental. Alright, so I think we could leave this video here. In the next video, we are going to start making di topology of the hair. I'll see you there. 19. Making the Retopology of the Hair and Making the Eye Topology: Alright, guys, so let's continue with this retopology. So now we're going to make the retopology of the hair. So let's begin. Alright. Let's get one polygon here from the body. Let me just separate that from the body. I will also make a new collection. Let me just close of all of these collection. Alright, let's make a new collection here. Let's call this hair. Perfect. Now, let's get this polygon in that hair collection, I will rename this. We'll call this I will split the hair into three parts. So let's call this. Let's make first the front one. Hair front srand. Alright. If this wants to work. All right, front strand. Lo. Perfect. There we go. Let's select that and let's start working on this. Alright, let's try to make this with closed loops. You will see what I mean in a moment. It's most likely like cylindrical loops. I mean, closed loops, circle loops. That's what I mean. Yeah. So let's try to do that. So if we do this, the topology that way, will be easier to do the UVs and the ngrab and almost everything later on. Alright. Alright. Let's see. Perfect. Oh, I think I will have to make some triangles in some areas. All right. Let's add another stuff here. All right. There we go. All right. Just like that. Maybe we could add another group. Let's just continue making this topology. All right. Let's just keep adding more polygons till we get all of this done. Perfect. Two more polygons. Just like that. All right. There we go. Let's just do a few more. This should be here. All right. There we go. And a few more polygons. All right. Perfect. There we go. S a few more. Let's just close these loops. All right. I will just collapse this into one edge loop. Then I will just merge these two. Perfect. Let's just keep adding a little bit more of polygons. Let's see how many polygons has this O. It has nine. So I will need a laps. Another one, maybe this one. Perfect. Now what I could do is just extrude this round here and then do some great fill. All right, like this. Dig Redfield. All right. Perfect. I think this could work. Yeah. Maybe not. Let me do it again. Maybe this could be better. Well, now here, let's just continue this part. Alright, let's wait for blender to respond. All right. Perfect. Let's just get all of the apology. All right. I There we go. Let's see how this is looking. We still need more geometry to get the complete shape of this. So I will just get the whole then just extrude to get this part. All right. I think we could leave this mesh open in that area. It will not be a problem. All right. Now, this should be okay. All right, let me hide that high poly. Perfect. Now let's see I have already the band. We need to get these two meshes. So let me just copy a polygon. Let me hide these ones. And now let's get this mesh. Alright. There we go. I think I will use work for this. Perfect. This should be the easiest one. Really easy to do. All right. Or let's just activate the clipping. All right. Perfect. I Perfect. Let's just keep adding more polygoms. Alright here, maybe two would be good. Here we need more topology in this area. So let's add one here. Perfect. Here, also, let's add another another one. Perfect. All right. Perfect. Alright. Almost done with this piece. Let's just get them, we need to get that hole there. It will be important to get that hole in the topology. So let's see. All right. I think I will need to make a collapse there. I also need more density. What the **** is this? All right, I see. For a fetch Now, let's get this topology. All right. A little bit more of density. Now, let's just keep extruding. This disease we get the shape here, maybe another one in this area. I think I will have to do some reduction, so I will add a triangle here. Maybe in this area also we will need to reduce all right Now, these parts, I will just make it the same topology. All right. There we go. Perfect. We need to get that hole. Or maybe let me see if in the concept, that hole is there. Hmm. It worth it. A trouble. Let's see here. I will not even be seen. So, forget it. I will just modify a little bit this. Let me get the topology here. All right. Let's see if it's right, my God. I just want to close this gap just to save time, right. Now, we don't need to make that hole in the topology, because if we make that hole in the topology, it will cause some troubles in the baking that I'm not willing to try to solve. Alright. All right, see. Let's just get these close. Let's see how many polygons are here. Maybe we could just make another collapse there, and now we could do some merge. I mean, grid fiel. Perfect. There we go. Now, let's just press do something. Let's do another grid field. Alright, I think this is better. Maybe we could do some smooth bear disease. All right. Like that. There we go. Alright, perfect. All right. L et's just close this and there we go. There we have this piece done. Let's hide it. Let's get these two pieces. We'll just split that into two objects. There we go. Let's get one of these polygons. Oh. I hate this. All right. Perfect. Let's separate this. Let's remove the mirror. And now let's just get this strength. Apologize. Perfect. All right, it will be a little bit trouble. All right. Maybe not. Let's just continue this around here. Perfect. Perfect. Is that another one? Let's close here. All right. Perfect. We still need more apology in some areas. All right. Let me just close this. Just like that. Let's just keep adding more polygons till we get the complete All right. Perfect. There we go. Perfect. I Alright. I need another one of these. Let me add some shrinkrap. Perfect. Perfect. I et me just go here. Now, let's delete that. Perfect. Let's see what we could do here. I will need another edge loop this area. I will add a triangle here. Perfect. Let's get this. All right. All right. And All right, perfect. Just a few more. And then we are good to go with this hair strength. All right, let me add another edge look there. Alright. Let's see how many polygons are here. There are five polygons. I think we need this one. Yeah. And we need more Siluet. But that means that we need more resolution in this area. You get this. Alright, and now we have seven. Let's just collapse this. All right. Now, let's just close this. There we go. There we have it. Let me apply the trim crap. Let me delete the shape keys. What? Let me do this. Apply shape keys. And now let's just delete that. If incremental. Very important to save. Always save your stuff, please. Alright, let's make the other one. Let's make the other one here. Let's take this, lit that. Let's get that brand. And now let's just keep adding more stuff. Let's add another shrink wrap. And now we can start working on this. Perfect. All right. Perfect. This one seems to be easier. Perfect. A Alright. There we go. Let me close this concrete fill. All right. E, let me do this when in set. All right. Perfect. Perfect. All right. And et's just keep adding or topology. Til we get all of these done. Alright. Perfect. All right. I All right, let's just add a few more stuff here. We have nine there. We need to lift the collapse. All right. I also need that resolution. All right let me just add another one here. Maybe we could collapse these two or maybe a little bit higher, maybe from here. We could also redistribute I was looking, I see. I was looking the grid feel. Alright. Unless also at the in front. All right. Right you try to just to distribute that a little bit more. I think that could be good. Now let's just close this with a grid feel. It's like this, which fill. Perfect. Y Alright, there we go. Let's apply shrink crap. Lets Alright. Thanks. Alright. We're here. Let me remove the grid field from here. I mean, the water frame from there. And now let's get the base, the hair. Alright, let's wait for this. Let's get this split heading. I mean, yeah, split the polygon from that object. And now let's just add a mirror modifier and also a shrimp wrap here. And now we could start working. Clipping. Alright. Face. All right. Let me just try to get all of the loop in just like this. Perfect. All right. Perfect. I All right. Let's also get this one and close it right here. I will just close it to collapsing the polygons there, maybe. We will see. Alright. A Perfect. Perfect. Let's see. Alright. And Perfect? Let's just close this this area. All right. Perfect. All right. A Never. A to get this nicely. All right. There are too much polygons in this area. Close these two. All right. Perfect. There we go. And now let's just try to close this. I don't like how many polygons are there. Alright. Here. Oh maybe few more times. Alright. A here. And then one more. This will be good. Well, it's not It's not good. Alright now it is nicely placed. Let me use this wireframe in front to get this nicely placed there. All right. Let's also get this area here. We need this part. All right around here. A a Perfect. And this would be it. Let me see how this looks without the hiding. All right. I think we will add another edge group. All right, perfect. There we go. Alright, let me apply the shrink wrap. If incremental, let me apply the mirror. And also let me apply this stuff, the shape kiss. But for some reason, I still have it by the mirror because I want to get ilut of that air strand. It's like that. All right. Perfect. Let's get also this shape. All right. I think we will still need to add a few more stuff here. Just like that. Also, let's do the same thing here. Perfect. There we go. Now I think that will be it, but that is right. Now, there we have our main hair. Alright, let me just merge this to a center. There we go. Now we have the hair apologized. Nicely and good. Let me do some stuff before airing the video. Alright, let's wait for this to save. Now, what I want to do, maybe we could just do this in the next video. Alright, where is my speed retopo? All right. All right. I think I will have to do this in the next video. All right, where is my able here? Let's bring our tiny guy here and get all of these pieces. Alright. Let's just move them down here. Perfect. And now, let's scale this correctly. Also here. All right. Let's make some quick eye topology. Let me see if I have my eyes in position. I don't think so. Yeah, I have it. So let's do this. Let's get this top one and this lower one. Now, let's press S. I mean, chief S, and then click here Cursor to selected. So the Trey cursor will be in the center of our sphere. Now, from here, I will just add, let me hide the body. Maybe not. Now, from here, I will just add a Ubisphere. I will put here 16 and here eight. Now we can scale this down. Maybe we could leave it where it was 24, 16, maybe. Alright. It's just Felis Moore. Let me do that again. 12, here's better. All right. Now let's just rotate this 90 degrees, apply some smooth. And now we need to make how big the iris would be because I'm going to make model the cornea. Let me see in the attribute. And All right. Where is my my sphere. Alright, we need to rotate this a tiny bit out. So he is looking at the I mean, forward. Maybe we could scull this down. Is a tiny bit. All right. Around here let me hide this. I I think we could get this here. I mean, we are not going to use the that I poly because I was just a placeholder. We're going to make the actual ice now. That's what we are basically doing just making the ice. Now, it's just me or this eye. There we go. Let me hide this. And also let me remove the white frame. Remember that the eyes need to have a rotation, an outer rotation so they don't look like he's crossing the eyes. All right like that. Let's see how this is looking. No, not like that. That wouldn't work. Alright, let's see. Let's do it again. Just like this could be. Let me just hide the interface. You can see it there, maybe a little bit less. But he needs to have this outer. So he need to have this outer angle. You can see it there. He should not be like this bright. Let me see if my I see. He should not be looking like straight down. The eyes should be with an angle. You can see it there with an angle. All right. Because if you make the eye look straightforward, it will look like he's crossing the eyes. So the eyes need a little bit of angle to work properly. All right. Let's see. So we basically we are done with the main character topology. We still need to make the retopology of the weapon. That will be easy in. We could use a lot of the stuff that we have already made for that weapon because we are a little bit lazy and want to finish this fast So there are nothing wrong with reusing that topology because we have made that with polymodling inside ebrush. So let me just remove a little bit of those polygons. And here we are. Let me see the high poly of the weapon. R small. Yeah. Really small. We will need to scale this up I mean, this would be easier if we just reuse most of the measures. I think. I mean, this could be baked in. We could reuse a lot of these. Alright, so here we are. We have finished this retopology of the character itself. We still need to make the retopology of the weapon. So see you there. 20. Making the Weapon Retopology: Alright, guys, so let's continue with this hypology. Now we just need to finish the topology of the weapon. So let's bring our weapon hi poly here. Perfect. So now what I will basically going to do is first just to fix the flip normals that has this mesh flip. All right. Let's go and fix it also in the high body. Mesh normal, flip. Alright. Now, let's see which pieces we could use to make the low poly. Like we can reuse all of these pieces here. Let me just remove the importing edge hoops. Just like that. Perfect. I don't need this one. All right. And that's what I'm basically going to do. I will just delete the floaters and reduce the amount of polygons that it has because we made this weapon using already polymodeling, so we could reuse most of the things that are here. All right. Let me also delete these ones. Perfect. Oh, let me see something. I think I don't have the floaters. Oh, yeah, I have it. All right. Perfect. Let me just keep deleting these floaters because they are not needed in the low poly. Alright. Perfect and the other side here, this one and this one gone. Let's also delete these ones. Let's go here and delete these other ones. Perfect. Let's delete that here, let's delete this one. All right. Let's say we could delete this inner one. Also here. Let's just delete this stuff. All right. So here we could bake this cylinder. So I will get my hi poly. And what I'm going to do, I will just delete that cylinder and do some free topology for that piece. Let me just delete all of these also here. We'll just delete all of that pieces. Perfect. So let's just keep working on this. Let me delete one half, add the mir modifier, the Y axis. Maybe the C axis, yeah. There we go. And now let's just keep working on this. Alright. Perfect. Did we have it. Let's just keep adding more stuff, and I will also remove the custom lit normals to have a better shading later. All right. Let me also ask if my topology is shading so I can see what I'm doing. Let me hide all of these pieces. Perfect. Let's just connect these ones. All right. Perfect. Let's go here. Get this all here. There we go. Extrude this. Alright, let's just keep working. All right. There we have it. Perfect. I wouldn't need to do a lot of tweaking in these pieces. Let me remove all of those who pour teenage soups because they are not needed. Also, I will just remove one half of these pieces. I will add another mirror. Alright, the Cx is. Yeah. Need to add a edge in that corner. Alright. Alright, let me do something. Let's just be more smart. Alright, let's just add a shrimp crap. Let's just select this. All right. There we have it. Maybe we could delete this edge loop. All right. I think I can delete it. Yeah. All right, perfect. Let's just keep tweaking this Perfect. Now, let's just apply the shrink wrap. There we go. All right. Let me also delete the custom split normals. Maybe we could add a weighted normals. All right. Here, we delete all of these subordinate groups. Because they are just extra polygons that are not needed. All right. Perfect. Here, I will just reduce a little bit amount polygons that are here. Maybe maybe we could just leave it like it is. I think so. This area we could delete some some of these polygons that are not needed. All right. This one is needed. All right. Let's just do this here. Perfect. That one is needed there. All right. There we go. Let me save incremental. Let's take this. Alright. Maybe I could leave the amount of the pool that is here just like that. Right here, we need to do some twigs. Perfect. There we go. I think this could work. All right, let's see. Let's remove the supporting subs from here. There we go. All right. Perfect. Let's see what else here. These supporting age groups, let's just delete them. Perfect. All right. This stuff All right. Let me just select this. All right. This solve. All right. Perfect. Safe. Very bad. I'm really just R R lazy to, like, make the same method of phryopology that we did in the body. What happens? I truly hate when this happens. Alright. Let's just get back our weapon. It is here. Let me hide a character. Let's just keep working on this. We could remove a bit of those stuff that are not needed. Perfect. Here, maybe we could add shrimp crap. Alright. All right, let me see. Let me just try to get Topology. Get this one. Yeah. Perfect. Let's do some prin crap. Perfect. Alright, let's go here. Let's also remove. A is already under removed. I think so yeah. Well not not quite much. Is like that. Let's add shrimp crab this piece, so it'd di a tiny bit more with the rest of this weapon. A right. Let's also do the same with this. All right. Perfect. Apply. All right. Let's go here. I think I will need, yeah, remove some of these unwanted apology that are not needed. Perfect. Right. Where is that be? Just removed that. But now I have an engun there. I don't like that engun. I will just leave it. I don't care. Alright. Let me also add that same. But first, let's just remove do some split normals. And now, It's a another shin crab. Perfect. Alright, let's just get this. Perfect. Actually placed. There we go. Let me see you the inside. Perfect. I think it's almost perfect. This also, I will just remove the support teenage groups Perfect. I think we could use this indeed. Here, let's remove all of these greases. All right. There we go. There we go. Here, also. Let's remove those custom split normals. All right. Clear accustom split normals, clear acusom split normals. Here, also. Alright. All right. So basically, there we are with this do. It's just safe. I think we could use this as our low body. I don't see anything wrong with it. So this is basically it for this video for this topology. If I see something that is not well, maybe some that I miss, maybe I will make another video for this model. But for now, I think it's completely fine, what we have here. So we have our character. You can see there, the topology of our character. Yeah, the topology of the demon head. Perfect. And the topology of the weapon. That's nice. In total, is 83,000 palons. And that is quite good. I mean, a really good number. We are not too high, we are not too low, really nice number here. 83,000 polygons and 41,000 bird disease. That's pretty nice. Also, just remember as I said, beginning at the beginning of this model, we are just going to use the head of the body. What I did was just to duplicate the model. I just duplicated the model and just delete the body. I left the head here. For further use later. So basically that. Let's see. I have also the full body version here because for rigging, will be easier to rig this full body and then just transfer weights between these objects. That would be the best way to do the rigging in this case. So basically that. So see you in the next video. Maybe in the next video, we are going to start making the US see you there. 21. Making the UVs of the Character: Alright, guys, so let's start making the UBS for this model. So let's start. Oh, the first thing that you need to have in mind when you make UBS is to look what shape is your model? Like what primary shape your model resembles the most? Like, for example, this leaf, what shape this leaf resemble? This resemble, like a cylinder. You can see that the pap that resemble the most is a cylinder. So how you make the UBS of a cylinder? You basically just need to add an edge in this vertical way, its longest axis. And then if you do that, you will get basically, let me just make add the UV editor. And if you grab that, you will get your UBs already made. So the same logic applies to here. Like for example, if I were going to make this UV, we need basically to add a UBI to separate the leaf, this leaf from the main body. And then we are going to add a crease that goes, I mean, this is a seam that goes all the way on the longest axis of this leaf, all the way to here, kind of. And then let's just separate this inside from the outside. And if we make the UV of this, it will be nicely and good here. So that will be basically the logic that I will be applying to basically all the models. I will just see what shape this resembles the most and just applying basically the same logic. There are some shapes that are really complex. Like, for example, this let me remove the retopology shading. Like, for example, this main body is kind of complicated, but it's not hard. I mean, you just need to know how to place the UBS I mean, the SIMs correctly. If it's not really that hard. So before doing anything, let's go here to the shader editor. All right, let's bring a material here. Let's press chief A and then let's check for check artexture. Now, let's go here to preferences, addons, and let's type for node grangler. You should need to have this enable. And now let's go to the had editor again. Let's press Console T, and let's put the UBtexture coordinate the UBS in vector part and the color to the base color. Increase this is scale. And now let's go to the view per shading and you can see how our sleeve is looking. Here, you need to make sure that these squares here are like the most have to be like square. It doesn't have to have too much stretch in it. It could have just a bit, but not that much, that much, it needs to be like square all the way. So let's start making the clubs for the jacket. So let's use the mirror in our advantage. Although once we finish to add the seams, we will need to apply it. So let's see how we're going to make the UBS from the main body of the jacket. So basically, we need to separate the inside from the outside and how we are going to do that by just adding a seam in this area. Let's just do this real quick. Just like that. Around here. In this way, we're going to separate the inside from the outside nicely and good. Now, let's go here. This will cause some problems if you leave this part like that. So we need to split that to make it so this doesn't do anything weird. This is most likely like displaying your model in two dimensional in a two dimensional view. Also, it's like, kind of doing papercraft. I don't know if you have made papercraft before, but it's basically the same logic. So if I do this, if I apply the Sims in this way, this part here will like displgate to here. Keep in check. Like this part here will displgate to this size once we do the unwrap. So let's keep working on this. Let's add a few more edges in this side. Alright. Perfect. All right. So basically, we have this. Now we need to separate the front part from the back part. So to do that, we need to apply like two seams in two areas like here in the shoulder area and here in this side area. So let's apply the seam here to match the seam that we have apply in this leaf. So it is a continuous sin. Also, we maybe could put it on this area. So it will be like hidden under this part here. We could put it there just like that. All right. Let's just do this. So it is hidden. You also need to put your sims, your UB SIMs in areas that will be hidden and it will not look like they will be not too noticeable. Let's see here where we put that. I think that in this area, I will just go all the way like this. All right. Let me just move this all the way to here. Perfect. Now, if we do the unwrap, we will get our UVs nicely made. Let's apply the mirror. Give me a sec. And now if we do the unwrap, we will get this. Now, these phases where they belong. So to see in the treaty viewport what you have selected in your UB Editor, you just need to press this bottom. And you can see that anything that you press here inside the UB editor will be selected on here. So let's see what are these phases actually what are those phases? So, this looks like they are internal phase. So that's basically a non manful geometry, and that's bad. You should not have it. It will cause problems while baking and basically doing anything. So let's just move the the US these UVs to the side because we are going to organize them later once we have made all the UBS in our model. So let's go here to the armor. Let's see. Let's separate the inside from the outside. I mean, yeah, this part. Just like that. Alright. Let me add the sm. Let's go here. All right. Now let's do basically the same thing that we have that we did on this jacket will be the same logic. This area, I will add the sim in this area, so I can separate these in a nicely way. All right. Let's go here. Maybe I could add the sim Alright. Let's see. We could move this around here. Perfect. Supplied it there. Now, I need to add the seams here. Let's see how we could add it. Alright. I just want to add them in a way that they are not too noticeable. Maybe we could also use the high poly as a guide. Like, let me just hide the weapon and let me get the armor. Armor. Where is my armor? In the armor, I think this is the one or lets weight from four Blender. Alright, let me hide anything. I mean, everything, but the inner armor. All right. So I can see what I'm actually doing. All right. So here, let me active my taboly shading. And now we can see in a better way where we could add our seams. Like, for example, here under this area, seems to be a good place to add those first here, we could add a seam in this area. All right. I think that's the best place in this area to add them. All right now, let's go here and see where we could add the SIMs Alright. Maybe here could be I know, I don't think so. This area, let's just get the seam go all the way down. Alright, let's apply them there. And now, oh, I didn't get perfectly this shape, but I think that will not be visible anyway. Maybe, yeah, it will. Lets you do something. I will just get this. I will just push it in. It's like that. All right. This should be here. Now, continue the seam all the way to here. Also, I need the seam. The seam is not correctly placed in this area. Let me remove that sim, this should be here in this area. Let me remove that seam. All right, so let's add the seam on this area. Right at the steam. All right. Perfect. Let's go here. All right. Let's see. Perfect. So maybe now this would be good. Let's apply our new material that we have created. Let me hide in the inner body. Let me change the name of that material to something like checker material. Just like that. Let me rename the name again. Let me add an underscore, like that. And we go here. Let's apply the mirror. All right. Let me remove the topleshading. Let's do another ankle pace. And now let's just throw away that those Ubis because we're going to organize them later. So let me bring back again all my stuff. Alright, but where is my body. Alright, let's go to the inner shut my inner suit. Alright, we're going to make the face Ubis in a Vd. Let's just finish these ones. So the inner suit to UVs, they will be basically the same thing, like the jacket, basically the same shape. Go here, and now let's go here. And that will be basically it. Let's apply the mission modifier, and now you can see that we have our UVs perfectly made. Let's apply the checker material. You can see that the UVs are nicely made. Let's go to the mask, all right. Now here, I will need to separate these tubes from the main body of the mask and now let's separate this inside part from the outside part of the mask. Let's apply the sim. Alright, let's go here. Mark Sim Perfect. Let's go here, mark sim Alright. So maybe if we do the the grab, this will be nicely made. It is not. Let's apply let me see. There is a place that doesn't have seams. I think it is this one. Right? Let's look it for that markem right. It's there. Now, if we add another perfect, apply the checker material. Nicely made. Let's apply the mirror. Alright. And now let's do another good base. Sof here. Maybe we're getting some stretching in this area. Maybe what we could do is just add a little bit more of seems to the chin. Like here, for example, we could add a sim in this way to relax a little bit that Oh, it didn't anything. And we need to add another sam here. So you will see what this will do in just a second. Alright. Let's see. Now, this area is more relaxed. You can see how we delgateT area from being here now is more open. It takes a little bit more of UV space. I think it's a price that we have to make if we don't want to have that stretchiness there. Also, what we could do it's just to write and play with with the vertices here. Let's see, apply our proportional editing, and we could start tweaking just like that and see how we could get this area with a little bit less of stretch I mean, I want to have it like that because it takes less texture space. So I think that we could have it just like this. I don't think it will affect too much the texture quality. So here, let me also separate this part from the tubes and let's add a seam in this part of the tube. So it doesn't it doesn't have too much stretch, just like that. All right. I don't want the tubes to be like that. I mean, the shin, not the tubes. The way, something like this could be something like that. Alright. Let's see here the globes. All right. Let's see. Let's add a seam here to separate this inside area from the outside. Now let's add another seam here. We have basically a cylinder here. And like I told you before, we just need to add a seam that goes through the longest axis of our cylinder all the way. All the way to here, basically. All right. Now, here, you remember we have added a middle edge loop in our retopology of the hand. So let's use that although we have a little bit of We have a little bit of spiral here, but I don't think it will cause too much problems. I mean, a All right. Let's get this. Let's try to get this edge loop. Oh, islet it. Wrong. Let me try to di select these ones. Let's apply the SIM. Now let's go here. Let me select all of these. From here to here. Dime clear SIM. Perfect. Let's go here also. Lear Sim. Clear Sim. Yeah. Go here all the way to here. Lear Sim. I mean, that spiral there is not that's good, indeed. We should have and at it. That spiral. I really don't like. I really, really don't like that vital. Maybe we go to triangle there. No, I will not be good. At triangle there, maybe we'll just do this instead and try to redich the change it the direction of our stuff. Because I really don't like that. Well, let's just leave it like that. I will not be that much of a problem. Now, let's just continue this here and this here. Alright, we need to separate this piece from the rest because it will cause troubles. Also, et's go here, let's add some steam. Now, let's make it in a way that this will displgate in a nice way. All right. Perfect. Let's add our checker material. Nice and good. This time, I will not apply the mirror because we're going to do something. We're going to leave the mirror, and we are just going to texture one area, and then we are going to mirror that mesh, so we have the other hand. And in that way, we could save UV space and maximize the texture quality of our model. All right, let's go here. Let's make the Ubis of this armor. All right. Just like that, I'm just separating the inside of the armor from the outside and adding some edges to the pig so it doesn't stretch once we do the unwrap. Let me hide them. Just like that. Perfect and good. Let's just add the seam there. Alright, like that. All right. Now, let's select this one. Hide Alright Perfect. All right. You know, I think that way. You know, we dish. Alright, perfect. Alright, just like that. Mark Sim unhide everything. And now let's do some grab. We have this. We're going to do the same logic as the other one. Maybe we could do maybe what we could do is we could have this with their own UBS. So once we duplicate the globs, they don't look that symmetrical because we're going to have this with a little bit different details. So it will be asymmetrical. Kind of. Yeah, maybe we could do that. Yeah. Now, let's apply the mirror, and let's do just that. Perfect. All right. Let me unhide everything. Let me add also the checker material. Perfect. Now, let's do the Bs for these are more pieces. They will be more of the same process. Basically just this. Is is nothing fancy indeed. It's just a really simple repetitive process. That is really easier than the upology. We could do this in a lot less time than the pology Because erythropogy is really pain in the ***, so let's just do this quickly and jump to the textures that I know that you want are making some texture because myself wants to do them. Alright, let's just add some creases for the stuff. Just like that. All right. Almost done here. Perfect. Wrap. Alright, I think we could do the same logic as the other armor pieces with these ones. Just do the unwrap and let's apply the checker material. So the globs doesn't look that symmetrical because that will be covered of non symmetrical pieces. So let's press Console L, and let's just select here link materials to apply the same material to the rest of the objects that are selected. So let's go here. This is basically a ring. We just need to separate the inside from the outside to make the UV. Just like this. Maybe we could separate the poach also. Just like that. Let's go here and separate the poach. Just separate that. Perfect. So let's go here. Let's see how we could make this. Maybe around here. Just like that. Let's put a seam there. All right. Mark Sim. Just like that. Also here. Also here. Let's do the same thing in each other. Perfect. Let's remove the seam from that other area. This should be good. Let's apply the sugar material and do some ungrab. Oh, I just forgot to add another seam to separate this to cut this ring. So it is just like a strap in here in the Ub Editor. Perfect. Just like that. This is not good. What did happen. Alright, let's see. What did happen here? Oh, I haven't ad. What the **** is this broke. Alright, let's just continue. They seem all the way to there. They seem all the way to here, to the on Grab, M getting this. We are sold. Let's just add another Sam in this area. And this will be problem solved. Alright. I think I will just leave it like that just to get a little bit of UV space. Let's jump to the other strap. This one. And let's do basically more of the same here. Let's just separate the inside from the outside, like that. I will show you a trick that we could use to make our you'll be straight. So basically, it will be select one select one polygon. Now, select the top edge. Right click, align horizontal. The bottom edge, right click, align horizontal, the right edge, left click, align vertical, and the left an edge and left click aligned verticals. Now, let's select this polygon. Select the rest. Do grab. And now these photoactive wads. You can see that our stuff is already made. But you can see that we have some distortion. And that's the issue of having this, like, yanket topology. But I will not care too much. I will just leave it like that. I mean, it's straight enough who cure. A right let's just continue. Let's ungrab this. Let's add a steam in this hole. Yeah, I think we will need to separate this hole from the outside. Let's do something. Maybe we could add a seam in this area. All right. Just like that. Marxim separate the back parts. Buckle. Just like that. Im Marim Mark im Marxim and then another sem here. Let's do some unwrap ankle paste. Checker checker material. We are getting weird. Deformation, let's do another unwrap wid minimum stretch. Heel weird deformation. Let's see. Let's see. Is he's the one? I see. Let me see just a little bit. Let's just do this. Maybe this will be not the best way to do this. But let's just add another seam here, and this should be good enough. Let's remove all of these other seams, and let's just left one there, and this should resolve everything perfectly made. Alright. We have the half of our character made. Let's go here. Et's separate the inside from the outside? Just like that. Let's go here also. Separate the inside from the outside. Let's see here. All right. Let's just remove maybe in this area. Maybe Mark Sim. Let's see what this give us sucker material. We're getting some weird issue. Let's add a seam this area. Oh, it's behaving correctly. We're getting this weird issue. Alright. That's because of this M here. It doesn't look right. Let's clear that em. Let's see what this give us. This give us a bit of a weird result there, maybe grab with minimals. Arch. Maybe it's good. Maybe it is not. I think I will just leave it like that. Let's do the same from this piece. That will be basically more of the same. I like this. All right, perfect. L material. All right. Let's select this. Perfect. Mark him. Let's do something. Instead of having, like these pants bulleted and like, net loop like this goes just like that. Like an edge that goes like this. I would have it like that because for this, I would like to have it just like this to have less distortion shim grab. No right at that we could actually add an e loop. Here. Perfect. This could be good enough. You can see that we have a nice looking hand UV. Apply the mirror. Now we have these pens. UVs, supply the checker material. Perfect. We almost had the entire already made. As to the pouch. We could separate the top part of the poach from the body of the poach. Let's go here. All right. Just like that. I like the perfect. Alright. Perfect. All right. Like this. All right. There we go. And now let's just add another seem here. Is that another one in this area. Let's do some iron weld. I mean, not iron weld. That's my bad. Just grab. Sorry. It's a really different word. Let's find sugar material. Us like this. Incremental, let's me something. Alright. Let's do the same of this piece. Just like that, Mark SM select these four edges. So it doesn't have a stretch in those areas. Let's apply this checker material. If incremental. Alright. Continue. Maybe here we add a SM in that in that edge loop, and I think that would be enough for this piece. Grab angle base. Checker material is basically perfect. So let's just leave it like that. Let's go here to this calve armor. This calve armor, they are basically like a cylinder in shape. So that will be basically the same thing that we were doing with these type of shapes. Let's add a seam here. Thi should be good enough. Perfect. Let's add the checker material. Let's add the seams to these slices, just like this. Alright, Mark. Um Here. Perfect. There we go. Yeah, we could do the trick that I show you to make this stuff straight. So let's do align horizontal, align horizontal align vertical, line vertical. Let's select these follow active quads. Here, also align horizontal, horizontal vertical, vertical. Do in the other area. A line horizontal, a line horizontal line in vertical. All right. Let me just active this life sync. Now, let's just select this edge vertical, vertical. Let's select this fulctive watch. Perfect. Now, let's select our checker material. We need to do the same, the other area. Let's do something. Let's see if this works. Let's select this. Let's press Let's copy our defuse UV. Now, let's select this. Let's press Let's click here, paste DefuseUB and it didn't work. I mean, if the topology is basically the same with the same vertex order, it should work nicely. But here, it doesn't have the same vertex order, so it just didn't work. Let's just add seems perfect grab base. Maybe what we could do we could clear them from this area. And then just do this and then do the the alignment on the stuff, and we have two UV islands instead of four UV islands. Perfect. There we go. All right, let's do the B for the shoes. Let's separate the sole from the rest of our shoe, just like this. Let me mark him. Alright, now, here, here, all right, perfect, just like that. Mark him Alright. Let's go here. You're perfect Work Shim. We need to separate also this piece from the rest. Well, let me separate this piece here. From the rest of the model, so it doesn't display in a weird way. All right. Mark Shim Pier Shim and from Pier Just like this. Oh, we have something weird here. I'm going to look that in a minute. Let me try to get this nicely here. Alright. And Mark Sim, now let's try to fix this. What do we have here? What is the Where is this, bro? Is supposed to be like this? Yeah, it is supposed to be like that. Alright, let's just unhide the boot so we could place it in a good way. Let's just play it way where it should be around here. All right. No. Go here. We need to add another seam here. Let's see. Just like that. Maybe right. Let me add a checker texture. We have an Area that doesn't have the V is correctly placed. All right. Let's see. Alright, let me separate also here. Mark sim, this will be good. Enough. It is not ab grab with minimal stretch. It works. What is this? I think it works too much. I All right. I will just separate bow from the rest, you see. If they do a better job. From grab. Perfect. A not perfect. Yeah. Alright. I I do something here. Let me select our proportional adding. And now with this, I will just try to move in place this stuff stuff just to get this straight line. I do the same here. Something like this. Now let's go to relax. It is not doing anything. Get the crap. And now let's just try, like, sculpting our stuff. It is not good. Alright, let's do something. Let's do it again. All right. Let me see what happened if we add a middle edge loop. I mean, a middle middle seam Sam wrap. Alright, we get this Now, maybe, what we could do is from here, we could align them a bit better. Try to do it with minimal movement. C here. Just like this. Now, let's go here. And now what we will do just to place it there and now select these pchs and start merging them. And there we go. We kind of have this piece correctly placed. Alright. It is not merged. Go here, let's remove that seam. Now, let's go here. Now, let's try to merge them here. Alright, I think this could work. What is this? This piece piece. Alright, let's add maybe a few freezes in these areas. Alright. Mark Sim. Mark him Mang base. Oh, I just forgot that we fixed this. Oh, no, what a ft. All right on grab. It is worse. All right, like this. I should be like this. Alright. I think this cool to the shop for us. Alright. Let me wave incremental. Let's see from this area. Alright. Mark Shim Mark Shim. Let's go here. Perfect. All right. Let's do some record material there. Just like that. G here. Let's select all of these and let's do the seam of all these pieces. Let's add the seam in the back area of this pouch. You can see that this pouch resembles more a cube. So you should add the seams on the corners so these behave correctly. Around here. Just like that. Perfect. All right. And now one here, and you will see how this will work. Right Grab perfect. Let's apply the checker. Nicely made. Let's select these ones. Let's add the seam in the inner area. Mark him and another sim in this inner area. Grab perfect. Let's apply the checker. And now here, let's do the same trick that we do before. We have done before. Perfect. Let's just make straight these Ubis Just like that. Perfect. Let's select these sines straps. Let me say incremental. Perfect. Let's go here. Perfect. In this area. Mhm. Let's go here. But first, maybe we could remove one of these seems right like that. Your Sm. Perfect. All right. All right. Perfect. Wrap. Then now we are getting this weird shape. Alright. Let's see why we're getting that weird shape. Oh, I see. Marking. Now, this should work nicely for both craps. There we go. We need to add bis to this other shrap Mark shim. Grab. Perfect. You car material. Let's go here. Basically, let's do the same. Let's separate that. We'll also separate this piece here from the rest, just like that. Alright, just like that. Mark Sim. Let's see what this give us. Let's apply our sugar tecture. We're getting some weird stuff. Let's see. Separate that grab. We're getting more weird stuff. Let me see Oh, I see now in this area. Mark him. All right. Grab good paste. Now, from here, we could add him, relax. I speaks Just like that. There we go. Nice and good. For all the family. Let's apply these two these two mirrors. Grab. Here we go. Before applying the other mirror. Need to get something done here. Need to keep tweaking this. All right, let's see. Here this piece. Let's just add a seam there. And also this areas not good. It is not good. All right. Perfect. Your him now this should do the job. Right now, everything's good. Let's just put that to the side. Let's do the piece for this piece. Mark Sim. All right. Oh, what a **** o. Has Oh, I see. I see, I see. Let's do the same thing here also. All right. There we go. Checker. Oh, I also forgot to make the ye lashes. That would be easy to do. But I will not do in this video. So for this face for the face UVs, what we need to do is to separate the ibaxs from the rest of the face. To separate the eyebads from the rest, like that. Let's separate the ear also from the rest of the face are from around this area. All right. Perfect. Let's go here. Just like that, Mark Sim, Mark him there and also the mouth back, separated mouth back, the rest of the base around here. At that, this should be good enough. You can see it here. But we have we also separate the neck from It Mark him. All right. All right. There we go. We have our face here. Something that we could do, maybe. We're not it will not be that good. Maybe I think it would be a good idea indeed. And we could just do this Mate UBs I think it would not be a good idea. Let's just leave the face UV, just like that. Checkered material. Perfect. All right. We could make the UVs for the nose, a tiny bit less. Sorted, just like that. Could be here in the shin. Also, a little bit of tweaking. I think this could work nicely. Now the UVs of the eye, let's just add a seam in this area in the middle of the eye bow. And now let's just take this and put it to the side. That would be enough. Per material. There we go. Here, also. All right. Mark Shim. Alright, Mark Shim here. Alright, just delete that s at a mirror. There we go. Here, I think we will just do this. I want stretch. Packer material. Alright. This could be also good. You take this and put it to the side. Take this hair strand. This is basically a cylinder shoe at a seam in the longest axis. All right. There a checker texture. Maybe we could get some relax. All right. A All right. Let's go here. Let's see how we could do the UVs for this. Maybe we could add a SM here. All right. Maybe a seam here. Alright. Mark shim there. Let's see what they give us. Material. Let's apply the UVs. I mean, the mirror. At this half shaped keys. Let me remove those shape keys. Apply apply all shape keys right. Now let's apply the mirror. Let's redo the grab and there we go. Let's do the same that we did with the front brand here. All right. So here. Now, let's just select this piece. All right, just like that. Perfect. There we go. There we go. Let me add the sugar texture. Oh. Perfect. Now this should work. It was. Let's do the same with the other part. With this Alright. Hiroshim. Perfect. It's like that. Let's apply the Checker texture. Here we go. Let's do the UE for this. All right, it should be good. Checker material. All right. Now, this piece, oh, I forgot also to add the checker. Architecture here. Let's go here. Mark Zim. In this corner, also, another Mark Zim. All right. C material. All right now in this tiny You. All right. Perfect. Decker material. It's great for Blender to work. All right. This will be more of the same process. All right. Just like this. All right. Mark Shim. Grab. Perfect. There. With this tiny piece, I will do just this. Mark Shim. There we go. Sleep incremental. Or let's separate the horns from the head. Just like that. Let's add a seam in this area. Mark shim Perfect. Let's also add a seam in this area. All right. Just like that. All right. I don't think that we should separate the mouth back. Maybe maybe, all right, I see here. We need to separate the ear. Maybe this should be good enough. Alright, let's see what this give us. Let me apply this mirror modifier. Alright, now it's working. You car material. Let me separate the ear. We're getting troubles the ear, so we'll just separate it. Alright. I would like to add another way the bottom part of this space. Maybe. Let me see how this looks without the inner seam. I mean, this MutbacIM I think it looks better all right. There we go. Then we have D Dmonhad UVs. Let me save incremental. And now, why I need to do the tasks. I should be easy. All right, let's just go here. Mark Sim Lear. Mark Sim. Lear Sim. And here will be just like this. Alright, let's just collect this mom on wrap record material. Let's go here. All right, let's just do that, and this should be good enough. Grab a good paste, check our texture. You guys say that this is nice. Alright. So we have made almost all the UVs for the main character. So let me do this mo Alright, Sugar texture. Here we go. So we have made all the UBS for our main character. We need to do the weapon UBS. So let's see. Yeah, we're going to make the weapon U Biz in the next video to see you there. And then after we made the UBS of the weapon, we're going to start organizing our Ubis and then prepare everything for baking to see you in the next video. 22. Making the Weapon UVs and Organizing Them: Alright, guys, so let's continue with the UBS of this model. Now we're going to make the UBS of the weapon, and maybe we could start organizing the UBS. So let's start. Alright, let's unhide the weapon. So let's start making the UBS for this. All right, here, how we could do the UBS for this piece? We could just add, like, a middle seam just like that. And then we could add some seams in the corner so this can displgate nicely. Alright, around here, maybe. Perfect. Here we go. Is uneasy. Let's bring the checker texture. Checker texture here. Perfect. All right. Now, let's continue with the rest. If we here, let's see, we need to separate the inside from the outside in this piece. Mark Sim there, here, I will add maybe another sim We around here, just like that, mark em. We could also add a seam here, so this could open nicely. You can see it here, or eyeless at the checker texture. All right. Let's go here. This will be basically super easy. Let's just add a middle edge loop. I mean, a middle seam, and that would be it. Becker texture. Perfect. All right. Let's continue with the blade here will be the same as the lower blade will be just this perfect. Let's add this sugar material. Here will be more of the same maybe a middle a troop with a few themes around here. So this can open nicely. Alright. I think this would work. Alright, check our texture. Here we could also need just like that. Here. Perfect. Let's continue. Maybe this piece would also be Alright, just like this. Markim there we go. Maybe we could remove one side. So this is just 11 UV island. More check ar texture, Checker texture here. Perfect. There we go. All right. Let's continue with this here. We'll just separate the inside from the outside as always. Just like this. There we go. Maybe some seams in these corners. Mm around here. All right. What is happening? All right, I see. This stuff is from where? Oh, I just forgot to add a seam there. Right? Now we have a seam in this area here. Mark him. There we go. Let's bring the checker texture. Perfect. Let's do the same thing here. Let's just separate the inside from the outside. Just like this. Mark him. Perfect. All right. And now I will just add a middle them there so this could displayate nicely. More checker material. All right here would be more of the same stuff. Let's see. Just to separate the inside from the outside. This should be good enough for us right now. You card texture material or wt. Perfect. Let's take this. Now, let's do the textures of this these Mark Sm. Perfect. Checker. Checker texture. All right. Let me try to make this straight horizontal align vertical now, align vertical, select that polygon, then select everything, and now it is completely bright. What is this, bro? Let's see, this would be really easy to do. We just remove these extra polygons. I Perfect. Sra. There we go. So checker architecture. So here, it will be like grabbing a cube, just like this. Maybe we could add some seams there. Mm. Dear Sim. All right. Checker material. There we go. Right now, this cylinder should be easy. Let's just add one seam there, another seam here, and another one in this area. Let me see which part is the. All right, so let's add the seam in that area that this height and space perfect. There we go. Check our material. Now that this little piece, as usual, separate the inside from the outside. Just like this. Mark sim me apply this mirror. And now let's do the unwrap car material. Perfect. This should be good enough, kind of, but not quite much with this cool to something. Yeah, it's better. Go here. This will be basically square. Alright. Let's just do this. This should be good enough. Right, apply the mirror and then do own wrap. S here that this is perfect. The material. All right. Let's go here now. All right. Another ube like shape. Just like this, it'll be good enough. Grab a good paste. You car material. Alright. Let's do this little piece here. Let's just separate the inside from the outside. Just like this. Perfect. There will be some teams in these areas. Making grab checker material. And there we go, we have made the UVs for the weapon for a safe incremental. And now we could start making the UBI layout, which means we're going to start organizing our Ubis. So first of all. Before organizing the Ubis, we need to set the texture set or the material groups. What that means is, for example, we are going to have one part of the model that we share at the same UBI space, like the same material. So you can see here. That part of the model, we share the same material, and another part of the model, we share another material, and so on. Let me show you with a little example. For example, here, the face the face will have its own material. We could just add a new material I will call this head Perfect. I will change the color maybe to a red. That will be the texture set for the head. All right. Also the eyebrows to have this texture set head. Perfect. The eyes we could make the eye its own texture shed maybe. Let me we could do it, or maybe we could also put it inside the texture set of the head. But because this is more a personal project, I will just add it as a new texture set. I Alright, it's here. Perfect. Let's add some bluish color. Alright. So let's keep working. Maybe the jacket should have its own texture set. Let's remove this one. Let's add jacket. Perfect. Or maybe this could be instead of jacket, could be upper body. Let's see here could be upper body. We could add the globes jacket. This one would be, maybe not. I think the inner shot should be its own texture set. All right. We could add all of these in the same texture set I think. Yeah. I think so. Let's go here. Let's press Control L link materials. There we go. Here, the suit should have its own texture sheet. Inner armor. I will change the color to maybe some yellow. Here, the inner suit should have its own texture st inner sud All right. So also, we need to add the lower body. Maybe we could put all of these in the same texture shed. All of this stuff. Let's see. These should be or could be in the same texture sheet. Yeah, I will call these texture sheet pants. Pants. And boots. I think materials. Maybe this could be some pk. Let's go here. I have hide some stuff skirt. Here we go. I think we just that. I just forgot now the skirts, maybe we could add it in this own texture set. It doesn't work here. I don't think quite like quite much rehiness that this has. I think that's better. All right. Let's add the skirt and maybe this pouch and belts, all of this piece. We could just add it in its own texture shed. A skirts, belts, or materials. Let's add maybe which color this color here. Let me put UB on this. All right. Perfect, perfect. Perfect. Xm, grab. There we go. All right, the mask. Maybe we could add the mask with the inner armor will be. Perfect. Let me just add that mask in the inner armor texture set. There we go. Is piece also. There we go. The hair would be in the own texture set. For games, maybe you should have less tex use that I'm doing right now. I just want the most of the quality that I could get. Like here, maybe in a game, maybe you could have retraction of having one textuset even or two textuset and you need to lay out your UBs in those two texture set. But for this case, I will use like few more texuht just to have a little bit more quality in the textures. Alright, so let's go here. This called Air. Materials. Let's call this maybe. I mean, with that orange. We need to lay out this somewhere. This cable here. I need just to put it somewhere. I don't want to put it. Maybe I will just add it with the inner sut Yeah. Like materials. Perfect. All of this piece would be the demon head texture set. Demand head. Texture set. Perfect. All right. There we go. We have quite a bit of textuSets. H one, two, three, four, five. I mean, I got lost. And two, three, four, one, two, three, four, five, six, seven, eight exost. Maybe the eight Ext are quite a bit. Yeah. I think they are quite a bit. The ice, we could make it with the head, indeed. We could add the ice with the head. Yeah. To reduce a little bit amount of textuct that this has. The hair should be its own textut Just to work easier. All right. I think good. Let's make the texture set of the weapon. Let me hide the character. All of this weapon will be basically the weapon texture set. Weapon Texture. I mean, just weapon. Let's just call this weapon. All right. Control L, Marlink materials. Let's put some random color. Alright. There we go. Now we could start organizing the UBS. Base it on the texture set. So let's begin with the head. Let's select the head. Now, let's select here, select linked material. So now we have selected all the texture I mean, all the object that shares the same UV space. So here we have this. What I'm going to do now first, I will just to adjust the face to the maximum space possible that this can get. So now for this will be really important to have this ton. It's called texal density. I think the texal density ton, it will be found here. You could type Texl density checker. You can see it here. You just go to preferences, get extension and then just type ex density checker. So you could get this atom why this ton is important? Because in here in the UVs, there are something that's called texel density and what the texel density is. It's basically the resolution that your UV island is getting from the texture. So like, for example, space has one text density that differs, like, from here from the eyes. Like, you can see compared the e to the head, you can see that the ice has a lot more resolution than the head because in the UBS, the UBS of the eyes are bigger. So we need the model who have to share the same textual density across the UBS or at least in the same texture set, they need to, like, share the same texture set. I mean, the same textil density. There are some cases that we could, like, sheat a little bit and make some parts bigger and some parts that are not that important. Let's big. Like we could make it small. Just to prioritize the parts of the model that will be seen. Like, for example, these eyes, I want them to be with a little bit of resolution. So I will take the front part. The front part is this. I will just make it quite big. And the back part, I will just scale it down and put it here, just like that. So now this part is the neck. All right. So try to organize this. Maybe we could make it great just like this. But now we got this problem. All right. Alright, let's go here. Perfect. Let me do something here. All right. Let's type P. Now, let's select this on grab. It is not working. Right pink. All right, wrap. Just like this could be good enough. Select the scope. And let's just bring this up here. Let me see with records texture. See how that part is behaving? Yeah. Let's at the head material a so the neck part will be mostly covered with the inner soot. So maybe we could make it less important and just make it smaller. You can see it here. Now, here, we have the eyebrows. So if we want to make some UV island, the same texturing, I mean, the same textil density, we need this atom. Now, let's select the UV island that you want to get the textal density from. Select them. Let's click here and calculate TD. Now calculate set value. And now let's select the textil density that we I mean, the texture the UV line that we want to apply that textil density. So let's select these ones, and let's just go here and set my density. You can see it here that the UBI island scales up or will scale down. This is the mouth bag. We could just put it here. Maybe these ones are the ears, I believe. Yeah. Maybe we could just add it here. We have a lot of space that we could use with another I mean, with other pieces. Yeah, we have the. These are the eyeballs. All right. Here, maybe here. I don't care. Now we have the eyebrows. This is the back part of the eyebrow, and this is the front part of the eyebrow. Let me do something. I will just apply the mirror. The eyebrow. Let's just get that. All right, normal. Here Fro X. Oh, I don't know. Let's just add this here. All right. We scale that down a little bit. Se this down a little bit over. And there we go. We have a lot of haze left still. Alright. I think that cool would work. All right. At my TD. All right. Right, so we have this. I mean, I think this could work. I think for this piece would be better, there we go. Let's start making the UBS. I mean, the layout for these pieces, let linked material or right here, let's do the same thing. I will use as the reference for the text identity, I will use just the front part of the jacket. But first, let me apply or here. Just for the jacket, not for the gloves. Oh, we have already added the mirror on the gloves. Whatever, we could just delete one part at the mirror again, right. Perfect. We have a little bit more of space in the dexters. Here, I want this armor be with mirror. I mean, without mirror. So these we could maybe No, they are quite big piece. I would like to have it mirrors. I mean, they could be a mirror mesh. But they will have text on it. And if we mirror object that has like text in the lectures, the text will be also lipped so let's apply the mirror. Alright. Let me make the US again for this. Perfect. Now, let's lift everything. Migues has reference point my back part of the jacket. Let's go here. All right, calculate Telecity, calculate set value, everything with A, set my TD. And now, this is just like making resolving a puzzle. You just need to make everything to be inside this square Alright, there are some atoms that could make your life a lot easier. Like, for example, the UBIPACmster, this is a really amazing atom that will help you to save a lot of time. I will use it also here, but I will show you how to make, like, pack your Ubis manually. But if you can't afford this atom, please just buy it because this will be really useful. So now just to make this, let's try to put all the right to add all the shapes, all the UVs for the jacket. All right. If you see that you need a little bit more of space and you cannot get where to put more textil density, I mean, more UVs, you could just fill them down. I let's see. I think I could stick a little bit more of stuff here or maybe not. All right. Let's try to see. Alright, this is the globe. All right, it will be here. Right around here. Nicely, good. Perfect. What is this? This piece will not be that important because that is just, like, one of the apps we added. This other piece is from the glob. We just add this here. These are the armor. Let me get all of these parts. I will scale this down because those these are the back part of the panels armor. And now maybe we could just rotate this. Maybe we could try to add them around here. All right. Just like this, maybe. They are always space for more pieces inside. All right, maybe here could be. This one could be around here. All right. Now, these pieces. All right. Scene could be right here. Just like that. Perfect. And this one's just like this. All right. Perfect. Perfect. This one here. This one here, perfect. Now, these pieces are the other armor. The hand armor, I mean. Alright, let's see. We could just add it. Let's see how. All right. All right. Perfect. Let's just add this. This one's here, maybe. You could add all of these around here. Alright, I will just do this ectuset manually, and the rest, I will do a mix of using the UBIPACmser along with so manual work just to save time, you know? All right. Perfect. There we go. Alright. I let's also add these ones. Or right the knee, we need now to somehow add shoulder armor. All right. X M. Perfect. We need to be able to add the shoulder armor somehow. All right. Just add those here. Let's save incremental. Let me see some. All right. Maybe this. We could add it around here. Close as possible without touching. All right, just like that. All right. Aye here. Let's see how we could add it. I'm sure all of this could be inside. Would be All right. I need to add this piece inside. What how? How we go at it. This one could be here. This one could be around here would be more of the same. Or maybe, yeah, now we could do this and stick that here. Not I intend, move this to the side. This part around here. Just move the more to the side also. These two, a little bit up, not touching. We will add. Now this one here. Right, without touching. It is touching. This is out of the UV layout. Make sure that all of your UVs are inside the square. We could make this one a tiny bit smaller. Just a tiny bit. We have a little bit more of space. All right. Now, maybe we could add, let's see, the rest somehow. Alright. And could be here or maybe here. Perfect. This other one could be around here. All right. All of these. Let's see how we could stick them. Let me copy thenty from this. Calculate exaltinty calculate set value. Let's select all of these. Let's set MTD. All right. Perfect. And All right. This one could be around here. This other one could be let's see, I don't have more space. This one could be around where. Alright. All right. Maybe this could be around here. Per quit. This one's a little bit like this. All right. Yeah. Perfect. Alright. Let's see. They are not touching, right? Perfect. This one could be here. Now we need to add this stuff. What is this? Those stuff are what? All right. They are small caps that are not important. We need to add this one somewhere. Somewhere, we need to add them. C reuse paste from here. All right. Be around here also. All right. Perfect. Now there is just this one left. Perfect around here. There we go. Let's save incremental. And let's see how we could add this. Don't where? Maybe here. This one could be around here. And this other one could be Where? Let me try to fix that. All right, I see. Where I can put this. Maybe here. No. Maybe here, yeah. Think so. Let's take this one. Let me just add this one here. Perfect. Let's move this. And now let's just put this somewhere else like here, for example. And now you can see that we have all of the pieces inside the ex rosette. All right. So let's save incremental. Perfect. There we go. Then now for the rest, I will use my UV pack master just to save time. Let me show you in a bit a little bit how this works. Let's select linked material here. We have this. Let's select, for example, the front part, this armor. Let's just put it here. I let's calculate at the texltt. I calculate height value like everything at my TD. Now with everything sharing the same textil density, let me see maybe this stuff. We could just make them a lot smaller. Now, let's select everything. Let me rotate the things nicely here with its correct rotation. Maybe this one will be a little bit smarter. Alright. These ones would be like this. Perfect. Alright. Perfect. Now, I will just select this and then go to my Ubi PAC Master. Let's select the Uistic search. And now let's remove this rotation enable, and let's just click here in pack. And you can see how these get tags inside here in a nicer way. I will use this All right. Let me show you another example here. Let's link it material. All right. Like this. Maybe let's get the actity of the pan, like everything at my TD. All right. Maybe this stuff could be *****. Which one would also be smaller. This stuff also small. Let's see if we have another piece. Male also. Alright. Perfect. All right. I will apply the mirror for this piece. Perfect. I select everything here. At my TD. Now I will use just my UiPaC master. Pack UIS. And you can see how these get packed with the maximum quality this could get. Perfect. Nice and good. Good and easy. Perfect? Let me just rotate this tiny bit more. Alright. Now with this select linked material. All right, maybe let's get the skirt. Exaltenty calculate extenty calculate set value, everything. Everything. Here cable set value, right. Now, all of these pieces. I will just make this inside that pack there, there we go. Perfect. Inner suit. This could be just like that. I don't care too much. Just like this. It's nice, you know. Now, this piece, we could just add it here. These are the horns. Let's just add the horns there. This one's here. This stuff here and the ears around here. Let's get the the hair. Linked Linked material. All right. Except that texaldntity. All right, calculate value set MTD. And now let's just pack this. Perfect. There we go. Yeah, we go. All right. Let me do another pack. All right. Perfect. Now, basically everything should have their UBS organized. You can see how this UBI PAC master is like black magic. All right. Is that stuff really save you a lot of time. So let me incremental. Let's do the weapon. Let me hide a character. Let's go to the weapon here. Let this. Let's select the weapon. Perfect. Let's select maybe this one. Let's calculate the text density, calculate Texel density, calculate value, select everything. Let's set MTD. Now let's go here and then just click in Pack. And there we go. Nice and easy. This way, we have our blade. Nicely placed. Maybe the blades, we could just rotate them like in the same direction that they are in the Treaty Viewbard. All right. Let's also go here. Perfect. All right. And this should work. All right. Let's say if incremental. And this is basically it for this video. We have already packed all of our UVs. In the next video, we are going to do some preparation for the baking and then the baking. Maybe we could do we could do the baking or the first bake and the preparation for the baking in the next video together. I'll see you there. 23. Preparing the Model for Baking and Making the First Test Bake: All right guys, let's continue with this model. Now what we need to do is to prepare this model for baking. So the first thing that we're going to do in order for us to prepare for baking is just rename the objects. So how we're going to rename the objects, you may say, it's easy. We need to make like each object will have a unique name, and at the end of the name, it should have this suffix. So we need to rename all of our low poly models and add the suffix. And in the equivalent part of the high poly, we need to add the exact same name, but with other suffix. So let's start. Let me show you what I mean. So what we are going to do basically will be this. Let me see if I could get something here that is not that is not name, maybe could be all of these. All right, I think, maybe I could get all of these pieces separated though they can bake separatedly. Let me see. I will just prepare all of these lit by loosing parts. Alright. Maybe let's also hear. I will need to separate by loosing parts. All right. Maybe this skirt. I don't know if I name it. Well, the skirt is not named, so let's show you what I mean. Will be basically this. I will just name this like skirt on the score low. Now we can go to the high poly acid. The skirt here, let's find the high poly version. Let me hi for a second. The low poly, I will just make all of these pieces one all right, you should make the pieces that you have merged in the low poly, and you need to also merge it in the high poly. So now we have merged all of these belt under skirt. So I will rename this to skirt underscored high. This is really important when baking because when you bake and your objects are named in the right way, you can select the option of peking by matching names. So what will the program do? We'll take all the objects that are the exact same name, and we'll, like, match them together, base it on the low and high suffect that you have put on your name. So that will be basically it. So I will just name a few other objects here in video because this is extremely repetitive process. I don't think that you want to see me renaming all of these. So let me separate this part. All right. Alright, here. Just select this selection. Alright. There we go. So you can say that I have already named few of the subjects while making the retopology. So now I will continue naming this with the mask low. We'll call this mask to low maybe. All right. Go here, maybe the hair strand low. I will call this hair main body. Low. Then here, this can be like hair bun low. This could be hair Btrand low Batra low, right, let me just copy this name. Then just paste this. And then this could be like hair hair band low. Hairband low. There we go. Be the eyebrows. Eyebrows low. This one could be like this tiny piece or head is low. All right. This could be the cable. Cable low. This could be like cable run heap low. And the other one could be like other name like this one would be hair. I mean, table a tip, there you go. And this will be the eyes. I. Hello. Perfect. So I will keep doing this the exact same thing with all of my pieces. And then I will get back to you once I have finished making this Alright, guys. So now we have all of our model name properly. You can say that now I have my entire model name with the suffix and all the **** that it has. Alright. All the stuff that he has perfect. It wasn't good. The hair. I need my hair. Perfect. All right. There we go. There we go, there we go. There we go. Alright, let me bring back everything here. And also here. Perfect. You can see that I have used my eyes as the low poly. And this, what is this piece? Let me see. Let me find it. I don't need this. All right. Where is my eyelashes here? Oh, I see. My eyelashes are not placed correctly. The eyelashes, what I did just was like extrude like extrude this erb here. Extrude this part, all of these. And then I just make it a tiny bit longer, and from them, making the eyelashes is not Is not fancy. And for the high poly, I just take the supporting robes and then subdivide it. So that basically Let me try to place this correctly. Around here. I think so. Yeah. Perfect. So now what we could do now? Maybe we could start making the baking. So let's export this. Let me save incremental first. Alright. Let me open Substance Painter. Alright. Now that my Substance Painter is open. So let's go here. Let's export the low poly first. Also, before anything, Let's check if we have our ID map made. What the ID map is, you may say, it's basically like the vertex colors of our high poly, baking in a texture map just to be able to select better like some pieces when we start texturing. So let's see let's go here. Let's change this attribute to see all the vertex colors of our object. And you can see here that I have p vertex colors that I have made inside the brush. I think this could work maybe. I think so. Let me see. Let me hide the jacket. I think this could work. So let's keep working on this. All right. Let's export the low poly. All right, export FPX. Go here, FPXk baking baking. Let's call this Damon hunter. Demon Hunter, Lo or Bake. Let's click here selected objects, flight transform, Adlai phones. I don't want to apply the modifiers that I have put. So let's click here in Export. Because I just want to bake one side of few objects and then just mirror them later on. Let's go here also with the IPO. Let's let everything here. For FBX, let's put this in i for bake. Let's export this C and wait for the high poly to export. It will take a while. There we go. But I think I had this selected, so I will just make sure although this is already i, I don't think that will be exported. But just in case I will just export it again. I don't want anything else to be exported in the high poly. All right, exports. All right now that our hypos is not. Alright, let's start making the Peg here. Alright. Let's click in New there. Let's put this in four k because I want to get the most of the quality for this project. So for the normal mob format, we're going to render the inside Marmoset Toolbag five. So I will recommend you to put this in OpenGL because the three package softwares, they use OpenGL for their normal maps. And if you are going to export this model, if you are going to render this inside a game engine like on real engine or Unity, you should put this in direct X because the game engines uses the direct X type of normal map. The only difference between those two is just the green channel in the direct X number mops. The green channel is flip. So have that in mind. I will just put this in open Ye. I will select my low poly here. Make sure to leave this as it is. Don't change anything else let's just click here. Oh, I haven't failed. Let's see. Why is it? It seems that in the full body on the jacket, I have some Ubis that are not that are not inside the Ubi square. So let's see, let me hide this. So the full body here, full body low. Alright. I don't want to have this. I don't want this. Also in the jacket in the jacket, I had some stuff that was ******* out, I believe. Yeah, this one. Go here, straight to. Push this in. Alright, now everything should work fine. Let's export this again. Alright, let's go back to Substance Painter. New. Alright, Open Y. This in four K. Let's select our object or model. And now we should have our stuff here. You can see there's something weird. I think I haven't layout the Demon head Yeah, it seems so. All right. Let's just clicking pack. I will just leave this like it is. I will not care too much about this. Maybe just a few adjustments. We could put this on top here. These tasks and the teeth. We could just add it there. Alright. Perfect. Maybe it could be a little bit bigger. All right, I will just re export this. All right, let's export the low poly. Port FBX, low poly for Bake. So here, let's click here now and reimport Msh. There we go. So now, what we're going to do? Let's do some stuff. First. What I will do I will duplicate this mesh. I will active the shape give that we have created before. Let me hide the mass. And I will call this Let me call this closed mouth and I will just re export my thing with the open mouth version of the head. I all right. Port FPX here. Let's go here. And now let's reimport our objects. There we go. My hide the inner shoot just to inner armor. No. No. Alright, let's go here and let's apply the shakes. Now this should work nicely now. Here, we export FBX. Alright, let's go here. Import mesh. They go in armor. Alright perfect. So now, let's go here. Export. Let me see if I have my high poly with the open mouth. It will be funny if I don't have it with the open mouth. Let's see mask. Let's hide the low poly mask also. Oh, yeah. This is funny. I thought I have I have exported my poly version of this. I think so that I have it somewhere. Let's see. LX. Alright, buddy. You gonna see it here, I have it there. Let's import this. Et's wait for this to be imported. Alright, now we have here our objects. It's quite a bit of polygon, so the Blender is a little bit too low. Alright, so I have now my high polyverson of the body. I will just export all of these. Again. Let's just export this quick. Let's wait for Blender. Alright. Alright, I have exported my eye poly again. So let's go here to baking. And now let's just import our poly wait for this to be imported. All right, so I have all my poly here. So now let's go here to match. Let's select Patch by mesh name. This will get all of your stuff. You can see how Substance Painter is matching the object that has the same name which is with each other. But now, it seems that I need to fix some stuff. All right. Their rap step. All right. Let's try to fix those. They are mostly in the high poly. So let's fix it. Right, let's bring back our high poly. All right. So let's go here. I had this capital letter there. All right. Now, these two should be one. And what is this? All right. I see. Let's go here, strap the cloth. Go here, perfect. C is high. And this should be here with one. Yeah. So let's re export the high poly again. All right, so now we have our high poly px. Here, you can see that there are not errors. So let's tweak some parameters here. Let's go to the ID. Let's click here and select Vertex color. Let's just crank up a little bit the secondary rate on the Ametoclusion, and in the curbaor, let's crank up this also. Let's see ametoclusion, let's click here in self occlusion and select only same mesh name. And now we could do baking test with one K textures just to see how this is looking. But before that, let's try to play with the frontal distance with the cage here. Oh, I just forgot to add this to the clothes. Oh. I just forgot it. Well, anyways, let's just test this to see if this is working nicely. So let's start. Alright, so substance has finished of baking. So let's see what we have here. So you can see here that we have some funny stuff because I just forgot to add, like this piece here in my low poly. I don't know if I just forgot to unhide it or if I just didn't made the low poly itself. Anyways, that could be easily fixed. Let's see the rest. Alright, what is this? You have this like that? This is super weird. I don't know what's happening there. But the rest is looking fine. Nicely made. But we're getting some stuff here. Alright. It is looking good. We need to fix the head and fix these issues and these other issues here. So let's try to see if we could get what is the problem is happening here. Let's see. I believe that is an issue of flip normals. Let's see All right. Let's click here this orientation. Now you can see that I had my normals of my high body left. That was the issue there. Like here, mesh, normal, sleep. And we should be good. Now, but we are going to continue this in the next video. In the next video, we're going to fix. I mean, we already have fixed this. We just need to repake the head, and we're going to fix this issue here. We need to add another another Another stuff there. Also, maybe we need to tweak a little bit more low poly. But most everything is looking fine. We also need to clean here. In the floaters, we need to clean the NBT occlusion. So they look well integrated. Also here, there is an issue. There are some stuff that need to be fixed before you start the textures. So next video. 24. Fixing Baking Issues: Alright, guys. So now we're going to fix the baking issues that we are having here. So let's start. So in the previous video, we fix the phase part, but we need to report. We need to re export the model, the fixed model. So now you can see here that we also have some flip normals in this area. So let's just flip those also. All right. Let me see where else A, we need to fix this error here in just a minute. All right. Let's see, also, we need to fix this error. All right. We also are getting, like, some weird warm there and it's really fun of A but everything else seems fine. Here also. We need to fix that. Alright, right. We will need to fix to tweak the low poly. So let's go here. Select this one. All right. Is it here that we are getting this polygon to down there. I quite like it, how it is. Alright. Maybe we could get maybe it is like that. Just force the triangulation there. Just like that. We're getting also this rim nice. All right. Let's do the same thing here. All right. I think that should fix the error that we are getting there. Also, we need this strap that I forgot to add. All right, so let's try to search it here and see it here. Let's go here and now. Let's scale it up. All right, 0.1, perfect. There we go. Let me hide this. Oh. Alright, let me just take that piece, and we'll throw it in the jacket. Where's my jacket or right there we go. Perfect. We need to make some UBS for this. Also, we need to adjust the position of this. Let me delete one part. I will make will add a mirror. Perfect. So let's go here. Unless just try to get this nicely. All right. So I think I will delete the inside. I will take this too. O here I will need to decorate those pieces just like that. All right now, let's take this. Perfect. All right. Now let's just stick this to the surface. All right. Just like that. Perfect. Just like this. Try to get it nice and good. Just a few more. All right. Now, I will root here. Perfect. All right. There we go. Alright, here. Maybe we could add another edge here. Just like that. Let me just twig a little bit the high poly. All right. Just like this. Is a little bit, a little bit of tweaking in the high poly. All right. There we go. Just like that. All right. Here. Perfect. All right. There we go. Perfect. Now let's just add all of these phases. Maybe two edgelps here. Just like that. Now, let's just try to make some quick ibis. All right. Oh, I need to pull lose in this area. All right. Let's separate this part. All right. And now I will just split the inside. Let me move this more to the edge. And now we should get this. All right. Let me select all of those edges. Let's mark C. There we go. Now I will just make this straight. Well, let me try to get all of this straight inside the apology. Alright. Perfect. Perfect. Now, I will just make all the polygons straight. All right. Let's go here, two. Alright, let's get this. There we go. Now I will change the name of this. Let me go here. Let's call this jacket. Shoulder wrap high. Let's go now to the low poly. Let me also remove the custom split normals. Now I will go to here, and I will just put here low. So now we need to add that to a material. So I will just add this to the jacket. All right. Let's put here jacket. All right. Let's select this. Let's see what else we could add inside the jacket. Let me s incrementt all this. Select linked material. All right. So let me get the text dexty from one of those islands text, created value. Now, let's select our straps, and let's just click in set value. We could fit it here. There we go. So now that should fix the error that we were getting. Now, let's see if we are getting another error, right? We're getting the baking issues. I think that those issues are because of the cage distance. Also, this, we need to fix this. So let's go here. I think that issue is because we don't have this pouch on the same object that has this strap. So let's go here, Let me hide my low poly. Let me just make it one and that should fix the problem. Let me also hide this tiny guy. All right. So here, these issues here, I think they are because of the topology are not in the correct position. So let's go here. And you can see how this is under the strap. This stuff should be on top of the strap. So let's just move it there. Be sure that you have your magnet activated. Snap those vertices on top of this strap. Alright. Perfect. Let me hide this pouch. So quick. There we go. So I want to add some extra topology, indeed. We'll move this here, or now I will just add, like, a loop that follows this strap just like this. Perfect. Did we go? All right. This should not make an error in the UVs. However, we could re grab the UV. Let's stick those polygons on top of the surface. All right. Let's go here. Maybe we could also add another one. There, perfect. All right. Little bit of topology to get this crease. All right. Perfect. There we go. Perfect. I need a little bit more of topology here. Just like that. Perfect. So, let's add the other one another edgep that goes here around this strap. Just like that. Perfect. All right. Now, let's just move this. And let's just snap those vertices to the surface. All right. Perfect. There we go. I would like to get also this crease. Perfect. I will add that same crease here also. There we go. So now, what we are going to do will be just select the outer part of these UV islands. Just like this. Let's press P. Now let's just select these two and then just click in minimal stretch. That way, we should get this without any issue of distortion. Let's wait for the Blender to respond. Let's see. All right. So let me hide the high poly. Perfect, without any issue. So now that should work. So let me keep looking for more baking issues that we could address inside Blender. All right. The hair. Those baking issues in the hair, I think they are because we need a little bit more cage. So let me export what we have already. Oh, here, we got a problem. Let's see if there is something here that is a little bit packed. Right? Mm, there should be no problem there. Alright, let's just export this. Let me first export my character, my low polycharacter. So let's see if Blender wants to work, and then we are going to export that. All right. Let's select our character. Click here, export FPXFPx baking. Let's just export it on top of the previous one. Let's just remove all of those options, and now let's click Export. Now we need to export the high poly. So let's go here. Help me bring back all of my stuff. I think so. It's good. Al right now, let's select that, export PX as exported here. Now let's wait for this to be exported. Or right now that our meshes are exported, let's report in the low poly. Let's just click here and report mesh. There we go. So now, let's click here and let's go and let's just rebake everything and see if this is working now. Let's just wait for Substance Painter to report the hy poly. Right now that our hypoly is imported. So what We're getting some issues. What is this? Was pouch and pouch. Oh. Let's see what is happening. Ah, I see. All right. Let me bring back my pouches here. All right. Now, here pouch pouch strap, skirt strap high. I see. All right. Now, everything should be activated. Let's re export the high poly. I mean, the low poly and also, again, the high poly. Now, let's go here. Let's re export the high poly PX. Hi. Let's wait for this. Right now, we have no errors here in this step. Let's switch from experimental here from automatic to distance space. And let's just inflate this cage until we don't have this tiny spots like these tiny red spots there. Also, like in these pieces, they are red because we don't have we don't have the mesh there because we're going to mirror those meshes. We could also go to the high body and then just delete all of those pieces in the hydy that will be mirrors. We could just delete those. But I don't think that would be a problem. So let's go here. Let me just increase a tiny bit of frontal distance. Maybe this could work. Let's just bake this and see what this give us. All right. All right, this has finished baking. So let's see what this give us. If we fix all of the baking issues that we had, let's see it seems like so. I don't know why this part is still happening. It's happening here. I think some mesh is overlapping here. Like some UV is overlapping in that part. There we go. We got a piece that is overlapping. All right. Let's go back here to Blender. G here. Let's go to this part. Let's select link it material. And then let's just fix those pieces that are overlapping. Like this one here. All right. Let's see. We could get this to work. Maybe if we scale those down just a tiny bit. No, I don't think so. I don't want to scale this down. We could move this to the side, just like that. Maybe this a little bit up. Just like that, so it is not touching. Alright. And now I will move this more here and it's not touching anything. All right. Kind of. Yeah, I think this could work. Nothing is touching each other. Safe incremental. Now, let's re export this port FBX. Go here locally. Let's go back to Substance Painter. Let's remport the mesh. Now what I'm going to do would be to bake again this in one K because we're just making we're making est bakes before doing the final four K bake. So let's bake this. Alright, see this finished baking. So let's see what we have now. All right, we have fixed that issue. Let's see. You can have almost any issue. We're going to do something here in the hair in just a second. All right. All right. We're getting some of these hairs. We're getting issues in this hair because two things. To Substance Painter is triangulting in the wrong way. The polygons in the hair. And also, we need a little bit more of cage in those places. Let me see this place this. You can see here, these issues here, like this stuff is usually made because Substance Painter is just triangulating in the wrong direction. Your piece, you can see it here, is not triangulated correctly. So let's fix that in a minute. Let me try to see the other stuff. We're getting everything good. Everything nice. Everything good, everything nice. All right. Just a tiny spot there that is also triangulating in the wrong direction. Alright, we got that baking issue. Let me go to the pant. Let me see if we are getting something overlaping Hmm. We are not. Alright, we will see how to fix those. Most perfect here. Basically perfect. Here, we still need to tweak this piece. So let's just go and tweak those. All right, here. We're getting an issue because I think something is triangulating in the wrong direction. Let's see, this piece. Let me just add equate a little bit more of solution here. All right, like this. All right. Let me continue this one right here. Perfect. We should not get any problem. Metriangulate, this polygon because I don't trust Elton Spender much. Right. Perfect. We still also need more resolution in this area. Just let me do this. Yeah, I think we will it do. Alright. Around here maybe. Let me hide the pouch. Alright. Just like this will be? I think so. Maybe we could add another one here. Just like that. There we go. I think we should be good enough there. But we also had an error. I just forgot it. We got an error there. Like one tiny spot right here, the back view. Why we're getting that error. I don't know. We got an error there. Who knows? Why? Who knows why? Maybe could be some. The back view. Maybe would be I think I know what it is. I think this is triangulating in the wrong direction. I really hate triangulation. You can see it here. That's the triangulation. We need to fix it here also. So let's just go and fix it. Just like that, maybe I can do this. Maybe not. Right. So here and also let's triangulate a piece. Alright, there we go. Let me see if we're getting another error. Pay we don't. So let's go to the hair now. In the hair, we're going to make some stuff. Alright. If we go, let me take incremental. Now I'm going to hide my high poly. I will get all of my hair stuff. Alright, I will make another collection. I will call this hair old. I will take all of this, will duplicate this, throw it there just to have a backup just in case. And now, what I'm going to do I will triangulate this by hand. I will add a node of triangulate just like that. And then I will just apply it to all the pieces. On throw L, copy modifiers. And now, right click convert to mesh. We have this triangulated. And now we should not have any issue with the hair. So let's see. Let's export this Port high here. Alright? Oh, I just forgot to put my skirt back. That sounds weird, but, yeah. It sounds really weird, indeed. What is this? Alright, let's just export this. PX, low. All right. Let's go back to Substance Painter. Let's click here in Report. Here, Report mesh. Alright. Now let's go here to bake mech maps. And now let's just rebake everything again. And let's see if we got any baking issue. Alright, so this is finished again. So let's see what we have now. If we have any baking issue. Alright, everything seems clean. Everything seems clean. All right. Let's just inspect. I think we still need a little bit more of age for the skirt part. Alright, let's see the hair. I think now what is missing is that we need more cage. Let's wait for substance to save. All right. We still need to fix this weird part there. Let's go here. Just try to do some topology work in here. Because I want to get this nicely. We just took this this around here. All right. There we go. I think this would work. All right. There we go. I think this could work, maybe. This could be. So let's go here. I'll just copy this. Maybe not. Let's just do the same here. M. Perfect. Just taking a little bit more. All of this. With that polygon. We're getting some weird polygon here, all right? Just at it there. Let me do something here. Merge. I what? Last. There we go. Also here. I will do the same thing in the the other side. Perfect. There we go. There we go. Oh, here. There we go. So let's go here. Perfect. Maybe we could add a tiny bit more of resolution by doing this. Maybe not. Maybe by doing this, maybe. Y All right. Let's go here also. And let's do the same. I full purgese. All right. Getting some weird stuff. All right. Let's go here. Perfect. Remove pitch. Right now, I think this should work. For us right now, let's go here. What I'm going to do, I will just redo the UVs and keeping the position because I spend a lot of time making this UV by hand, and I won't make it again. So let's just be smart and keep the Ubis where they are. A so let's do some angle based minimum stretch right here. He let everything grab minimum stretch. I think should be good. No, I think that's it for that. Alright. Let me see the hair. I think it's mosly because we need a little bit more of cage inside the baking. So let's export this. Let's remport it here. Import mash. All right, let's go here to bake mesh maps. And what I'm going to do now, I will rebake shirt, just jacket. Alright, let's come here, re Bake jacket. And now this should be good. Let's see if this wants to Finish. Or right this has finished. And now this is a lot better. You can see how it is is way, way better. Alright, so let's now tackle the hair issue. Let's go here. Let's just deactivate the jacket. Let's go to the hair. Let's increase a tiny bit more decage let's see if that resolves the issue that we are getting there. Let's see if it doesn't resolve the issue. We will see what is causing that All right. It's a lot better, indeed. Let me just hide the demand head. Perfect. It's better. Yeah. I think I will just make it a tiny bit bigger the cage. All right, just like that. Like here could be selected textures. Let's wait for this to bake. All right. I always recommend you to do the test pages on one K because it is faster than doing again, again and again in four k. So you can see that we have fixed the issue here in the hair. So let me rebake also the skirt. So let me go to the skirt around here could be cage and let's rebake the skirt. Alright, so let's wait for this to finish. Alright, this is finished now. And it's better. It's better. It's better. But you'll need a little bit more of adjustment. Oh, um, we should make this inside when we made the four cake bakes. I'm just dump. But, well, you can see how I just fix this because we will need to do it again once we made the bakes for the The final bake. So. Let's basically do the final take before doing anything else. Alright. Let me just add this where it was. I think it was in 85. I mean, you now 58, I'm just dump. Alright, let's do the four k bags. Maybe we could just remove the skirt and skirt bells and the demand right the hair here just to bake all of the other parts that are working. So let's switch to that. Let's see. Birds color. Alright, perfect. Now, let's just back this. This will take a while. Alright, guys. So there we are. So we have a really clean bake. You can see it here. There's no baking issues anymore. Everything's clean. See from the bag. Alright. I think everything seems fine. Alright. Yeah. So now what we need to do, and we're going to do that in the next video will be to clean this ambient occlusion because I don't want to have any ambient occlusion under the floaters. So we will fix that that's in the next video. So see you there. 25. Fixing Ambient Occlusion: Alright, guys. So in this video, we're going to fix the ambient occlusion. You can see that in the floaters, we are having some ambient occlusion that I don't really like it. So let's start. So first, let's go here to the texture settings. Let's add a new channel. Let's add an ambient occlusion channel here. Perfect. Let's change the ambient occlusion mixing to replace. Alright, we are in the Dimon head. Let's start maybe first with the Alright, Yeah, let's start first with the jacket, maybe. The jacket only has these two floaters, I think. All right. Now let's go here. Let me delete that stuff there. Now, I will add a field layer. Alright. Why is not my ambient occlusion there? Alright. We will need to add the ambito cluson channel in all detector set. The change this to replace. Now I have my stuff here. Perfect. Put it here. Now let's get our baked Amtoclusion, right? I I need the jacket baked jacket at clusion. Let's see if I can find it. All right. That's the inner shut. This is the armor. This my jacket. Yeah, this one. Perfect. So now, let me call this ambient. Oh, bullshit. Fix And they made a folder. The dropped that there. I will put in some color. I will call this map Alright Map fixes. Alright? No. Let's add a paint layer here. Let's just paint in the amid collusion channel. We're going to paint in black. All right. I don't know whether this is that doesn't want to work right now. All right. Well, we need to do that manually. So let's start removing ametoclusion from these areas. Naming white would be. Yeah. All right. Let's go here. I forgot just to do something. Let's go here. Let's change from base color to amtoclusion and let's change. The layer type to normal, so we can paint without the layer being multiply. Because in the multiply, we cannot paint, like the lighter colors, but just the only darker colors. And in normal, we can paint anything with, like, Alright, so let me select my basic stuff. I will add I will add a flow. Let me reduce the flow. Perfect. And now we should be able to paint. Let me put this in symmetry. All right. I cannot paint right. This just went back. All right. Let me just remove that again. Let me add it add another one. Let's put this in normal. And now we should be able to paint some stuff. Let me reduce that Hello. All right. Around here. Right. Let's see the difference. Seeing now the difference without the fix and with the fix. Alright, let's keep working. We have more floaters in the like these ones. This will be like a bit time consuming process because we need to fix all of these. If we could select this gray is this one. Put it here. Let's see if I can paint something. Perfect. I quite like it. Right. We need to fix all of those areas. It will be a little bit complicated. Since I cannot pick the color to be able to select these gray colors. Alright. Let me do something. I will do something. I think that I will Alright. Let's do this instead. I will duplicate this layer. I will change from AO to color. I will add my Ambetoltion map to the color. And now you're in the field there. Now, I will paint on the color. All right. Now I'm able to select stuff that I want to paint. And after this, I will export this map and report it here and drop it into here into the fake textures so we can use it easily. Alright, let's go here. Like this. Let me see something. Alright, let's keep working. Alright. This is in four K, I think. Yeah. This would be in four K. All right. Let's just use our eyedropper to elect the colors easily. All right. And just fix this. You like this real quick, real nice. Perfect. All right. Perfect. All right, let's fix these ones. Perfect. Let's just keep doing it. Alright. This will be a really time consuming process. It will be basically this, but in entire model. I don't think this will be really interesting to watch because it's basically the same thing. I will just do, like, the jacket only, and then I will just cut. And then when I finish, I will resume the video or maybe I can do a time lapse. Let's see. Alright, I think that we may be goal to a time lapse for this because there is nothing interesting to say about this. It's just the same process all over all. Again, again, again, yeah. But work on this. I think those ones are nice there. Here, we need to fix those. All right. Around here. I have made bake in four K. I just forgot. Yeah, it seems so. Just continue. Do it in this part. And also, I suggest to not delete this layer because in case that we need to do a rebake of this, we have these strokes already safe, and we just need to replace to replace the texture in the field layer. All right. Perfect. Let's see what else these floaters. We need to fix them. All right. All right around here. Go here to the base color. We. Let's do the other part here. There we go. All right. Perfect. I think this should be it. For the jacket? Oh, yeah, here. Do some fixes. And also, we have some baking issue. So straight to fix those. We have another floater. So let's test the thing that I have told you. Let's do a rebake of the jacket Ole let's try to get that vacanaor there fixed. Maybe let's increase a tiny bit more the frontal distance, the jacket. All right. We are getting some issues in this area. I think those issues are because we don't have that state. Let's do something real quick. Let's go to Blender. All right. And now here, let's go to the area that is making the issue. I think it's around here. I think so. Yeah. Now let's bring back our high poly here. Let's wait for Blender to respond. And now we need to put this edge on top of this fold. Alright, let's just add it there. I will force the triangulation of that that polygon still the same here. Let's just at this here, and then just force triangulation. In this area? No. I will re export my character. X, X here, baking. Low. Yeah. I think I haven't add the settings for this. Alright, let me re export again the model, the low poly model. But this time with selected objects active. Alright. Let's export it. Let's go here. Let me reimport my mesh. And now we will do another bake here. And now we shall get nice result. Alright. We need also to move a tiny bit. Those Those polygons here, a tiny bit maybe more here. It's a little bit more like that. All right. Perfect. Let me see the idea that we are getting a little bit of issue. Alright. Perfect. Let me export this. Port FX, low elected objects. Alright, let's go back to here. Now, let's report our stuff. Report mesh. Et to debate. Ah, getting some more issues. Those places. All right, when we need to do more ties. That's it. We will discover more issues while continuing with this process. Maybe even in the texturing part, we will find more baking issues that we will need to address to get some nice resolve. All right. Here. We're getting some baking issue in this area. And also in this one. All right. Now, let's try to export this. The other area also Alright to re export that. All right. What did happen? All right. Let's let this. Port. FPX low, yeah. Port. Let's go back to our Substance Painter. Let's reimport our mesh. There we go. Now, let's bake our map. Perfect. Also we're getting some baking issues there. Let me try to put this in automatic. For the jacket. Automatic. And let's see what this gave us. All right, let's wait for this. Yeah, this is not good. This is not good, indeed. Let's just leave it in decent space. All right. This problem, we will need to go back to Blender to try to resolve that. Alright. All right, let's just move. A tiny bit. These polygons to match them better with the shape, be just like this. Any bit more like this could be. This one could be more like that. Perfect. I don't want to distort too much. Maybe we could. Let's do some slide so we don't distort the UBS. Alright, I will need to do the same thing on here. Alright. I'm just like that. Let's just move this. More like this. Yeah. All right. Let's Let's export this again and let's see if we could get this to work now. Go back here, return to paint mode, import mesh, right. Let's see if we are able to get this nicely. And it seems that we don't It could be easier to do inside Marmoset Toolbag, indeed. With a little bit more Not not working there. All right. We will address that baking issue later, not now. So let's do the baking right now. Let's just bake this. All right, everything. Perfect. Yeah. So I will come back after this is finished. All right. So we are here back. So we are back, yeah. We have fixed that issue there. We're getting a little bit of that. I don't think it's too much. We could fix it. Right? The only issue that we are getting now is just this problem. We will see how we could fix them. So let's just continue fixing this Amtopltion. Go here. Let that color. All right. Let me reduce the size of my brush. We could fix here. All right. Perfect. Just like this. All right, let's go here to the other side. We try to fix that. Now, let's just fix this floater. All right, like this. Perfect. You just keep fixing this. Perfect. Right. Right. Paint out this. That's real quick. Just that. All right. All right. A But this need to clean this better. Just like that. Alright. Wait. Let's keep fixing this quick. There we go. We're just a little bit in this area. Yeah. Alright. What else we could fix? I think everything here in the jacket is fixed. Let's go here today. To this part. Let's just pick the surrounding color. Let's just fix all of those loaders. Perfect. Just like this. Perfect. I think that's all. Oh, yeah, we need to fix. Also these pieces, the bracelet. I All right. Just keep painting out. All of these I met occlusion. All right. All right. I see. All right. There we go. A little bit of cleanup. Y All right. Like that? Let's go to the other area. Let's just try to fix those. Just like these. All right. Yes, a little bit of cleanup there. All right. Maybe this could work. I don't want to stay too much there. I think this could work now. I think there is no more loaders. Alright. Let me do something here. Let me fill all of these with this reddish. I mean, what reddish, no, this with the black color. Let's change the alignment to UV. Let me increase the flow. Alright, and let's just paint the inside of this real quick. A All right. Just like that. Let's see how it looks like. I think it's better. Oh, but we are getting also that issue. All right. Bro. Let me go back. There is an eraser. Yeah, I think so. Yeah. Raise this. Perfect. I think that everything else. Ah, I missed this floater. Alright, let's just fix that. All right. Let me just make my symmetry in the correct place. 0.10 0.001. No. Maybe two negative. 109, maybe 0401 here. 02. Yeah, there we go. Let me save this. Let's wait for this to save. All right. So let's just fix this floater. All right. Let's see. Just like that. Right. A There we go. So we are going to leave the video here. I will do the rest out of camera because it will be basically the same thing that we did here will be applied to the entire model. There will be nothing fancy, same thing on the entire model. So I will leave the video here. In the next video, maybe we could start making the blockout of our textures. To you there. 26. Making the Texture Blockout: Alright, guys. So now we have our Abtoclusion fixed. You can see that I have made some painting some areas to fix them. And also, I have rebake my amtoclusion using removing the vi mesh name, no, here, in abit occlusion. Here, removing this putting in self occlusion, always. And I was, like, baking, hiding I mean, selecting one textuet and then hiding the other ones and then baking it. And it will be like that for all the textut so now we have our ambit clusionRmember that we set the ambitcuson map in the color so we can paint it in a better way. So now what we are going to do, we are going to explore the textures, just the paste color of each texture set because we're going to use that as our ambient occlusion. So let's remove all of these, select folder to explore that. Let's put these textures. All right. Let's click here. Let's add ambient occlusion. Let me do something real quick. I will go here to output templates, and now I will duplicate this one. I will remove all of these. I will change the name here from base color to ambient occlusion. All right. And now we're going to export. Use that as our porting plate. So now let's export that. So quick. Let's search it. It is here. You can see that we have our Amt occlusion now there. So we're going to do now. We're going to import that again to our project, select this and then drag it here. Perfect. Now, let's select here the texture option. So they will be imported as a texture. Perfect. So now we're going to go to each texture set and then applying it the mbed oclusionoption, the new ambit oclusion the embed occlusion here in the mesh maps. So let's select the demon head let's added here. Go to hair. Let's add the hair go to head, let's add this into head. Armor Dimon Hunter Armor was the armor, yeah. They go to inner suit. Let's apply the inner suit. In the jacket, then we wear a jacket. Pants we go with the pants, dirt and bells, let's add this one. Perfect. Now, let's go again through all the textures and just hiding this layer because we don't need them. Please do not delete that layer because in case we need to do another fixing in the ambito clusion, we could do it easily, and we don't lose all the work that we have done before because if we rebake the Ambetoclusion, the things that we have changed will remain in this layer. So please don't mess it up. Alright, we are having some baking issue here. I haven't noticed. That's weird. In the normal map. That's really weird. I haven't noticed that. Let's rebake. Hack it. To quick. Let's wait for this to work. That's really weird. Alright, let's go here. Alright, let's put this in Alright. Now, let's bake this. Let's see. Alright. Maybe this could work. Alright now, let's bake this. Is something? Let me watch my amio occlusion. Let's bake this. Bake the med occlusion. Right, let's bake this. This will take a while, so I will pause. Alright, this is done the bake though. S. Alright, we have that fix. Don't have any other issue. Yeah. Oh, it's still there. Did I have bake the jacket? Yeah. But we are getting that dish. That's super weird. Matic. Let's see what we are getting. This is super weird. I don't know what's happening. Let's wait for this to finish saving. Alright, and I did another bake with experimental active. So it seems that it fixed it. I think so. This error here is just a mech that is not properly, like, inside the armor globe. Alright. But you can see now that our floater looks like detail that is, like, sculpted. It's looking way better. Look at this. Nice way to add some detail. You can see it here, how it looks. Really good. So now that we have this, we're going to do the blocking of our textures, which means that we're going to set the base colors and basic materials for our stuff. So let's begin. First, let's import our model inside Marmoset to back five. All right, render. Let's imported. Let's go to our model. All right. Let's go to baking. Let's import our low poly. There we go. Yeah, what I'm going to do now, I will export the normal map. Let's go to export textures. I will use the real package. All right. I will remove all of these. I'm using the real one because there we don't we get less texture. I mean, like, yeah, like, the real template uses packet textures for the roughness AO and metallics. So it is just like three maps in one file. That's really good. I don't want to deal, like, too too much texture files. Alright, let's export this. And we'll export it here. All right. Let me do something. I will create another another folder. Textures one just in case. Leg, and let's just export this. Alright, this finished the exporting. So let's go back to our rms five. Let me see which type of normal map we have because we have Open Ge. It would be fine. So here, and now let's import all the the deextus that we have imported. This is the demon head. Let's import the demon head. All right. There we go. Perfect. Let's see the demon head. All right. This looks like it's flip. Let's flip the Y. Yeah, this seems to use the direct X normal maps. But if you click here and flip Y, it doesn't matter. All right. G here. Let's import our hair. There we go. Go here also. Let's import our This is the head, yeah, here. Inner mask. All right. There we go. Let's go to the inner shut. There we go to the jacket now. Perfect. Depends. All right. And now the skirts build. There we go. So here we have our stuff. Nicely placed here. So now let's start making the blocking of our textures. Let's save this. Right, let's wait for this to save. All right, so let's begin. So let's get our references, right? You can see that we have here our references. So let's start maybe with the demon head, like in order. Like, the first texture set is a demon head, so let's start with it. So let's go here. Let me add this to another folder. We'll call this Map fixes. All right. Now I will create another folder. I will call this maybe diamond head. Let me add a red color to that folder. Now let me add a pill layer. Now, let's add a black mass with color selection. And let's select this orange color. I will copy the hex color. I'm going to use that same color here. Perfect. I will be like orange. Let me create another folder. I will copy the mask of this. I will call this orange Alright orange base. Let me remove this mask. I will add it here. Black. Let me paste into mask. Perfect. Let's continue. Another folder, I would call this maybe synthetic muscles. Let's add a fill layer. All right. Alright. Let's select this grayish stuff. All right. Now the fill layer Perfect. Ray, let me add some roughness here. Let me tweak the roughness also. Just like this, maybe. Alright. So let's keep making some folders. Let's call these horns. For selection. Let's take these ones. Right, let me copy the color. I will add that same color here. Perfect. Let's make more colors. This will be ice. Black mask, color selection. This time, we're going to select the eye without color selection. Let's add a paint layer into the mask. Now let's select this one polygon fill and just select it. Right now, let's add a few layer there. And now I will go here to ID and select maybe this color. Perfect. Maybe even just like that. All right. This will be tasks. All right. Color selection. Perfect. Now go here and select this one. All right. Before, let me remove that color selection. I will add another paint layer because I'm going to select this. All right. There we go. So there we have it. Let's go now with the character itself. Let's go to the hair. Maps. Fixes. Alright. Perfect. So here, Here we add a color Let's go here. Let's just get this color. There we go. Here I will add a color selection. There we go. And this one will be the band. Let me add another folder and hair band or let at a red color. Alright. Let's add a paint layer. Black mask with a paint layer. Olygon fill. Let's select that hair band. Alright, let's go to ID, and let's select this reddish color. There we go. Let's go to the head now. Let's add it here. Maps fixes. Perfect. Another folder. This will be Ed. We'll add another folder inside this one in All right. And now, what I'm going to do. All right, let me select or perfect. Let me add a fill layer. Now I'm going to select the pink color that we have there. I will add a color selection. Maybe nod. Maybe a paint layer also paint, going feel. Let's just select that. Let's put here the eyebrows and lashes. All right. Black mask. Let's add some field layer ID. There we go. There we have it. Now, let's add the I Is Black mask. Paint layer. Let's select this one. All right, let's add two paint layers. First one will be the sclera. Clara, this one will be the ids. This is just, like, a basic stuff because I want to have some color in the ids. So let me elect a dark color. I will add now a black mask. All right. Let's go here. Let's add a paint layer. Go here to the brush properties. And let's select alignment to UB. And now let's just paint this entire part. Give me a sec. I can make this bigger. All right, just like that. And now I will add a roughness channel and increase the roughness there. Here we go. Also, I will add IMAP. Let's do something right. Let me at the anchor point. All right black mask, fill layer to anchor point and select the anchor point that we have created. We'll call this Iris concavity. And now let's go here. I want the mask. Let me see. Yeah, there we go. And now, what I want is just the height. And I will just drop the height, like this. Now, let's go here. And let's add a filter, a blur filter. I will increase this filter, the blurriness. Alright, let's go to mask and see what is this do? All right. Now I will add another fill layer. We'll go to the iris mask. I will invert the levels. And now I will just select here and subtract. So we are making that blurrineess just inside the iris. Maybe we could also we could make some blur. Let's add another bloodinesst that. Just like this. There we go. Here we go. All right, let me save this. All right, so let's keep working on the other elements. This way for this to save. Alright, let's go. Let's go now to the inner armor. So here. Here, we will need to do a bit of work. All right, let's put here armor. Inner armor. Perfect. Let me add another folder. This will be mask. Another folder, this will be pable Let's add different colors. Just like that. So let's see. Here, we have a lot of stuff. So let's just name the folders by the color that we have here, like this dark gray. Darker gray feel there. All right. Let's add a mask with color selection. Let's just select that. There we go. Let me just copy this. I will call this meat on gray. All right. Let's go to dy, select this. Now let's just select this one again. All right. There we go. Duplicate this. Let's take this one. Let's go here to ID and select this lighter color. Lighter gray. Perfect. For some reason. We don't have that stuff. Oh, what is this? What is this? We're getting some weird stuff here. All right, right, right. I will need to go back to blender and do some fixing and do another baking. I will just do it real quick. Alright, guys, so I have fixed it. It was just an error that I misplaced a vertex, so it made that were error. So let's keep making this. Let me call this space. All right. So let's see what we have now space. All right. Let me see the ID. I see, I see. Also, let me get this white color. Increase the tolerance. There we go. All right. Let's add another folder. I will call this orange metal. All right. Color selection. Let's take this. All right. Full layer base. Let's go to ID here and let's select that option. Here we go. All right. Now we need just to do the demissive Alright, emissive emissive. Alright, let me add two folders inside that other folder. I would call this emissive blue. This will be like the purple one, purple one, right. Let's go here. Let's color select this bluish color. Let's add in the mission, I will put the base color in black because for emissions, we need to have the Albedo map. That part of the mido map in black, so the missive can work without being influenced by the Albedo or base color. So let's get the ID one here. Perfect. There we have it. Now, let's copy this. We'll do the same here. Perfect. We'll just add it. Let me select this purple one. There we go. There we have our inner armor. Yeah, inner armor. I need to put another color here. This will be like some leathery stuff. I don't know. Let's Let's add another folder. And we need to put this brownish color brownish Black mask. Color selection. Let's take this. All right. There we go. There we have it. Maybe let me tweak a little bit of roughness. All right. So let's go now to the mass. Let's start doing some stuff there. Maybe we will copy the same. Let me add a Black mass. Alright. Let me just take the This Alright I will copy the layers here. Unpainted here on the mask. All right. There we go. We need to do some stuff. It's dark gray, ID. There we go. Perfect. You have it. Maybe with a little bit of flour for the edges. Let's see, Blur Let me add maybe Another filter. Mask border. Inside or maybe outside, inside. Perfect and blow. Maybe not that much. Alright, let's just delete that. Let me remove the blurriness. All right. I don't have. This me tones like this. There we go. We should have it, but we don't have. Why is that? All right. That's why. All right, base color. ID. This lighter color will be here. Perfect. And now we need to add some dark color. Dark. Color. Kind of some kind of black. Let me remove that. Black mask. Color selection. Now let's get this blackish color. All right. Let's add a field layer there. All right, there we go. Perfect. Save. Alright. We still need to do some more work. This way for this to save. Alright, let's continue. Let's go now to the cable. Go out here. So let's see what we have here. Let me put here like this bronze color. I would just call it like that. Bronze color. I don't care anything. All right. Let's add some other selection. Let's take this. And also, I will take this. Here we go, and now the cable. Let's add some color selection here. And now let's get this. Here. Let me take this grayish color. Perfect. Some roughness. Maybe some metallic. Alright. For the selection. Just maybe a paint layer. Let's just get this. We have, for some reason, some floating geometry there. That's weird. Now, let's a emissive. Amissive. Let's take this orange color. Let's take it. Perfect. Fill layer. I would be in black. Alright. Now, let's just paste this color. Increase the tolerance. There we go. All right. Now, we have the inner soot. I mean, the inner armor, let's go to the inner soot, what we have here. All right, let's call this a black fabric and gray fabric. I will put some different colors for this. Let me also add M fixes folder. All right, let's go here. Let's add some fill layer and also a mask with color selection to the folder, select these colors. I will do the same here. Color selection, let's just get these other colors. The we have it some rough All right. There we go. It's safe. All right. Now, let's go to the jacket. There we go. Call this jacket. To more folders. We have quite a few pieces here. Let's call this folder pad. This will be four or more. This one will be lobes. It would be armor. There we go. All right. So let's start. Let's begin with the jacket. Jacket is basically one color. So let's add a field layer. Go for selection. There we go. We need to add those buckles. ID. Let's add those buckles. Base. Aric we'll just throw this here. I will copy effect. We'll add another stuff. Let's add a mask, let's paste effect. Now here we call these focals. Let's add a field layer. Let's take this. And also, let's take this and this. Alright. What What did I select? All right. Me little paint. I will just take all of these here for selection. Take this, this, and this. There we go. Perfect. No. There's something here. We're getting some weird stuff. Now. Let me change the color. It will be like base buckle. And now I will add the strap. So black mask. Paint. Alright. There we go. Is that a paint? I mean, I feel that there. Let's just take this. There we go. Let me add another roughness. There we go. With a base buckle with a need. Metallicness. I don't think so. I don't think so. I mean, it doesn't look good. We're just a tiny bit of metallic. We just a tiny bit just like that could be or just like this, also could be. I think this layer of metallicness could be good. I think so, yeah. So let's keep working. Let's go now to the shoulder pad. All right. Shoulder pad. Here we have three colors. It's at three folders, would be lighter metal, would be darker metal, and it will be orange metal right. Color selection, perfect. Perfect. Base. All right. Darker color and the orange color. There we go. Increase the tolerance for the orange stuff. Yeah, we have some issue. We don't have it there. That's weird. All right. Let's continue. A having some issues. Making issues there. I mean, those doesn't look like acing issues. Yeah, they are not facing issues. They are just like amet occlusion issues. All right. Let's keep working on this. But I will add a black mask. I will add another paint layer and select all of these right. There we go. Let's save Let me go to the jacket. Let me. Alright. So. Let me go to the jacket. Roughness. Produce a tiny bit of roughness on the jacket. There we go. All right. Let's go now to the fore arm armor. ID. This one. They are two colors only. One folder, another folder. Let's call this midtone gray. And your selection. Take this. Fill layer and take this color. That another color selection like this would be darker gray. There we go. Go here. There we go. Perfect. Let me add a mask. We'll just take these three. There we go. Let's go to the globes. The globes, we have two colors. Two folders. Lobe. I will just call this glove. Lack mask. At color selection. All right. Perfect. Let's just take this. There we go, copy. For arm armor. I will call these for arm plates. There we go. This should work. Let me add a color selection here. All right. This strap also needs to be with its own color. But we will need to paint a mask because I didn't add different color for that. Maybe we could re export the hig body with a different color for this strap. Maybe we will do it. But later not now, I don't want to rebake more stuff. We could also paint So masked for that. It will be also nice to do. Alright, let me add some black mask. And let's also add a paint. There we go. Now, let's pull this hand armor. I will be just one color. This orange color. Fill layer I. Let's just select that. Let's also go here, add a paint layer and remove the stuff. There we go. Let me s. All right. So now let's go to the pants and the boots. Let me hide a skirt. There we go. Let's see how many colors we have here. All right. They are quite a bit. All right. I let's add maybe one, two, three. I mean, this is a little bit too much. Let's at three folders. It will be pans. This one will be armor and knee pad. This one will be boots. So now let's bake. Let's do some bakes. I mean, what bakes, no. Let's add some colors that I want it to mean. I don't know. All right, let's just add some colors to the folder. Alright. This will be a little bit of pain in the ***, indeed. Alright. Let's just take this. All right. Let's add a paint layer. There we go. I will need Let me adjust two folders. This will be darker blue, and lighter blue. All right. Let's at a color selection here. Perfect. Let me select that at a color mass, right. There we go. There we go, Let's see. And this should be the darker one. All right. There we go. All right. Let me just reduce the roughness this. Also, I will active the metal channel, and let's just leave it in zero. Alright, let's go here. Let's add. Let me see. A few folders more Like one here. Let's call this strap for selection. Let's take this one. Alright, let's just take this. There we go. Perfect. All these coach rings. There we go. As with color selection. Let's take this. Let's add a fill layer. All right. Let's go here. Perfect. And now let's go. Let's add another folder and call it orange. Color. Selection. Alright. There we go. Let's take this. 80. Alright. A Perfect. Let me add a pan. There we go. All right. We need to add a little metal map metals. All right. Selection. Let's just take this. I will also copy the color and then just paste it here. There we go. In the layer. There we go. Perfect. Let's safe. Alright, let's just continue with the rest. Let's go here to the calf armor. ID, two, three, four, five, six, seven. There are quite a bit of this right. Let's add a black mask with paint layer. Let's just go here, ect all of these. There we go. Let me add three maps. This will be let me see. Like darker metal. Color selection. All right. This will be other late There we go. It will be inner metal. Inner metal. All right. Here I will add another color. I will add a metal map and a roughness. All right. Why isn't working. All right. Let's add another. All right. Let's call this rap Rap. There we go. Dy. Let's select the strap. There we go. Just the strap. All right. There we go. Perfect. Let's select those lass. All right. Aces. Or selection, this orange color. Alright. Here. Here we go. Back mask, paint. All right. There we go. Remove mask. It doesn't working. That's weird. All right. There we go. All right. Let's keep working on this. Let me reduce the amount of metalness that we have in this plate. All right. There we go. Let's go to the knee armor. All right. Ke. I will change the color of this. All right. And add three more folders there. Alright, let's call this maybe Broonze metal. Color selection. Let's just take this. File layer. Let's just take this other one. Color selection. I would call this like dark Pat, maybe. Alright, let's just take this. And also here. Perfect. Let's call this gray color. Just take this grayish color. There we go. F selection. A paint. There we go. Let me add other stuff here. There we go. I All right. Perfect. Maybe the pads should be a little bit less rough. I mean, more rough. There we go. There we go. There we go. Let me save real quick. Alright. Now, let's begin with the boot. Alright, let's go here. There we have it. We have one, two, three, one, two, three, or five folders. I mean, one, two, three, three, four, five. Yeah. It's that two folders for now. All right. Let's call this made tone gray. I mean, that's more a blue, mid tone, blue. Let's add a color selection here. Alright. You layer. Let's just take that. All right, now let's go here for our selection. Let's select this darker one. Alright, darker color. Let's just select this here. Perfect. Let's select that. There we go. All right. And let me also add some black mask with a paint let's just select the boot. All right. Here we go. Go to the strap. All right. G here. All right. Let's see. The knee. All this crap. Black mask. For a selection, let's just take this little layer. There we go. Another folder, buckle. For selection. Alright. Perfect. There we go. It will be metal. All right. And All right. This will be heap front metal. All right. A little bit lighter. Just like that. Perfect. All right. Let me go here. Color? All right. And now let's add the color of the sow. So right. For selection, let's just take this. All right. ID. There we have it. All right or right or right. This color should be a bit darker like that. Maybe even more. I'm just color picking some color from the coset. But we need to tweak it more for these too much better, what we have little bit darker. Not that dark. I think this would be the color should be darker also. This metal. O metal should be darker. Just like that. Right? Perfect. Now, let's go. Do the skirt and bells. Go. I mean, I think I will do the securiton builds out of camera. I mean, it's basically the same process that you saw me doing in this entire video. There will be nothing new. So I will just end the video here because the video is already too long. So that see you in the next video. 27. Finishing Texture Blocking and Starting Texturing: All right, guys, so let's continue with this model. So, we need to finish the blocking of the skirt part. So let's begin with that. All right. Let's see in the ID map how many colors we have here. Perfect, we have the belts. Also, we have the buckles on these metal pieces. Let's try to do them. All right, first, let's do this folder. This will be the skirt. Girt will make two more folders for this all this gray. And it will be like this dark color dark strap. Perfect. Also, I need that bronze bronze color. Perfect. So let's add now our color selections. All right here. And now would be here get this. Perfect. Let me add a paint layer just in case Alright. All right. Perfect. Let's start making the folders ID. I mean, the layers base, right? All right. This one will be this dark based dark. This one will be these prawns. Base praws. All right. Let's go here. Let's just keep working on this. Right. There we go. Let me tweak the roughness of this skirt, the roughness of the strap. All right. Maybe this we could add a little bit of metal. We just a tiny bit, not too much perfect. There we go. Let's work now on the on the belts. Belts. All right. So here, what do we have here? Let me do something. I don't want this dark color to be on the pouch. Alright. Let's paint out those. Beggs. There we go. Alright, let's keep working. All right. Let's add some color here, color selection. Alright, let's get this. Perfect. All right. Maybe we could increase tolerance Hany bit, maybe a paint layer. So maybe we will paint this part. There we go. Now. Alright, I don't want this. I do something. Perfect. Now, let's make the medals for the metal or selection. Let me just get that color. Let me also choose this gray color. Perfect. Let me taste that gray color. All right, maybe a little bit of metalness. Let's make this a little bit lighter. I think this could work nicely. Right? I think that metal like that would be good. A tiny bit darker, that. Let me add a paint layer. There we go. Let me remove the other influence from this All Just like that. And Perfect. Let's continue. Let's make now the pouch colors. All right. Go to the ID. Let's make the pouch Pouch pouches. All right. Black mask. Let's select this. There we go. Here we know. Let me add a few more. Folders. It will be dark. Fabric. All right, color selection. Like that. Also, I will paint this part. Ad. The layer, take this color. All right. A bit of roughness. All right. We remove this mask. Let me paint this quick here. All right. There we go. There we go. Also, I will increase tolerance. A little tiny bit. Just like that. Let me paint out this part here. All right. Now, I would like to have the same metal from the buckles in these two stuff. There we go. There we go. Perfect. Now, let's get this darker color. Darker fabric. For selection. There we go. Right. We go. Perfect. That I paint layer. Let's just paint in. This errors's increase a tiny bit. The influence Me had a white mask. And now, what I'm going to do. I will just paint out dirt There we go. Now we need this belt ID Alright. Orange billed. Black mask. Get this filled here. Let me open my references. Alright. Let's add the layer. There we go. There we go. Go to the poaches. All right. Also here, I believe. Yeah. There we go. And now there will be like some plaster, some plastic material. All right, let me also get here. Color. All right. With the paint layer, I will just select that object. Base, reduce. I mean, crank up the roughness. All right. Let's add bolder. And I will call this dark deep, maybe. Alright. Color selection. Maybe not color selection. Black mask, paint. Let's just get this. Here we go. Base color ID, go here. There we go. All right, now that we have this, let's start exporting these textures to Marmoset and start setting things up in Marmoset. Alright, let's go here. Let's export all of these All right. Let me remove the height. I just did some modification in the template because I needed to explore the height map or to make the parallax effect in Marmoset Toolbag five for the eye. Let me show you what I just did. Where is it? It's a real I just modify the real template. You can see that I just added a gray channel and added the height there. And then I just copy one of these names and paste it here and change the meting for the height. That was basically it. I don't want to export the height or the rest, just for the head. I just want the height, but I have already exported it. So I will stay active that for now. And now let's just export it. Right. Alright, the textures have been exported, so let's go to rmoset now let's start importing all the textures that we have. But let's go here at the diamond head. Let's go to the Alvedo. The Albedo is the base color. So now let's select the base color for the alvedo. Let me change this. Perfect. Want to put there a white color. Because this color is just like a color that is multiplying the input that you put here. So now, let's import the roughness. Where is my packet map? Is this? Yeah. All right, we have imported the roughness, but we need to select the green channel because the roughness is located in the green channel of the texturing. You can see that RGB occlusion, roughness and metallic, R for occlusion, G for roughness and B for metallic. So let's import again that same texture. And now we're going to select the B because the B is for the metallic. There we go. Let's go to the hair. Let's import let's import the albito All right albito. There we go. Now, let's import the roughness. Let's change the channels. Let's import the metallicness. All right, there we go. Let's go to the head. Let's import this. Let me change the color to white because I just did a modification here. I just put that gray color to all the material just to better visualize what I have here before applying the textures. All right. Let's keep importing all the stuff that we need. This will be here, G, and this will be metallic Let's go to the inner shoot. All right. Let's just import that. There we go. Let's import the rest. This will be here, all right. Now, let's import the metallicness. Lou, A right. Let's go to emission. Emissive. And now here, it's important missive. We're getting some weird spots here, but that is because some issue related to the triangulation of each software. The best way to fix that is just export your mesh from Substance Painter using this one, like sport mesh or triangulating your mesh before exporting to Substance Painter. So what I'm going to do now, I will just export this mesh, apply triangulation or and now let's go here and export this VX, call this Rangulated. This will be character Damon Hunter re angulated. All right. There we go. Perfect. Let's go back Marmoset Toolbag. Let me import that FBX. All right. Here we are. Let me hide this. And you can see that suddenly we don't have any more error like this weird spot. You can say, let me hide the previous one, and you can see that all of those error are fixed. Let me delete the previous one. All right. And this triangulated version is the one that you ideally want to import into a game engine because if you let the game engine to do the triangulation, you will get these kind of errors like those weird spots on the normal map. That's because the triangulation related. Alright, let me increase intensity of this. There we go. Let's keep adding more stuff inner suit. Let's import our textures for the inner suit. All right. Roughness. Where is my roughness for the inner suit? Here. There we go at metallicness. Where is my metalness? There we go. Let's go to the jacket. Where's my jacket here? There we go. Roughness. Let's import our roughness. All right. This one. Blue. Perfect. Let's go here also. Keep importing all of these. Look at the pans. There we go. Here and the metallicness. Blue. There we go. But what we have this is another color that they should not have. Let's go to the pants. This knee pads should not be gray. Th should not be gray. Let me see why is that in the booth. Let me add some paint. You just affect. It's not the boot on metal. Alright, let's go to the ID. I see. I think it's where it sits. I think it is this? Yeah. With that. All right. Let me just move this metal to the boot. This will be here in the boot. All right. ID will be here. There we go. And now we need to color that little area. So I have added some folders that should be in the boot. I just added them into the area. All right. Let me re export this. Just depends. Perfect. There we go. Let's go back to Marmoset Toolbag. See here. Perfect. It's automatically reimported. Let's go here to the skirt and builds. And now let's start importing the color for the skirt. All right roughness map. There we go. Let's put this in green. Put this in blue. There we go. Perfect. Maybe we could change the home mapping or the color space. I think it would be best to leave it in AGx just for now. All right. Let me see the render properties. I have the renders in red raising. Also, I have something noising. Let me turn it off just to see what this give me. All right. It's kind of good. Yeah. So now, maybe we could change also the SDR. Let's go to sky here. Let's search in our library of Marmoset Toolbag. We have a few more SDRs we could test. Alright. This one looks really good. Perfect. But I think the best thing that we could use is studio lighting. So let's go here. And now let's go to here, and let's just select one of the studio studio lighting. Alright, so the Tomoko. I don't like this. This looks kind of good. Let me see the other ones. Do you have black self? No. I don't like this, either. No. I like this. I think I like this, yeah. Maybe we could also use. This one is the stuff day five day light studio. We could also use a studio Tamaco. This one, it's good also. But this one is really good. I really liking it. The thing is that here with this HDR, we are not getting those highlights, so I will just stick with studio tobacco so we can get these highlights and guess the amount of roughness that we have. So once you have your DR, let's find it here Studio you can see here that we can find the SDRs here. All right, so let's go to the studio to logo, and let's just click here and export resource. Then when you export that, let's go here to the sky and then image, and let's just import your SDR. Alright, it should be here. I have already exported it. So it's the SDR that I was using. So I will use this HDR for the texturing part. So let's start making this. Maybe we could reduce the brightness or maybe not. We could also play some lights, let's see, Control L. To place a light. All right here. I don't think that we need lights right now. Maybe some rim light. Perfect. Maybe a rim light would be nice. All right. Here we go. All right. So let's start making the texturing. Let me save this. Let's go back to Substance Bender. Let's begin with what? Let's see. Let's begin adjusting maybe the skin color. See, we have a lot of stuff that is a bit hard to guess with what start right. I think I will not touch the skin for now. Maybe the only thing that I will do in the skin would be just to decrease the roughness of the skin is really rough. Just like that. And in the eye, I want this to be super shiny. There we go. Alright. Maybe we will start with the jacket. I think so. Let's start with the jacket. So I will do one thing. I really like to do in my textures, and it's just add a bake lighting. A layer on top of everything. Let's just add a field layer. Let's call this Bake lighting. I think this helps to push a little bit the details, to enhance them. So now let's go to filter. But this is just, like, things that I do that I really like. You maybe don't want to use it isn't your decision. Let's go to Bake lighting, this one. Let's change diffuse to diffuse only. Now, you can see that we have this. Let's go to sunlight. Let me change this to white. Perfect. And this I will change it to mid gray. And the sun color. Bit to white also. B, this is a tiny bit. Less. I think this is looking good. Perfect. Let me copy or maybe do duplicate effect. Let's put this in screen or overlay. All right, let me change the direction of the particle around here. Perfect. A Alright, this part here is looking weird because this is flip. I mean, this is just a flip geometry. So it would look a tiny bit weird with the bake lighting. But that I think is just in here because in other software, I mean, in marmosets, this stuff will be the one that will be located. So let's go here in the base color. Let's put this in multiply maybe. Maybe spring. I think screen is looking kind of good. We not ring here. No. Olay doesn't look good. Let's just keep watching this is soft light. Let's keep looking. Hard light. All right. Vivid light. I'm kind of liking how the soft light looks, indeed. I really liking it. Let's see how the multiplayer looks. This is just darkening stuff. I kind of like it, also. But I really like how the soft light looks. Indeed. I think I will just stick with soft light here. Perfect. Let me reduce the intensity of this layer. I don't want to add it too much. Now let's work on the jacket itself. You can see that in the jacket, we have tiny patterns like these tiny patterns that we could add easily inside substance I mean, here substance matter and also in marmoset with some high level maps. But let's just start working now. So, let me just keep tweaking a tiny bit inclination. This just like this. Tiny bit like this. The upper one will be a tiny bit. All right, let's see. All right. Let me hide this. There we go. We just like that. I mean, this could be like this. We just leave it like that. Alright. Let's start. Let's add fabric. Fill layer. And now, this is all real time. So please forgive me. I'm still too slow here. So let's add a layer I would call this ambient occlusion. Just to have a tiny bit of detO in the ambient occlusion. It's at a black mask. Let's add a unilator. Let's put this ambit occlusion generator. Let's invert this mess. Let's maybe reduce the amount of intensity that this has. Maybe something like that could be. And now let's change the color maybe to a like this. Just push it more to this side. All right. I think it's looking cool. We reduce even more the intensity of the bake lighting. I don't want to affect too much like having that lighting information. I don't want to affect too much. My Albedo map. That's a tiny bit could be like that, maybe. So we have this. We could decrease the roughness. I mean, increase the roughness in those areas. Maybe, yeah. All right. Now, one thing that I like to do to add a tiny bit more detail without adding too much noise is just adding a grading map. Let's just add a grading map, generator or black map with generator. Let's put this linear gradient. We'll call this gradient. Now here, I will invert that gradient. All right. Let me reduce That gradient. All right. So now let's go here and maybe we could add a color. I mean, we don't have a gradient here, but we could add it by our own just to have a tiny bit more of detail. These gradients looking cool. All right. Maybe like this purple one. I be good. I think so, yeah. It looks kind of good. I think it's looking cool. This color. All right. Let me just get this gradient. All right. This purple one looks cool. We'll leave it here. I think it's too much. Let me reduce the opacity of this mass. I know. Right? There we go. So now let's see let's see what else we could add. Maybe we could add a curvature map. Let's add a curvator. This all procedural. Later, we're going to go through the mesh through the model and doing some handmade paint. Is that a curbature here? This is just like for a base. Now, maybe we will tweak the balance. Contrast, maybe. Alright, now we could tweak these sliders. Just want the fine. I like the fine, a fine line, just like that. Like this would be good. Let's wait for this to To save. Alright, let's go back. I think that looks cool. Alright, let's change the color, maybe to bright yellow. Would be. Alright. I think it looks cool. Let's add a breakup to that Curvatur. Let me do something. Let me change the name Curvatur. And now let's add a field layer to that mask. Let's search for crunch. Maybe this one would be. Let me change the layer type of that fill layer to abstract. Yeah. Perfect. Looking cool. All right. Just to have these breakups around the mesh. All right. Like that. Maybe we could add another filter that I really like to add is the lure slope. I know, but I really like that filter. All right, let me change this type of crunch to another one. Maybe this one would be. I've been reduce the density of that blur slow. All right. Perfect. Maybe we could add a height to this curvature to have this layered texture. Now, it looks like this jacket it has been used. We need to paint out a lot of this stuff that this is making. All right. I would like to also add a small color variation. So the way that I'm going to do that would be just to add a field layer. Now, I will add one of the textures like these crunch texturing that I have find on Google. I just type crunch texturing and then find all of these. This is a good way to add weak color variations. So let me select maybe this one. Let me put this in multiply. Maybe maybe overlay. Now I don't like it. Surf light. My just leave it. Satellites could be good now. Multiply, maybe reduce the intensity. I will add a filter with bluer slope on it. Perfect. Let me increase the tile. All right, maybe this will be in ten. Maybe not. Perfect. Now, that we call this color variation. I will add a black mask with field layer. And now here I will add a crunch. Maybe this one will be. Let me add the blur slope. Let's decrease the intensity of that. Base color and let's see what it's giving us. Let's go to the field layer. I think it looks cool. Yeah. Maybe we could also add some roughness to those flushes. All right. I think it looks cool. Well, let's go to the rough roughness channel here. Maybe decrease intensity of the roughness. Alright. Perfect. No. The video is too long, so I will maybe leave this video here. Before in this video, I will export this texture. Let's export the jacket. Port. All right. It's finished. Let's go back to rmoset. Let's wait for this to be reported. You can see how this looks here. I think it looks cool, but this needs more work. Maybe this gradient is a little bit too saturated, a little bit too red. Maybe we will have another color there. Who knows? Maybe like a darker color. But we will see that in the next video, so see you there. 28. Making Jacket Textures: Alright. In this video, we're going to continue with the textures of this model. Let's continue. So, I think that this reddish, I mean, that purple red is a little bit much. Maybe we could change that. I mean, I really liking that color. But maybe the intensity is a little bit too much. Let's go here. It's gradient. We could tweak. We get it a tiny bit more. All right. This could be I mean, not that much. Right? Something like that would be. All right. Let me export these fexurs. Let's export the jacket. Let's go back to marmoset. I think it's better. All right. So now I will remove this cubatur from some areas because I don't want this cubator to be in all the edges. So let's go here. I really like to use one brush that is called knife brush. Alright, so let's try to use that. Give me a second. Alright, so let's paint out the the stuff, let me go to the curvature. Let's add a paint layer there. There we go, maybe with symmetry. Let's select this knife brush, and maybe we could start removing that curvature from here. All right. Maybe we could leave it there just a tiny bit, but not in the entire edge. Maybe just like that could be good. This could be good. Maybe here, we could also remove it. Also here in this area. We could add another batur to enhance all the edges. But this corbatu will be just for this rib detail. We'll just remove it from some of these edges. From here, also, I don't want it too much in this wrap. Alright, maybe from here, there we go. Perfect. All right. Maybe from here, we could remove a little bit that we could paint a little bit more also here. I remove another punch just like this. H I'm just removing that little from the areas that are like inside and the edges that are inside the jacket and not outside, like these borders. This edge is inside the jacket. So it's not like this outside edge. So let's try to have that in mind. Maybe we could remove a tiny bit of this damage from here also, right? I here. There we go. Maybe we could add another curvedor below this one. I will add a black mass. I will just remove all of these. And I will change the color. Maybe something. And let me remove the height. Maybe just like this. This could be. Let me see my base color. This could be let me reduce intensity of this. There we go. This could be perfect with this on top. There we go. We could also add a little bit more roughness variation in this jacket. So Also have your references in your PureRef in hand. All right. Let me add a little bit of roughness variation. Let me create a folder that will be just for the roughness variations. Roughness variations. All right. We will layer just the roughness mask. Well layer. Alright. Let's add a little bit of this Let's see the roughness. Let's put this roughness variation in the screen. Alright. Let's go here to roughness in the layers roughness. Let's change the type to screen maybe. Or maybe overlay. I think overlay is good. Yeah. Looking good. Just like that. Could be. All right. This could be right. Let me watch my references. All right. So, let's keep working on this. Maybe we could do a little bit more of work in this curvature. Alright without symmetry. All right, maybe something like this. Let's just add some painted details like this will be. Here we remove a little bit of this edge here and also from here and also here. This amount of damaging the edges are not needed. Maybe we could just leave a small portion. Alright. It's like this. Perfect. What is this? I have something overlapping my mesh. I don't think so. No, I don't have it. Maybe that is from here. Books. Yeah, look it here. That's the issue. Let me select this. Here we go. It's okay. Let's just keep working on this. All right? Go back to the curvature. Let's just keep tweaking the textures. All right. We're here to remove it. Any bit Here, we could have our symmetry. And here, maybe we could do a little bit of work. They not not there. They just leave that small that small damage there? Go here, maybe. Let's remove a tiny bit of this. I don't want too much that much in here. Let's go here. Perfect. It maybe a tiny bit. W damage here. The real also here in this corner. We could add a little bit of that Alright. Let me reduce the amount of damage that is in this edge. There we go. Just a tiny bit. All right. Maybe here we could paint another stuff. All right. There we go. We're not there. All right. Also, I would like to add maybe some scratches. I will duplicate this. I will remove that generator and all of these effects. I will add field layer. I will call this field layer scratch. I mean, let's find some scratch crunch here. Maybe this one. Let's call this field layer scratch. All right. Let's go here. Maybe we could reduce the amount of scratches that this has All right. The tiling. All right. Let's increase this also the tiling. All right. This could be. All right. Now, what they're going to do, I will add another fill layer. It would be a crunch. Maybe this one. And now let's just put this and multiply. Maybe in subtract Alright. Just to tackle down a lot of these scratches. We don't have those all over the place. All right. Maybe something like this would be good. I think it's looking cool. All right. Let's save this. And now, what they're going to do will be just to export this and see how this is looking inside marmosed. Right, let's wait for this to save. All right, it's already safe. Let's exported ex All right, let's go to marmoset. There we go. You can see how it's looking. Maybe here we could reduce a little bit of brightness and add these lights to pisualz any bit better that we have. All right. Maybe I could take down this the stuff or maybe not. Let's just add it again. All right. Maybe here in the camera, we could pick a tiny bit of these lighters to have a better view what we are doing. All right. Let me duplicate this light to the other side here, maybe. All right. I think it's looking cool. We still need to add a little bit more detail. Alright, let's go back to here. Maybe let's see if we could increase the edge. I mean, the whiteness, the width, I mean, what's the word width of these scratches? Just a tiny bit. All right. You go. I'm just tweaking these sliders to get a bit better resolved. Maybe this could be nice. Let me add another brunch map. Let's put this in subtract. And now we pul at a paint layer and start removing those scratches from some places that doesn't have sense. Here, here. I don't want to have those scratches all over the place. Alright. There we go. Maybe here. Here also. All right. My here also. Perfect. So now, let me add another color variation, but this time will be a color itself. Let's go here. Black mask, paint. Let me put it under this maybe maybe even under the gradient. All right. Let me add a fill layer. Let's try to find a brush. Let's see if we could find some brush. Brunch. Maybe this. I don't think so. Maybe, yeah, it could be, maybe not. Those. Right? I don't know. It could be. Let's change the color. All right, based on, let's see what we have. All right. All right. Let's change. Maybe. I kind of I don't like how this big spot is looking. So let's go to the color variation. At a paint under the slope. Now I will just start removing a little bit of this dirtiness. From here, I need to tackle down a lot of this batur. I still think it's a little bit too much. Let's go here. Start removing here. A bit of these edges. Maybe we could add some stuff here, maybe just a tiny bit here. All right. Let me also remove a little bit of these crutches from some places. I All right. I will also add, like, a color under the shoulder pad to like painted amid clusion maybe. Just to represent, like, a darkening under this. Maybe, maybe we could even use the same amclusion. Let me use my basic stuff. All right. Let me go here. All right. We will start painting a little bit. The invent clton there. In. Maybe another folder. Paint. Let's take this with a darker color would be right. Just add a bit of this here. We go. Let me go to here to the ambitusion and let me remove a teddy bit from here also. Right. There we go. But I didn't add it in symmetry. I'm just dumb. All right. Let's go here. Let's remove this from here. There we go. Let me save this. Right? All right. This is not for this. What we're going to do now, we're going to add maybe a little bit. Maybe another color variation. Yeah, I really like to add more and more color variation. Color variation. Crushed. Maybe we could add a scratches pot just with color. Like here, let's type scratch. L, let me reduce the amount. These are too much. Alright. A be Let me reduce the opacity of this a tiny bit. And also, I will add a little layer, some grunge on it. Just to mask tiny bit of those tiny scratches. Alright. Where is my stuff. Right. There we go. And now, what I would like to add is like this effect in the roughness. Make this more It maybe. Go here to the roughness. Roughness. Let's go here. Add another layer. Roughness, All right. At a I mean, a black mask. Feel layer. Right to search for maybe where. Let's try to find four patterns here. Where? All right. A border square rectangle would be All right. Put this in maybe a little bit more. Well, maybe we could use some hexagons. This, I think it looks better, in my opinion, for this roughness overlay. Alright. Let me put this dragon pattern under the first things that we have here. Under all of these. Perfect. Just like that. Maybe we could even add some color. Just some small, any color. The Maybe not. Now, let's just remove the. Let's just leave it like this. Maybe height map. I think it looks cool. Yeah. Let me set this. All right. Alright, let's just continue this. Maybe we could make this. A it's solar twole. 50. I think this looks good. Let me put this on top of the curvatures because I want to do something. I will add some anchor points here in this curvature, maybe here perfect. Anchor point, another anchor point. And now I will go here, add two field layers. We'll add those anchor points. I put here a substract. There we go. So this pattern is now going on these places All right. We could also. Let's see. Let's export these four textures. Four the textures of the jacket. All right. Here, let's see what we have. Let me see how this looks with just roughness and not with height. All right let export this, also. All right export extras. Alright let's wait for this. Real quick. Let's go back here. It's there. It remove. I noising? There definitely. All right. But of substance, what we have here, here, we could add a little bit of roughness here in the scratch also. Just like this. All right. Perfect. Let's go to the Egg pattern. And let's just add that. Maybe, I don't want this pattern to go around this strap. So I will just remove that from there. Alright. Just like that. Perfect. There we go. Maybe also I'm here. Perfect. I'm here, maybe. Also, in this in this stuff, I would like to add some roughness variation. You see my roughness. I just like that. And also, I want to reduce the height from this pattern. I think it's a little bit too much. I guess like that would be perfect. And from here. Just to have a little bit more complex roughness map. Let me see something. Maybe we could add a tiny bit of metal this jacket. Make it look a little bit high tech, a little bit more high tech. Maybe. This could be quite good. Let's export this. Let's see how this is looking inside Marble set. Here we have it. Let me do something. And here, I will add in the scubator and scratch, I will add the metal channel. So these layers override the metal net that this has maybe a tiny bit less. I mean, I kind of like the fact that the metal net is giving a little bit like that. There we go. I really liking it. Yeah. Something like that. Let me safe. Looking a little bit more high tech. Alright, let's put this. All right. Now, let me copy this pattern. I will add an anchor point here. I will delete all of this. We're at a field layer and get this anchor point there. And now I will add a filter, and I will invert that pattern. Where's my invert all right. Let me see my mask. Let me remove all of these. I want the color. There we go. Let me do something. I will invert the mask itself from here, filter invert There we go. It's a tiny bit. But right now, let's go here. Let's choose maybe this color and let's see how this looks like. All right, let me export this. Alright, let's go here to Marmoset and this is looking better. Yeah. Let me remove those lights and get back my HDRI. I mean, I'm kind of still not convinced about the height in the pattern. Maybe we don't need the height. We just need to crank up a lot more roughness there. Let's see how this looks like. Let's go to Marmoset. Yeah. I like this a lot more. I like this a lot more. Maybe a little bit less. Just like this. All right. This export is. Let's go back to Marmoset. Yeah, I liking this a lot more. All right. Let me see other mappings. Right, in hard. Right, aces this much. I don't like the Aces. This looks cool. The held or however this is called. All right. This rain hard also looks cool. I mean, I kind of don't like to saturate it that looks here in ATX. I really like this rain hard. I think I will keep with Finthart just for a while. Alright, I think I will leave this video here in the next video, we're going to continue doing the ectures of this guy. I'll see you there. 29. More Work on the Jacket and Texturing the Shoulder Pads: Alright, guys, so let's continue with this model. So let's keep working on the texture of this guy. So let's see maybe I could reduce a tiny bit more these damages that he's having in the edges. So let's go to the jacket. All right. Now, what we're going to do, we're going to take down a little bit of those damages, just like this would be right just wait for substance to process everything. Alright. If you ask All right. Just tackle down a bit. Those damages there. Also here, I would like to reduce the amount damage that this has there. There we go. Perfect. Maybe let's see. Maybe we could add a cavity map. Let's at a black mask, a generator, corbatre. Let's go here and change mode from edge to cavities. Alright, so now we have this. Perfect. Maybe we could get just the sharp ones. A little bit. Alright, let's just tick these sliders. W be let me select one color. Let me grease it. Just like this could be. We could add also some global blur just like that. This could be nice. Let me change a little bit the color, maybe for more reddish tone. Just like that. Could be let's see how this looks in the model. Alright. Maybe we could reduce the opacity. I think it looks cool. Alright, let me also add Let me add some roughness to this. Maybe just like this, just to make the roughness map a little bit more complex. Perfect. So now, I think that we could start working on other areas. Let's see. Alright, let's go. So in the buckle strap. Let me change this to paste. All right. Let me add some fabric pattern. All right. So let's search maybe for Nylon Nylon webbing. I think this is the one. All right. Let's increase the tiles of this. Alright. Me remove the polar. All right. Let's see the parameters. All right. All right. This doesn't have any This doesn't have any option to modify. Let's see what we could do with this. Alright. Maybe here in the height, we could reduce a tiny bit the height that this is getting. Let me see the roughness. Alright. Oh, so this normal map is flipped. All right. Let me see the color. Or it's just a flat color. Alright, so I will take this just the pattern. And now, let's maybe tweak the roughness. Here, we could add maybe some batur map here in the edge. All right. Perfect. We're just like that. I think this would be good. Alright, let me make this a tiny bit darker. All right. Let's go here also. Maybe something like this could be good, a little bit of roughness. There we go. Right, let me increase a tiny bit more the tiles of this. Maybe not that much. Something like this could good. All right. Perfect. Let me also add this would be like four about four. Let me also add amteltion map. La MskNator, amtocltion bird, that amtapltion Perfect. There we go. All right. So we're getting some gradients. Let me reduce all of this. Perfect. Maybe in the corbator we could add a filter with some blur slope. Let's put this in ten maybe. It looks cool. And also maybe we could add an anchor point. I want to have some variation, maybe. Let's see if this works. Right, let's add lack mesq a field layer, to anchor points. Nylon webbing. We see my mask, getting anything to hide. Alright, so we're getting this. All right. Let's clamp the value in the levels here. Alright, let's wait for this to save. Alright, so let's clamp this mask to this. This is just, like, black and white. Now I want to invert the mask because I want the creases, not like these shapes. I just want the lines, the creases. So let's go here and add a filter, and let's add some invert There we go. There we have our invert. So there we have it. Now, I will change the color of this. Maybe like that. I think that's too much. Maybe this could be. I think it's looking cool. Let me see the roughness. All right. Let me export this to Marmosete to see how this looks there. Four textures, the jacket just. Also I will export the head. All right. Let's export this. I haven't done anything to the head. I just want to explore the roughness map. So let's go back to Marmoset. Alright, there we go. There we have it. I looks cool. Maybe we could make the edges to pop out a little bit more. Maybe with something like this could be I think so? Let's go and see what is that? Perfect. I think it looks better. So let's go and texture the buckle. Let's go to the buckle here. So here we have our buckle. Maybe we could make it entirely metal. Let's decrease the roughness. I think this would work. Or maybe we could reduce metallicness. I would just leave it on 100% metal as for now. Maybe, I kind of like this. This look. So let's add some color variation. Yeah. F here. I will use the same maps that I have imported like this grunge map, where are my stuff in your asset. Alright. So let's search for them. So maybe we could use this, let me add this here. And also, I will increase this. I will add a filter with blower slope. Let me put this in ten. There we go. I will now go to base color and change the layer type, maybe to multiply or soft light. I think soft light looks cool. All right, something like that, just to have some color variation. A bit, not too much. There we go. Maybe here we could the buckle. We could increase a tiny bit. No, I don't think so. Right. Let's add a few more colors. Alright let's add an edge. A curvature? I mean, yeah. Inator. Maybe this curvature one. And All right, let's go to Base color, and let's see what this give us. Alright, maybe we could increase a tiny bit. The color of the layer. Something like this could be good. Let me add some breakup. A fill layer with some grudge. Alright, let's put this in multiply maybe. Yeah, I think so. Maybe not. Let me change this mask. Maybe this one could beat a filter, slope with ten in the intensity divider. Alright. Now here, I will add another roughness. And let's see what this give us. Perfect. All right. So now I will add an ambient occlusion. It will be the H. Now I will add an ambient occlusion. AO. Black mask, a generator. Maybe we could add this one there. Let's see what this give us. This is looking too dirty. Let me change from dirt, maybe what could reduce the amount of dirt that this has H this to ambient occlusion. Invert that amenocusion. Now, we could start playing with this maybe with a little bit of B slope. Sorry, but it's just really like the effect that this makes. Alright. Something like that could be let me also add another roughness, and I will increase the roughness of aye something like that. Let's see the roughness here. There we go. Let me also increase a tiny bit the roughness of the metal itself. There we go. We could make this a tiny bit brighter and also the edge, we could make them brighter. Just like that. We could add some paint. All right. G here with a knife brush. Let's add a little bit of hand painting detail. Maybe something like this. Be let me see the base color. A little bit of hand painted detail could be good. All just like this in the edges, maybe. All right. Maybe a tiny bit in this floater, like here, maybe also here would be here in this edge. Perfect. There we go. Let me see like this. I think this looks cool. Let's see what this give us. Let me export this and see how this looks. Also, let me see the roughness. If we could add a roughness layer. Black mask or here, I just want to roughness. Alright, let's add a field layer here. With some noise on it, maybe we could add another layer with this one. This will be multiply or maybe not. Maybe in subtract. Multiply. I think so. All right. I think this looks cool. Here. Not quite. Good. Let me reduce a tiny bit this dirtiness from this trap. I guess I want a little bit of spot here and there. There we go. Let's export this. Alright. Perfect. There we go. Let's go back to subs, I mean, to Marmoset Pullback. Let's see how this looks like. Looking cool. Yeah. Perfect. There we go. Maybe we could start making other stuff. Yeah, let me reduce the sky brightness and bring back my lights. And let's see how this looks with light. Maybe we could also see this in another color spaces like Reinhart. Although Reinhart looks tiny bit saturated. Alright. Let me go back maybe to hell. But what? So here. This is the ACS one and AGX. I think I will just take with GX just I mean, yeah, AX just for a while a while. So let's go back to the sky. Let me add it back to one. A All right. So now, maybe we could start working on the maybe let's let's see what we could start working on. On the shoulder pad will be. Let's go there. Shoulder pad. Well, this is a bug. Yeah, that's a bug. There is, like, a popping of shadows, but that is a bug from substance. All right. So here in the in the shoulder. Let's see what we could do. This stuff. All right. We should make that a metal. I mean, it could be, but also no. Let's see. Roughness. I will just add a tiny bit of metallicness there, but not quite too much. Aye, not that much. I think this could be. A little bit right. So now let's start adding some stuff there. Let's add an amino clusion AO. La mask, unilator. Let's see how the dirt looks like. It looks a little bit too messy. Alright. Maybe a little bit of flour. Let's see how the floor looked like. Let me add the meto collusion to see just the difference. All right. It basically looks the same. Let's use the amend occlusion for this one. All right, let's change the color. Maybe something like that would be good. Also, we change the roughness of these Alright. Baby, let's add a little bit of blur slope. Just a tiny bit. I will not change the divider. Perfect. There we go. Something like that could be good. Now, let's add. Let's see my references. Let me make that a tiny bit more Alec. This stuff could be a little bit brighter. You think so? Yeah. Let me see my references. All right. Let's add. Maybe something like this could be good. Let's add some curvature. Black mask, generator, curvature. Let's reduce this. Let me reduce also these sliders just a tiny bit to see what this give us. All right, let me add some fill layer maybe. Let's search for a rag map and then add this into multiply maybe. All right, perfect. Now, let's go here. Little bit rougher, the edges. All right. There we go. There's something in the AO. Maybe we could increase the roughness a tiny bit more. Even more, yeah. Also, let me put this in curvatur. I mean, this in edges. Let me duplicate this and change the curvatur from edge to cavities. Let's go here and let me change the color to a low I mean, a darker color. Just like that. All right. Maybe we could increase sliders here. There's a tiny bit, just like that. Could be. All right. There we go. All right, maybe a little bit of color variation. All right. Hey, we could use this one? Multiply. Maybe suf light. All right, floor slope. All right. Here, maybe we could add or we could use some roughness. Let me add that same map has the mask. Let me also add a filter with some door slope. Now here, I will increase the roughness of this Roughness. Perfect. Let me go here to roughness, and let's add this to overlay with the rest. All right. I think that looks cool. Is that a field layer. Let's go and add another raunch map. Let's put this under the filter. And let's put this multiply maybe. Perfect. All right. I will add this collaboration around here because I don't want the collaboration to affect the rest of the color of the AO and edges and all that stuff. All right. Let's see what else we could do. It's a tiny bit darker. I think like that could be good. Yeah, just could be a tiny bit brighter. We could add also a little bit of scratches. I would like to add those scratch detail on all the shoulder pad, so I will add that scratch detail here. On top of all the layers. Scratch. There we go. Give me a sec. Alright. Let's search for scratches. Not in filter, and fill layer. Rach this one. Let me reduce the balance with the tiling. We call frank upp the tiling. All right. Let me go here. Also the height. That's a tiny bit. Alright, let's start modifying the parameters. I don't want spots. All right, dirtiness. All right. A It's increase the tiling. All right. I think this looks cool. Maybe we could remove a tiny bit of these scratches from the base. Let's a paint. I remove that one from here. Also from here. All right. You think so? Yeah. Now, let me save this. Let's work on this lighter metal. It doesn't look like a metal itself. I mean, I don't I will not make it like with metallic, maybe. We can make this as a painted metal, maybe, like, a ceramic stuff. They can metal with some sort of paint on top. So let's see. Here, be a layer, black mask, inator, and metocltion. There we go. Bools. All right. Let's take this. Perfect. There we go. All right. Let's go here roughness. Increase that roughness. Maybe a little bit of re slope. That's too much. All right. All right now, I would like to add. This would be like the A. I would like to add some scratches. I mean, yes. Just watching as my references a tiny bit. I have a bunch of references like here, like this over watching stuff. This Balarant right, let's do something. I would like to have a more complex roughness map in this metal. Let me add another roughness. Blackness, fill. Let's go here in roughness. All right, let's add some fill layer. Grunge. Maybe this could be not that much. Maybe we could add. We could add another. Another one. Maybe another one. I think so. Yeah. Let's go back here to this metal. All right. Let's add some curvature in the edge. All right. Black mask, nator Curvatur. Let me try to get cream color and increase the ttese just like that. Alright, I don't like quite much. Alright, let's see how this looks. Oh. I that's could be. Let's reduce these sliders. Like this big, large medium. All right. I like this. Yeah. Now, maybe a little bit of roughness variation. There. Don't think so. A little bit of or lobe will be? Let's see my blur lobe. Here we go. We could also add a gradient to this or maybe a little bit of color variation. Let me add a gradient. Like mass generator, maybe inter gradient. I Was it like that. All right. I think this looks cool. Let's add a tiny bit of roughness. Radiant. Let me save this. Alright, let's add roughness. Lack mask, Inator, maybe no fill layer. Let me use now some noise texture. Maybe this cloud. So here, Roughness. Right? Now, let's increase this cloud texture. All right. Also, I will name this roughness one. Let's duplicate that. Let's call this roughness two. I will change the noise. And this one I will make it a little bit less rough. Just like that. Perfect. Maybe we could add some edgewar. Lack mask, maybe this one would be in a layer. Lack mess, let me remove this mask. Alright ninatorEdgware. There we go. Let me reduce the war level. All right. There we go. Now here we could add some d just like this. A metallic Let me increase. No. All right, let's add that some fill layer. Let's put that crunch. Alright, let's put this in multiply. Alright, I will add a paint layer. Now I will start removing a tiny bit of these edges because those edges to be were have sense. I just like, like this damage in the pointy edges. No in these inner edges. Just like that. Perfect. There we go. We will export this to substance. I mean, to marmoset to see how this looks. Let me do something first then let me save. Alright so let's export this. Perfect. Alright, let's see how this looks here. I think this needs a little bit more of work. I think so, yeah. The AO let me put that the AO in 100. Maybe this could be a little bit darker. Maybe with a little less Alright There we go. All right. All right. Let me add a global Abentocltion for the shoulder but. All right. Rater. And be. All right, there we go. And now, maybe we could decrease it a tiny bit, let me add blur slope. Blue slope here. It's like this. And Here we go. Alright, there is some metal that I think is this one let me increase this. Here we go. Perfect. Global AO. All right. Let me export this texture again. That global AO is just for the shoulder pad. Yeah, that looks better. Perfect. I would like to have more color variations in this lighter stuff. All right. Let's use maybe this one. Let's change the type to the light. B. Mabe not. Et's use this one. Let me put that variation on top of the gradient. Multiply. Green. That, I think. Perfect. Gilterslop. I think looks kind of good. And also, I would like to add some details by hand. So I will use some Alphas that I have. Let me search it. Alright, so I will use this Alpha that Mark Max Dickson made. These are, like some Alpha that are like highlighted with the style of overwork. They are really good Alphas, so I will just use them. So let's import them. I have it here. All right. Let's just add it. Let's put this in Alpha. All right. There we go. There we go. All right. Import. So now, I would like to add more color variation to this using these Alphas. Alright. Let's see. Be color variations. Let me add a new folder here, and I will just call it Secondary day color variations. Alright a new field layer with black mask with some painting. Now, let's get some basic heart or maybe basic suff and let's get one of these Alphas and we will start adding some splashes just like that. Perfect. Do we here B. Also here a tiny bit. Let me change the color of this. Would be some darker ones like that could be Just like that. I think it looked cool. Let me remove a few of those like here. Maybe would be change the color also. Add some roughness. Alright. Perfect. So let's export this. All right. Tap the substance. Now let's go here. Right there a little bit more detail. Need to crank down that color it bit too much. All right. Let's wait for this to save. All right. So here. Let me reduce the opacity of this just like that. Perfect. So they are subtle. All right. Also in the gradient. All right. Here we go. Maybe, with a little bit less of contrast. Just like that. Let's explore this All right. It's just like that. I think it's kind of feather. As we have to add some mask in the color variation here, like mask. It's a field layer with some crunch. Let's search for one. I All right. Maybe we could use another one with some blur slope. I just like this. There we go. Also, let me reduce the amount of roughness that this metal has All right, it's at a paint. We go here to dirt. At removing a little tiny bit of this roughness. Also in the edges. I don't want those edges to be on the entire piece, right? Let's add some paint. Just like this. Here we go. Let's export this again. Perfect. Let's wait for this. Alright. Here we are. I think it looks kind of better. Alright. All right. Let's see. Alright, so maybe I will leave the video here, and in the next video, we're going to keep working on this model. So see you there. 30. Making the Gloves and Forearm Textures: Alright, guys, so let's continue with this model. So you can see that I have changed the background color, what I did was just to go to the sky here and then change the mode from ambient sky to color and then choosing a dark color. I just did that because I don't want to have, like this a bright, a gray color because I want to focus a little bit more on the character. I want to have more contrast between the background and the character. So let's continue with this model. So you can see that in the shoulder pad, I just did like a small pass. It was just like a knife brush pass. I just added a little bit more of variation. Let me show you what I basically did. All right, where it was. It was this, I think, knife knife brush pass. Let me show you. All right. This wasn't a pass. All right. I think it wasn't that. It's this one, I believe. Yeah, this one. You can see that what I basically did, I just choose like some reddish, reddish material with a little bit of roughness, and then I just paint around the edges just to add a little bit more of variation. It's wait for a substance painter to calculate all of that. All right. Let's wait for substance. All right. All right. Perfect. You got to see the difference, right. So let's continue. Maybe we could add a little bit of color variation in this orange metal. Let's start. All right. Let's go here. We could add a metallic of some roughness. All right. I don't think so that this should be a metallic. No. I don't want that to be a metallic piece. I just want here a little bit of color variation. All right. Let me see. Let me crank up a tiny bit more the tolerance, this. Let me do remove the mask. Alright, there we go. Let me add another fill layer with some black mask, a generator. Let's add some a mentocltion. All right. Why is that doing? Why is that doing this? I have another thing. That is Oh, yeah. Now I find it. Is this one. Let me paint out shoulder pad. There we go. Let's go here. Now, we keep tweaking the metoclusion. All right, let me add some color. All right. All right. Let's add a fill layer with some color variation. What what I'm searching. I just want the crunch. Alright. Just a little bit dump sometimes. Let's add a lure slope. All right. Let's make this in soft light, maybe. Alright, just like this. Maybe we could put this in ten. Alright. That's in bit less is too much way for this to save. All right, but let's continue. All right. Let's change. Let's add Black mask. All right. Here we go. Let's find the crunch. Maybe this one could be. Something like this could be. Alright. Let me add some roughness. Let me reduce a bit more the color variation. All right. Color variation. Let me add Tomech All right. Let's at a curvature. There we go. Let's reduce these sliders. To this one. Perfect. All right let me. Increase. I mean, add like this yellowish color be. Alright, something like that could be. All right. Perfect. Let me add a paint. Maybe we will do something. Let me select my knife brush. And maybe we could start making, like, some detail. Something like this could be in the corner. Alright. In the edges. I just like a lot my knife brush. It's a really good brush for me. Just love to add detail using that. All right. There we go. Maybe we could also add this pattern here. Let's try to do that. All right. Let's go. Do here on top. Other pad. All right. Deco. All right, like a square and then the two lines. So let's try to add that. Fill layer. Black mask, and now a paint layer in that black mask. So let's go here and let's try to find some square, right? I see cube. We Alright. I think this could work. All right. Let me increase that. Let's rotate this. Make it decrease it. Let me reduce the border weight. I mean, width. Let's add I just not working. It should work. But this doesn't work. All right, let's see. Basic heart. Where? Alright. Now this should work. Alright. Sat square, a little bit more of width. All right, maybe a tiny bit smaller. Just like this, a little bit more. All right. Perfect. Also, I will do like two lines. Let's select the as All right, square. Let me reduce the size of this. It's a tiny bit just like that. All right. There we go. Let's create another one. There we go. Now, what I'm going to do I will just add the color. Me color pick the color from the conceit. Alright, which would make it darker. Just like that would be a little bit of roughness, maybe. There we go. Alright. Perfect. We could do the same in the other area. All right. And square there. And now let's add those lines one here, and another one here. All right. Let's export this, but first let's save it. A right now, we can export that. Let's export this. There we go. Let's wait for this to export. Alright, let's go to Parmost you can see how our stuff are updated. Perfect. Nice, nice. Now, I think we will start working on the forearm armor and the globes and all that stuff. So let's go there. Alright. Let me work first on the globes. I want to do some stuff there. Alright, let's go to the globes. Alright, let me reduce, I mean, increase the roughness for the gloves. Like if this like, some kind of rubber material. Alright, let's call this space. I would like to add, like, a pattern there. Let's go and add a fill layer with another fill layer in the mask. Let's search for the hexagons. Guns, maybe let's see, we could use these ones. Increase these maybe to 60, 64 will be maybe bit bigger 80. I think so. So now, I will invert this. Or maybe instead of inverting it. All right. Let's just leave it like that. I make this to pop out. Now, what I'm going to do, I will add a paint layer. And now let's select a fill UV and then just feel the top part of this. I think this gonna look good there. Let's see. I kind of look cool. I think we just leave it. I like it. Now, let's select our soft brush, maybe or maybe the basic heart. And let's start painting this pattern hire just to fill the pa Mia. Alright, let's remove the tablet pressure for both of these. Oh, what? What's happening? All right, I think I know. At the multiply? Yeah. Alright, there we go. What's happening? All right. Alright, let's keep adding around the same area. Just like that. I think this could work. All right. Like, if this pattern is to give the clubs like better grip while holding something Alright. All right, we need to tweak a lip tiny bit more. This something like that could be. There we go. Perfect. All right. There we go. I let's just clean a tiny bit more this round here, we should add or let me change this to triplanar maybe. But we are getting this weird right. We just leave it like that. Alright. Now, I would like to add a filter with some blu Let's at a blur All right, I put this maybe multiply. I say like that could be All right now, I will add right, put this like some extra on. Pattern. Here we go. We'd like to add also some roughness to this. Maybe like that. We could increase the roughness from the globes itself. Let me say like that. Be All right. So now, I will add some color variation to these globes. So let's add an amtocltion All right. Black mask, erator amtocltion Let's impair the ambient dilution, just like that. There we go. Let me change the color. Let me do something like this. Well, the ambitltion doesn't is not doing too much. With a little bit of roughness. Let's see what this give us. All right, something like that could be alright, perfect. That's right. Ambient Occlusion All right. Sec. There we go. All right, let me add Curvatur Layer. All right. Let's add Black mask. Fill layer. Fill layer no generator. And let's add some rubatur. Et's go here. Maybe let's decrease all of these sliders. All right. There we go. With a little bit of slope will be, maybe not. All right. Oh, here. I like this could be. Maybe with some roughness. But any bit rougher. All right, let me add More roughness variation. All right. Let's add some roughness. All right, Mac mask, bell there. Let's add maybe this will be. I think so. I think this could be. Just like that, roughness. Let's see what this give us. All right. Let's export this. Et's wait for this to be exported. There we go. Let's see how the globe is looking. I think it's looking cool. There we go. Now, let's start working on the forearm armor. Alright, let's go there. Let's focus on these plates. I All right. I think I will do, like, global stuff for these plates. So let's add some ambientoclusion to those like mask, nerator, a met occlusion. All right. There we go. Let's say the color. Yeah. Maybe this could be? Let's increase the global balance. Let's add some roughness, increase the roughness. Alright, there we go. Let's add some metal. Let me go to the metal. I will also increase the metallicness of this. This should be like this. There we go. And All right. And this one would be like, less. No, I don't think so. Alright, let's go to the ambient oclusion. Ambient occlusion. There we go. Perfect. So now, let's add some color variation. Let me add that multiply with a really low intensity on the layer opacity. I there we go. Let me change this one. Make it a bit rougher. There we go. A little bit of metalness. It's just like that. Maybe without metalness. Yeah. Let's add some curvature. There we go. Lack mask, Inator. Batur Alright. Perfet. Maybe a little bit of slope. Here we go. Perfect. A little bit of roughness. Just make them a little bit rougher would be. All right. Just like that. We could add a little bit of scratches. So scratches. All right. This cutter had a black mask. Fill layer, change this to hide. Alright let's bring these scratches. All right. Perfect. This could be let's reduce the balance. Let's increase the tiling. Maybe not. Let's rotate this. I think this, like, big scratch give a cool detail there. Alright, this crutch also makes a cool detail. I like it. I don't think I will paint out too much of this. Let's add more roughness variation. Black mask, roughness, a little bit rougher, or right let's add. So fill layer here. Let's search for some maybe noise texture like this one could be. I think this is too much. Maybe we could increase it. A tiny bit. Let's add another layer. Let's add a crunch this time. Alright. Let's put this in substract. Maybe our multiply would be I think so. And let me export this. Let's see how it looks in size up Marmoset toolbagqat for this. Alright, let's go to Marmoset. All right, there we go. Looking cool, in my opinion. All right. Sec, I think we should add a little bit more color variation on this, maybe we could duplicate this one. At this one. Let's add some filter ler slope. Alright. There we go. Not that much. Alright, let me read this one. And now I will use the alphas that I have imported will be here, those Alphas, yeah. And I will paint in a tiny bit of, like, colors. Let's add another field layer. Uh, painted ration. All right, like mask. Let's see. Let's go to basic heart. Maybe basic stuff. Let's select our stuff here will be. Let's make this rougher. All right. I changed the color. All right. There we go. There we go. There we are. Maybe more. Would be All right. I think we could export this again. It's exported. And let's go back to here and see there are some nice buds. All right. There we go. Let's save this. Alright. I think now we could start working on the fore arm armor. Alright, in this part. Let's go to lobes or arm armor. Let me reduce the roughness. We could increase a tiny bit of metallicne that piece. I don't want to make it fully metallic. All right. Just like that. We could make right, let me put this like let's make another folder. Let's call this strap. I will make another fill layer. This time, I will just remove the metallicness. And now I will paint this layer. All right. Let's go here. Now, let's paint this white mask. All right. Let me see Let me change the alignment to UB. Let's go here. We could remove that paint from there. Alright, let's keep painting this. All right. There we go. Et's just keep painting. Just like this. All right. Perfect. Let's remove. Of these, right, A here. This is read white. Let's just keep painting. You will get this painted. Let's also go here. There we go. Just like this. Alright. And Let's just keep adding a bit more of paint there. So here, let's clean this a tiny bit more. Just like that. There we go. Perfect. Let's change this to tangent crap. And now we could change the color and the roughness for this piece to something better. Something like this could be. All right. A tiny bit lighter. All right. So Let's just keep adding a tiny bit more of variation into the forearm armor. Let's wait for this to save. All right. Let's add a tiny bit more variation. Let's add some ambit occlusion. Occlusion. All right. La mask nerator Amdocltion here, invert that ambient occlusion. Where it's my am to pollution. All right. Little bit of flour. All right. Let's add some par. And also, I would like to add some roughness into this. Alright. All right. Let's add some surface variation, more, more surface variation. Let's add maybe, let's say, more color variation. So does multiply a flight. All right. A tiny bit. There we go. Maybe with a little bit of roughness. We got a black mask. Also the layer with the same grunge. All right. Making the same stuff. All right. And Alright, let's do this. Let's add a fill layer with some other ranch texture on it. Just like that could be. I kind of like it. Here we have a seam. But I think that's because of the met occlusion. And also this, let me just add it in triplanar. There we go. Also here in this one, I will just add this interplanar do. There we go. Things looking cool. Go here. Let's add maybe let's call this base variation. Strap base. Let's add some edges. Rvatur here. There we go. Let's see what this give us. All right. Here we go. All right. Let's add some blue slope. Would be maybe with a little bit of roughness. Oh let me decrease a tiny bit the color of this. All right. Let's work now on this strap. I will just add, like, some stuff. Like, some ambient occlusion. I like that. B mask, generator. Alright. So generator here, an ambient occlusion one, Bird. Just like this. All right. It's decrease the brightness of that color. All right. Let me Alright, let me add some curvature. All right. Lo mask, paint, urbatur. All right. Let's dirt I mean, let's reduce these lighters. Just like that. Just like this. Let's add some fill layer with some grudge. Let's just put this grudg multiply. Maybe this could be. There we go. Let me also add a little bit of roughness to that stuff and a little bit of height just like this. Also let me change the color of that dove here. Alright. There we go. Let's take this, and then we are going to export this to Marmotet to see how this looks like. All right. Let's export the textures. Here. Perfect. Fourth Alright, let's wait for this. Alright. Let's see how this looks. Looking good. Maybe this is looking a little bit a little bit too much, but I think this metal looking nice. All right. All right. Maybe I think we could add just a tiny like third layer into the jacket. Just a small one. Let's go here. A mask. A fill layer. Let's go for maybe third. All right. Let me add some filter here. It will slope. Let's add another filter here. I will put this in multiply. And now search for another one. All right. Maybe let's add a paint. All right. Here also. I will add maybe some brownish color. Alright. Just like this. Let's go increase the roughness. All right. And now let's just start erasing that dirt from some places like here. Let me remove the blur slope just for now. All right. Let's just try to remove them. Alright. It's like that. There we go. Perfect. Here in the back, we should raise All right. Here we go. Perfect. I got tiny bit more. I think this could work will be. Let's export this slope on. Let's see the difference for jacket. Let's export this right. Let's wait for this. All right. I think that adds a tiny bit more variation. Yeah looking kind of cool. All right. Remove. I annoysing. All right. I think I like it more without the noising. All right. Let me add maybe the lights. Maybe without the first one to have these shrimp lights. Maybe even with that some color. It. Uh, where is the color of this light? All right. This could be. All right. Here we go. So I think I will leave the video here for this video. We have done quite a bit of progress, like the forearm armor at the plup tiny bit of work on the shoulder pad. So let's see let's keep working on this and maybe in the next video, we could start making another piece of this model. So see you there. 31. Starting the Inner Armor Textures: Alright, guys. So now we're going to continue with this model. So let's keep working with the textures. So in the previous video, we were doing the textures of the globes, the armor, these armor plates, this forearm armor and also the shoulder pad and so on. So now we are going to make, like, a more adjustments. Maybe in the jacket, we could make this pattern a tiny bit more noticeable. Maybe we could increase the roughness from those parts. So let's wait for substance. All right. Now let's go to the pattern. Here, the econ pattern. Let me increase a tiny bit more roughness real quick. All right. Let's see. Let's wait for substance to do the calculation. All right. Maybe it could be. Something like this, I think will be good. I just want it to be more noticeable. Let me export this again to marmoset, and let's see how this looks. Or right let's wait for this to be exported. Or let's go to Marmoset. And now it's supposedly to be yeah. Now there is I think it's the same. Alright. Maybe we could reduce the roughness, those patterns or maybe not. We could lift them like that. I think so. All right. So now let's see what else we could do. All right. Let's just see how it looks. Alright, I think we could start working on this hand armor that I forgot to do the textures. So let's go back to substance. Alright, let's go here and now let's start working on this hand armor. All right. Let's search for the and armor. Perfect. Let's call this base. All right now, let's add an ambient ocletion AO or black mask. Let's add a generator. All right. Let's add some ambient ocletion there. Let's invert this ambientocletion. And now we have this. Let's change the color or something like a reddish bone, maybe even darker. Maybe something like this could be. Could be like this. Alright. I kind of like that color. Alright, we'll just select maybe more reddish. There. Alright. Let's add now a filter through slope. Maybe in ten. I kind of like it, yeah. I like it. Let's add some roughness. I feel like that. Now, we could add some edgewar for this to be like some painted metal that has been shaped in the knuckles, something like that. All right. Alright, first, let's add an edge generator, right. Let's add a curvature here. Perfect. There we go. Go here. Let's reduce all of this. Right now we have this. I would like to add a brighter color. Just like this, maybe. Not quite like it. I like that. All right. Let's go here. So we have this. Maybe we could add some flur slope it could be. Let's add also a fill layer with some grunge Just to do some breakup in the edges. All right at C. Let's put this fill layer in multiply. I like that could be Alright, let's wait for this to save. Alright. Maybe we could crank up the brightness of this color just a tiny bit more. Maybe we could even paint a little bit with the paint layer and our knife brush. Alright, let's just add few few strokes here and there in the corner, maybe. All right. Something like this. Perfect, this is kind of slow right now, the Sam spender. A little bit slow. All right, sweet for this. Alright, let me see something. Alright, let's continue. I think it's a little bit better with some spiner with a stroke. Alright. Still slow, but let's try to work with that. It's a little bit of color in the edges. Let's go here in the knuckles. Maybe we could add some here. Something like this. Maybe, Perfect. All right, maybe here could be. There we go. Also here. All right. One thing that we could do if this is too slow, we could turn down the resolution of detecture. Maybe we could put it in two K if this is too slow, let's wait for substance vendor to do the calculation. And now we can work maybe kind of better. I'm still looking at it a little bit slow. Yeah. Let me just add it again to four k to better visualize this. Let's just keep adding these edges. All right. I noticed that I have been adding these edges. That's color on the edges with symmetry. So I think we will have to do some work on the other hand. So let's just keep adding this stuff. Real quick, just like this. All right. Maybe in base color could be a tiny bit faster. Right. There we go. It seems to be slow just with the tablet. That's weird. Right, let me see. Yeah, it's just with the tablet. This is being slow. All right, maybe let's go to the layer. Let's maybe adds a bit of roughness there. We could reduce the roughness in those edges. Alright, let's go to the base layer. Let's set some roughness. Maybe something like this could be. Roughness. Perfect. Now, let me add, let me call this urbatur now what I will do, I will add another layer. This will be for the roughness. Roughness layer. Like mask. Let's had a field layer. Now let's search for maybe a crunch another crunch like this. Let's put the roughness and let's see how this looks. All right. Let's increase the tiling. All right. W be. Also, let's add another curvature. I will add another corbaor here. I will call this edge were because I want to add some wearing in the knuckles in those corners. All right. Let's put a black mask. It's at a generator. Let's search for edgeware metal edgewaar here. Perfect. Let me reduce the amount of wareness that this has All right, let's reduce the amount of let me increase the hemmed clusion Maybe we will increase the scale of the grungrng amount. Alright, let me add another field layer. Maybe this one, multiply Atation we will put this in triplanar. All right. I think this could be good. Let's add some height, some metalness some roughness to this. All right. Let me see like that, let's increase the metalness. Perfect. And the roughness, there we go. Here, I will add. In the shrubbery channel, I will put the top layer in overlay, just like that. Maybe in screen, let me see screen. No, I will just add it in overlay. Perfect. All right, let's go to the grunge and now let's paint out a little bit of these parts. Like in that place, here also could be in this area here. All right. I will want to add that on these places maybe. Something like that. My just add it with the mouse. It's a bit faster. Maybe something like that. All right, could be here also. Perfect. Let's go to the other area. Let me add a little bit of this paint in the corners. Alright. All right. It's a bit more here in this area. Will be. All right. So now what I will do, I will just export this and see how this looks inside the engine port, jacket. Alright. Now let's wait for this to be exported. And now let's go to Marmoset. Here we go. It's updated. You can see that I have torn down rate raising. We could add it or we could leave in fraser. I don't recommend you to use hybrid because this looks super ugly. I really don't recommend you that this looks super ugly. I don't like it. All right. Let's see how it looks in retraining. Looking pretty good. All right. Let's save this. Let me do something. Let's just continue with this. All right. So let's go. I would like to add a little bit of detail with the knife rush in the A O. Maybe we could do this. I just drop my pen, a little bit dumb right. We could maybe do a little bit more detail here. There we go. It'll be there. Perfect. Maybe here all. W be. All right. Let's just add a little bit more of brokes Alright. Here we go. All right. So let's see. Maybe we could start making another piece. Alright, I think we have make the textures for all the jacket texture set, I believe. Maybe later, we will make a video to add more details if needed in all the texture sets. So now, maybe let's see what we could do now. I think that I will start making the inner suit. So let's start making the Inner suit, now, the inner armor. Yeah. Let's go here. And now let's go to the inner armor. Let's start making these pieces. Base. Let me start with this darker color. I think it's the mid tone. All right. Let's add roughness and some metallicness. Let me see like this could be. All right. A little bit of metalness. There we go. It's a black mask. I mean, a field layer with some black mask, right, a generator, or let's see, some amen seclusion. Invert that amid seclusion. It will be basically almost the same in all the materials, the same procedure, like adding amid occlusion, some curvator maps. And then after we add those, we are going to do manual work, like hand painted work to enhance it even more. Occlusion here. There we go. Let's see. There we go. Let me change the color of this. A more dark color. Let's go back to the ambient ocltion mask. Let me see like this could be. All right. Maybe we could add some blur slope to break up this thing a little bit. Let's add it in 100. W B. All right. Something like that. There we go. All right. Let's add now. So curvature map. Black mask, a generator, curvature. All right. Let me decrease all of these layers. All right. Maybe something like this could be. It's a field layer with some crunch. Now let's put that crunch and multiply. Maybe we could select another one. Something like this could be. Another filter, maybe some bluer slope. Put this in 100. I ten, All right. Let me decrease here the opacity of this layer, a little bit. Some roughness. All right. Now, I would like to also add some color variation. All right. Let's add some color variation to the face color. All right. Go here. And now we are going to add some of the grunge map that I have found in Google. All right. Let's just search for our stuff here. Let's put this multiply or maybe it could be in overlay. Let's reduce reduce the opacity of this map. And it could be this one to have a little bit of surface detail. Alright. I'm just looking at my references. All right. All right. In here, in the base, I will just decrease the roughness, little bit more and crank up a little bit more the metallicness. All right. Let me increase the opacity of the corbator map. And also, I will move more this crunch. Yeah. Alright, let's go to the color variation map, and let's add some filter floor slope again. Alright. I just like lower slope parting. Let's crank up a tiny bit more rung here, and maybe we could even add a little bit more purvatre. Alright, let's see how this looks with the jacket on top. All right. We could add a paint layer and start adding tiny bit more of detail. Let me see like this could be. Here, the stroke is faster. Alright. Any bit of detail there? Maybe here in this edge will be. All right. Alright. Here we go. Perfect. All right. I would also like to add more color variation into that metal. Let's put this here. Color variation one. We could select one of these smart mask. Let's see what this give us. Maybe let's search for some dust. Maybe this one could be. Let's just add that smart mask. I really like these looks indeed. We could use it, right now, I will change the color of the, the roughness. I will just crank up the roughness and change the color. Something darker. We could even put that dust layer on top of everything. Like here, maybe. Yeah. So it's a global. All right. Maybe here. Perfect. There we go. I think it looks cool. Maybe we could even reduce the metal ness. I think so, yeah. Perfect. Now we could add even more detail with the Alphas that I have downloaded. Here, let me search it. These Alphas, let me add a paint layer. Maybe here, rotates. All right. This is not working again. Why is that? All right, let me do something. Let me select my heart's basic card mask. I mean, brush. Now let's try to add that again. Alright, there we go. All right. Let me select another one. Something like that could be here. All right. Have you changed the color? I like that. Perfect. We could add more details like this with other types of colors. Let's go here to the tone gray. Alright, let's change the color of this maybe. I don't know. Let's see. Alright. Let's add a black mask paint. Let's see what we could do with some greenish color. Maybe, something like this could be. All right. Again, my basic heart is not working properly. Oh, it's there. All right, change the color of this. All right, something like that could be. All right. I mean, I just want to add some color variation here and there. Perfect. Something here. Another one could be here. Maybe not. Let's wait for this. All right. Let's see. Maybe something like that could be. I think, so let me see how this is looking right now. Let's expose this to marmosets. I will export both texture sets. Just in case I haven't exported the jacket because I don't really remember if I did it. Alright, let's wait for this. Let's see how this is looking like. Alright, the materials have not been imported. Let's go to the inner sut Alright, give me a sec to import all the textures. Alright. It's here. I just exported the wrong texture set. I mean, I was exporting, like, the inner sut and instead of the inner armor. I'm sorry. I just got confused. I think this is looking nice. We could add maybe found some scratches here here and there would be? Yeah. Let me see how this looks without the retracing the raster. All right. This looking cool. Go to hybrid racing again. Let me add some, like, global scratches in the inner suit. I mean, inner armor. Alright, let's go here on top of everything. Let me add some global scratches. At all right. At mask. So fill layer. Let's search for the scratch map. Search for the scratch map. Let's try this. I think it's a little bit big right now, the type of scratches. Alright, but maybe we could mix it with the other ones. Alright. There we go. Let me do something here. Now, let's add the height, maybe some roughness, even. Now let's just add those scratches there with a little bit less roughness. There we go. Let's me also add the other scratches, like these big ones. Alright. I will reduce the amount of the reduce the dots or spots. Alright. Let me add another fill layer. This time, I will add also. Let me put these scratches in overlay. All right. So they are layering. And now here, I will add some grunge just to take down some of those scratches and they are not all over the place. Multiply. Where are my scutches. All right. I don't think this is the one. Let me change this map. Maybe force this one. It's not. For some reason, this map just knuckle down my mask. All right? What is not? Why is this not working anymore? Alright, I have my scratches here. Let's put this in screen or right now it's working. Let me add the field layer. Alright, let's put this in screen screen no, multiply. Alright. Perfect, something like this could be. Let's add a paint layer. And now let's remove a tiny bit of these scrutches In place that doesn't have sense to these to have scratches. Maybe here in the back could have some. I think so. Could be. Let's add a tiny bit of color to this. Maybe something darker, just like that. Let's export this. Let me remove a tiny bit more amount of scratches that is here. There is something like that. Let's expot this. All right. Without the jacket this time. Remember inner armor. Let's see what this give us. Let's go here. You can see some scratches there. All right. Without the raster? I mean, without the tracing, sorry. All right. I think it's looking cool. Alright, let's keep working with the other metals that we have. Maybe let's work with this lighter one. All right, lighter gray. We could copy some of these maps right console C, Console B. All right. Let's call this is in the brown. Let's add it here. Base. Let me move that that base. So we have this. I think this could work. Let me also copy the curvature, add it here. All right. Let me rack up more curvature here. The brightness or white on the blue slope. Let's add another. Maybe we could even remove this one. Maybe not. Let's paint a tiny bit of these maps. All right let me select my knife brush and let's do some work. All right. All right. Here. Perfect. Let's go here. All right. Let's see the base color. There we go. All right. There we go. Just had a few more. Now I think that's a little bit. Too dusty or dirty. We could knuckle down a tiny bit of this dirtiness, we see the cvaration? No. Metoclusion? No. Or is the global roughness, the global dust that I have here. Let me take down a tiny bit of this it like that? Will be. And also, I will go here to the lighter gray and add some roughness to this. I like this and maybe maybe a little bit of metalness. Maybe not that much of metalness, a tiny bit. All right. Or maybe we could even not add that metalness. All right. I don't think I will add metalness in that piece. I don't like it quite much. All right. This could be like some pated metal, indeed. Let me remove a tiny bit of this curvature also. It's making it looks a little bit too dirty. Alright. I like that, let me expot this. A, let me search in the other ones. Maybe we could add a tiny bit of metalness. That's the corbator. Alright, let's go to the base. We could maybe add just a tiny bit of this metal ness, something like this. Let's keep. Alright, first, I will just export this and see how this looks like. Alright. Let me now save this. And now let's go back to Armoset two back five. All right. We go to Raster. Perfect. All right. Let's see my references. Maybe we could hide the jacket and see how this is looking without the jacket. Let me remove also those lights there so I can see in a better way what I'm doing here. All right. I would like to add more variation into the roughness. Let me bring back the jacket. So I will just do that now. Let's maybe add some global roughness on top of this. Roughness? All right. Black mask? No. Let's add one field layer. Roughness, let's change. Then layer type of this roughness into overlay maybe. And now let's add some black mask. And field layer. And let's add maybe some grunge that's fine for something. I like this could be. All right. We could maybe let's call this roughness one. Let me copy this. I will change the grunge map. Wait for something like this. Roughness, let's go here and maybe we could use some tiny bit roughness in this time. Yeah. We did. Let me see my mask. And now we could maybe add another one with subtract to knuckle down some of those roughness. Let me see like this could be. Let me see how this looks. Let's export this. Wait for this to be exported. And now let's go here and see how the metal and the light is reacting together. It's a bit better. All right. Let's save this. Let's go back to substance. I would like to make this lighter gray, a tiny bit er. Just like that. Just to separate more, to have more contrast between these two metals. Let me export this again. Y. Let's squat for this. All right. I think that's a little bit better. We have more contrast between the colors of these two metals. Let me. Let's me hide the hacker Perfect. We could maybe even add more metalness to this the brighter color. Yeah. And the other me toon gray, maybe we could knuckle down. A bit of that metalness. But making it a tiny bit darker. Let's see how this looks. I don't like it. This should be more like this. Right? Let me go to my ID map. Now I will select the color, the gray there. Maybe just a tiny bit brighter. Also, let me tone metal. All right. Perfect. Let's go to the rider one. We we do the same. Let's see how this looks with these two metals with full metallicness. Or let's exports. I I don't quite like it, indeed. I will just reduce the amount of metal ness that each one has. I quite not like the way how it looks inside the engine. Maybe we could add maybe, like, some surface noise to this darker metal. Let's see. Alright. Let me add in the mid tone gray black mask with some fill layer. We could add this. It's at some height. Like that. Let me go to the height and also reduce the amount. It's like that maybe to separate materials, little bit more. Maybe this one could be. Go here. Maybe we could add this one. Let's see. It could be. Perfect. Just want some surface variation. Alright, let's explore the textures. Also, I don't think I have. Yeah, I added. Yeah, let's go. I think this looks better. Go here to rate raising. All right. Let's maybe add some radiant. Got a little bit more of detail. Per face noise. Perfect base color. I have All right. I don't have the bake lighting. Let me take the the bake lighting from my jacket layer. I just forgot to add it in this texture set. I will just copy this. Then go again to my inner armor texture set, and I will just add it on top of everything. All right. Looking cool. Perfect. And now maybe we could add a tiny bit more of radiant into this. Let's add some black mask, inn dator. Let's add some linear gradient invert Alright Perfect. Maybe with a little bit darker gray. Maybe even with some blue right something like this. Would be. Let's see how this looks with and without the gradient. Let me export this again. Right let's export this. Alright. Now I will save this again. Now, let's wait for this to be here. All right. I think it's looking cool. Let me see the alveto map. Right. Quality to the raster. All right. Perfect. Let's go back here. Maybe, let's work more on the dark gray. This one. Is darker gray. All right, a little bit of metallicness. With this to be more rough and everything. I would be Or maybe we could make it like some rubber. Maybe not. I don't I don't think this is much like rubber. All right. Let's add maybe some color variation. All right, and maybe some ambient occlusion. Let me make ambitoclusion darker. And I will change the color variation. It's like that. There we go. Let me add another gradient here. Let me copy the gradient. This is the gradient? No, that's not the gradient. All right. Let me put here spots. Let's search for the gradient. This is the gradient. Let's copy that into this one. I will make this darker. And now let's tweak the gradient. All right. Pre flex expods All right. Let's see. Good. We will have to maybe do more work there. I think we could do more stuff. It's at some curvature or right black mask, a gnator. Curvature. We reduce everything here. Just like that. Perfect. Let's add maybe some bi layer with this. And let's put this in substract. A this one no is this one, this layer, substract or maybe multiply. All right. Perfect. Let me reduce the brightness of that edge. Here we go. I still don't know if to leave it, like metal metallic or not. We will see. Let's just keep working on this. Alright, Bridge raising. Et me add like a big spot here. Where are my spots. I'll also like to add spots that doesn't have roughness. This spot doesn't have roughness, yeah. Alright, let's go with our basic brush. Let's select this one, maybe this one. Add a paint layer. Like some big stuff here. On here, maybe. Perfect. So let's go, Let's copy this. Let's go to the lighter stuff. All right. With some more colors here and there, just to make it uneven, like that. Perfect. Let's go to the darker darker color. Let's make this gray more dark, perfect. All right. There we go. Perfect. Let me go to the spot one here. The principal spot. I will just remove that from here. Something like here. Let's see how this looks like. Word Alright, let's go to Marmoset. I think it's looking a bit better. Yeah. Perfect. So I think I will leave the video here. In the next video, we are going to keep working on this. Those are you there? 32. Making the Inner Armor and Making the Mask: Alright, guys, so let's continue with this model. In the previous video, we were working on the inner armor. So now we're going to keep working on the inner armor. So let's work. I just bit a few adjustments into the ambient occlusion of each metal piece. I just have cranked up like a little bit more the ambient occlusion. Let me show you I just added a little bit more of ambient occlusion with a little bit more blur. You can see it here, without and with it. I just wanted to have a more amen occlusion intensity. Now, what we're going to do? We're going to keep working and making this stuff. Maybe we could start working on this orange metal. I think about this metal like I think about it as painted metal. So let's treat it as a painted metal. Alright. Let me see something. Have here my stuff. My add also some metal. Maybe we could make them full metallic. All right. In. All right. So let's work on this piece. All right. Let's go to the orange metal. Let's add a little bit more of amd occlusion on that piece. A, perfect. Generator. I don't want a cba right there. I want amide occlusion. All right. Convert that mask. Maybe we could keep with this. I think so. Let's select another color for this. Something reddish, something like this would be All right? Perfect. Let's add a tiny bit more of roughness there. Also, I will add a base roughness for this piece right there. All right. Let me see. Base color. All right. Let me go to the missive, and also I would like to add a little bit of base roughness. All right. Let me make this emissive stuff a little bit rougher. Also, I would like to erase some scratches from this. It doesn't have sense to have scratches there. Alright, let me also paint a tiny bit more. Here and here. There we go. So now let's keep working on this metal. Let me maybe remove a tiny bit more of these scratches. I I could leave that scratch there. I think so. Let's go to the toss. Maybe we could remove a tiny bit more of here, W B. All right. Perfect. Let's add a little bit of color variation on this orange. He's let's go here. Maybe we could add some edge color. Let's add some curbatorO maybe we could add. Actually, we could add mask. I think it's this one, mass editor. With the mass editor, we could tweak a lot of a lot of things at once, like the ambient occlusion and the curbator. Let's use the curbator for now. All right, let me decrease all of these. Maybe. Yeah. Let me increase the corbator opacity. All right. Global balance. I like this could be good. Alright, let me change the color of my ambient. I mean, my ambient no my curvature. I'm say like this. Let me do also something. I will add a paint layer here. I will turn on my my symmetry, and I will just start painting a little bit here. There we go. Also, I would like to increase the tolerance for this so we don't have those white pixels just like that. Also here in the back. Let me remove a tiny bit more of these crutches. We will remove them. All right. Something like this. Perfect. And there we go. Maybe here. I'll make this a little bit brighter, a tiny bit more roughness. Let's add a bluer slope. With not too much intensity. Just like this. And now I would like to add some paint layer and start painting a little bit of detail with my knife brush. Alright. We go. We could start painting a tiny bit of these edges. All right. Something like this. Just to add a tiny bit of detail. All right. Perfect. I think that could work. Where's my my other stuff. All right. I think the here is a bug. I kind of see my entire character. That's really weird. Yeah, let me do something. Alright, I think that what was happening was that I had this icon active, and that is like that's an option to hide geometry. I had it active for some reason. So now we're going to keep working on this. Maybe we could start maybe working on the mask. I think so. So let's see. I really don't care about what's happening inside here. All right, I think this is good. Let's just export this maybe before starting working on the mask. All right. Let's go to Marmoset. And let's see how this looks like. I think it's looking cool. All right. Maybe what we could do we could add this. Alright, this is on top of everything. Perfect. Alright, let's add a little bit of work on this emissive stuff. Alright, let's call this maybe Base. Now we are going to add like a rim. Let's go here, and let's just duplicate this. It's a black mess. Let's make this color more dark, just like this. Now we're going to add here, I would like to add let me see. I would like to add an anchor point, maybe. And now here we're going to add fill layer. Here, let's select this space. Layer, Let me see the mask. Missive. Not doing anything. So let's do this instead. Let's add a color selection. And let's just select this this middle piece. Let me increase the tolerance. And now I will add a filter, a less type mask outline. This will be the filter that we're going to use right now. All right let's see it is not working properly. All right, let's change from upside to inside. Let's reduce the width. Maybe the blur. Let's put this in both, maybe. Or let's see how this looks like. Something like this could be. Could also add a little bit of painting work here. Make some manual work. Let me also increase the tolerance. All right, this doesn't working. It's this in the blue, where I should crank up the tolerance. All right. Something like that, let me also add maybe some blur here. It's a a plur mass, plur filter. Alright, let's see how this looks like. I think it's looking kind of cool. Alright. Let me add something. Here. We're not. Let me just remove that lure. I mean, I really like that lure. Let's add a paint layer. Let's select this mask. And now let's just paint. I mean, let's select the symmetry. Not the mask. Sorry, I mean, just a little bit dump right now. And now let's just start painting a tiny bit to cover those areas. Alright, just like this could be. Alright. Perfect. Maybe we could crank up the blurriness of this. Well, not that much. Something like that could be maybe not that much either. Let me just erase one of these. Alright, let me do something. All right, maybe not. This not the way. I like to add that lure. Let me select my basic soft. All right. Maybe instead of having the blurre effect, we could add it by hand using the basic soft just like this. Would be, and it's better, my opinion. All right. Maybe we could add another layer. Let me duplicate this one. And now let's change the mask or another black mask. And now let's add a paint layer. I will make this layer brighter. So let's turn it more to the green and increase the brightness of this. I would like to add it in the middle like some middle light there. Alright, just like that. That could be good. Also, I will do the same in these pink parts. It's called the space. I will duplicate this at a black mask, at a color selection. Let's select this pinky color. Now, let's add a filter. But before adding the filter, let's make this pink a tiny bit more dark. Maybe to the red, maybe to the purple. The purple, I think, yeah. All right. Now, let's just go here. Let's at the filter, select mask outline. All right, there we go. Let's add this in both thighs. All right, maybe we could lure this a bit more. All right. We could twig with the fresh hole, maybe blur this a tiny bit more just like that. Pull B All right. Perfet. There we go. This could be a tiny bit darker. Or I let's add some painted work and maybe with a knife brush. Alright. Just like that, maybe could be. Siting few strokes. Let me also duplicate this one. Let's add a black mask. Let's add a paint layer. Let me go here and make this brighter. Maybe just like this could be. Alright, let's go here. Maybe we could paint tiny bit here. I don't like that so much. Let's go to the basic self again. And now let's just add something here. Like some highlight just like that. Let me explore this and see how this looks. Four textures. All right, there we go. Let T. Perfect. Let's save this. Let's go to Marmoset. All right, that looks cool. Let's see how this looking faster. Looks cool also. Perfect. Let's go back to rate raising. Maybe we could increase also the intensity of the mission. Just like that could be All right. I don't like hybrid. Perfect. Let me save this. And now let's just keep working on this armor. Let's see what else we could add. Maybe we could start working on the mask just for now. So let's start working on the mask. But let's go to the mask. This dark gray should be maybe super rough or it's not a rough. All right, let's go to this one. This should be rough. Just like that. All right. And now this darker gray. Let's see. Make it a tiny bit rough. Maybe a tiny bit metallic, maybe not. Like the same type of metal as this. Maybe we could reuse some stuff that we have made. Maybe we could select all of these. Maybe just ambient occlusion. And this one et's just copy that, Let's go to the mask. Let's just paste that there. Alright, looking cool. Yeah. So now, I would like to add Maybe some more roughness to that piece. And roughness or let's add maybe a random roughness that we could find or like mass, the layer or let's type crunch. All right. Let me reduce the balance of this. This could be change this to rough. And now we can see what we could do. All right, something like this could be. I like this. So let me make this dark color even darker. All right. Maybe this one. We could not make it a dark or maybe a would be let me go with the edges. I would make these edges who metallic. All right. Let me do also the same with the other stuff here. With this part, I will also make these edges Ooh metallic. It's like that. Perfect. There we go. Let's go to the mid tone gray here on top. In the mask. Let's go to the mask. And let's select the mid gray. Let's call this base. Let's add. I think this should be more metallic. Alright let me also opy the layers that we have created for the midtone ray here. We like the ambient occlusion, the curvature, that's it, I think, yeah. Let's just select that and go again to the mask section. Space this Alright. Maybe we could make the color a tiny bit brighter or this piece. Something like that could be. Maybe a tiny bit of color variation. Let's copy the variation from the chest piece, and let's just add it here. Would be All right. Maybe I can increase a tiny bit more the ambient occlusion or maybe not. All right. Let's see what else we could do. All right. We could add another roughness there. All right, just a field layer with a black mask, another field layer. Maybe this one could be. All right let's go here. Let's just put the roughness right, just like that. All right, Let's go here. Let's add some fill layer. Let's add another one. Let's put this in substract. There we go. Perfect. All right. Let's go to the curvatur Maybe we could start painting some stuff. All right, right? Let me paint some stuff here. A tiny bit. Here we go. A All right. All right. Let's see. That color is from ambient occlusion. Yeah. Let me remove a tiny bit more the ambit clusion from this piece. I mean, from this place, I meant to say, something like that. And now let's go to this field layer. I will add a paint, remove the dirt from there. Right? Perfect. Let's go to the orange piece in this mask and let me just increase the tolerance. It's like that. All right. G here. Roughness. All right. There we go. Let me stave this. Alright, let's wait for this to save. All right. So let's keep working with this. Here also in the lighter gray. Let's copy this. Let's add a black mask, unilator and let's put this in ambitocltion. All right. Perfect. Let's add some amid occlusion there. All right. This could be a color. Let me decrease also the roughness. And this piece, I would like to make it metallic maybe. Fairly tiny bit lighter. Just like this. There we go. Et me add some blur slope here. Perfect. Let me put this in 100. Alright. All right. This will be the ambient. Pollution. So now, what we're going to do is to add maybe some edges. Let's add the black mask, inator. Add some curvature. All right, Global invert. Let's see the base color. Let's reduce the balance of this. And also, let's reduce these sliders in this area. All right. We could increase this. Perfect. All right, this is not working properly. Oh, I have some globbing bird. All right. Maybe we could add some roughness. Like this would be I think so yeah. Now for this orange piece, I will just copy what I have done in the orange metal piece. I will just add it here. Perfect. Just like that. Let me paint out some of these edges. Alright. Just like this. Alright. Perfect. There we go. Just like this. Perfect. Maybe a little bit more of roughness. That a black mask, that a fill layer. And there for something, maybe this one could be. Let me see my roughness. Here in the roughness, we could this is not doing anything. Alright. Do I have roughness, global roughness? No. Why is this not doing anything? Ah, it's doing anything, but it's quite low. Let me copy this roughness. Roughness, I would call these edges. Alright, let's go down. Pace out here. It just roughness. Here we go. Let's explore this just to see how this looks inside Marmoset. All right, see? All right. Let me see how this looks. In Razor. I need more roughness variation in this and also in this place. So let's just do that. All right. So let's go here. And now, let's add. This is the mask, right? No, that's the inner armor. Let's go here to this darker gray. We have some roughness, but it's not enough. It's not enough roughness. We could add another layer of roughness there. Just like that. Also here, we could add another layer of roughness. Maybe with another layer with this one would be. Maybe with another one. Maybe this one. Let's see how this looks. All right. Let me put this in here. Let me put this in overlay. Perfect. Let me also remove a tiny bit of this Corbatur stuff. I don't quite like it. Maybe we could paint just a tiny bit. Just like that. All right. Also in the mitoclusion, we could paint out a tiny bit of this stuff here. All right. Something like this. All right. Perfect. All right, let me see how this looks. Inside the engine again. All right, let's see. Let's wait for this. Alright, I got an error. So let me restart my Marmoset. Alright? It seems that was like a video card error, but this is fine now. So let's just keep to see what we could add. What else we could add. Alright let's go here. Maybe we could add a gradient. Let's call this base. Bukpis, black mass, inator, linear, radiant, maybe a little bit darker. All right. Let's go here. Let's inverts. All right. Let me see my base color. All right. Let me see like this could be. Let me see my roughness. Let me increase that roughness. Let me increase one of these roughness. Just like that so I can see better what's happening inside the engine. Let me change the names. All right. Let me also go to the hair. I will just add some rough to the hair, just like this. And also in this piece. All right. So now let's export this again. Let's see what this give us. All right. Maybe we could keep doing more work on this. I think so. Let's see, maybe we could reduce the brightness of the sky. Alright. I think it's looking cool. We need to make also the textures of the face and here of the clothes. So I think I will leave this video here. In the next video, we are going to continue making a texture for character. I'll see you there. 33. Making the Textures of the Inner Suit: Alright, guys, so let's continue with this model. Alright, in the previous video, we did start working on the mask. And also, we need to continue this cable. But first, I want to do some stuff. So, I basically did something out of camera and was just to, like, increase the contrast between the color of these metals. I just made this dark metal a little bit darker. So let me go to the inner armor. But basically was just to make darker the color of that metal because I have noticed that before the contrast was, like, the same and it wasn't looking that good. So I just wanted to make it a little bit more with contrast. Other thing that we need to do is to do more contrast between these metals in the roughness map because it's almost looking like the same material, the roughness. And I don't think that it looks that good. So let's go to the grunge here that that roughness, let me see. I think it is the glow of roughness, this one, maybe. Let's see how this looks like without the dust. Let's wait for this. All right. It is not the dust. And then let me add it again. All right. So let's start working on the roughness of these metals. All right, maybe here. We could make this dark metal, a little bit brighter. I mean, it a little bit rougher, just like that, maybe. This piece, this middle gray color, we could make it a tiny bit shiner just like that. Perfect. Just to have a little bit more of contrast. Alright, let me see what we have here. All right. Alright, let me change. If I can find roughness of this. Alright, let me see. All right. All right. Let me Alright, I have something like a global roughness in here. Yeah. Let's see. This global roughness let's make that global roughness, right? That roughness is in overlay. Let's put the entire folder in overlay. You can see how this looks now. Sometimes the layer type doesn't work. And the reason is because those layer are inside a folder. So in order to make those layers to work with the rest of the to the layers that are outside of those of that folder, you should make the entire folder the layer type that you want. For example, here, I just put this roughness layer into overlay. So now we could keep tweaking a tiny bit more. Maybe we could change the type of layer that this has just to see if we get a tiny bit better result. All right. Let me make this darker metal, a tiny bit shinier. Let me see my reference. I mean, my reference my roughness, got it. A little bit dumb. Yeah. All right. Let's see. Maybe we could make this a tiny bit brighter at white part. Let's go here. Just like that would be, maybe. All right. All right. Let me export these textures and see how this looks inside the engine. Let's export this. Now let's go to Marmoset. Let's see. Let's see how this looks like. All right, this is supposed to be to be updated. I think so. Let me see my roughness map to shake if this is correctly updated. Material values. Let's go to roughness. And it is not. Though, something is happening here. Let me see export textures. I think that what happened was the texture wasn't exported properly, and it makes a duplication of that. Look at this. Alright, what Substance Painter did was it didn't erase the previous overwrite the previous textures and just created a duplicate of those textures. So what I'm going to do I will import those textures, and I will delete the previous one maybe. Yes, don't have like this conflict between textures. So, let's do this. I will export all the textures. And I will remport them inside marmoset, so we could keep working like overriding the textures real easy. So let's do that. I will be back in a second. So now I have reported all the textures, and let's see what this looks like. Let me go to the inner mass because I forgot to import the missive texture on the inner armor. Alright, you can see that looks better now. Let me see the roughness. The roughness. Now we have a little bit more of contrast between these materials. Maybe we could make this a little bit less rough. Let's go to marmoset. I mean, substance painter. Sorry. So, let's go here. Let's go to that dark to that dark metal. And let's go now to roughness, let's see. Let's twig just a tiny bit more. Let's leave it a little bit of roughness. Also, I don't think that this piece should be metallic, indeed. Alright. Maybe this metal piece, that gray metal should be completely metallic. So let's make it a tiny bit more metallic. Just like this, maybe. Maybe we could make it a tiny bit lighter or maybe brighter. Let's see how this metallic nest looks like inside the engine for this. Let's export just the inner armor. Alright, let's see how this looks like. Let's go to marmoset. Let's go to full quality. All right. I don't quite like that that reflection. I mean, I don't quite like this metal to be, like, a fully, fully metallic piece. Maybe we could just increase the metallicness just to here to 0.7. 0.8 will be let's see how this looks like fourth inner armor. And let's see how this looks like inside mammo set pullback I think this is better, a better look for that metal. Also, I think I have all that here, but I remove the roughness also from this wide piece. So now, let's see what other stuff we could do. All right. Now we have a tiny bit more of contrast between these roughnesses. Let me also add a little bit more contrast in the roughness of this orange piece. All right, let's see. Maybe something like this could be. Maybe. Alright. Let me expot that. Also here. I need to make more contrast between this black color. Alright, let's do that. This should be this one. All right. Let's see the roughness. All right. I think we have enough contrast in the mask. All right. Maybe here. Well, I don't think so that some amid occlusion will be good there. So let's just export this. Alright, this way for this to be exported. Alright. Perfect. Maybe we could add a pattern in this in that place. Let's go back to marmoset. I mean, Substance Painter. Let's call this space. Now, let's apply a black mask. Maybe we could add some dots. All right. A fill layer with some dots. Alright. I don't want these hexagons. Let me search here for some dots. Maybe instead of dots, we could search for sphere circle maybe. Their colds. Well, I think this could be. Let's just put that there. Let's increase the tiling, maybe to this number, a tiny bit less. 84 could be Alright. Now, I will just change from color to height and decrease the height just like this. All right. I will also add a paint layer to this pattern because I don't want that pattern to be repeated in here. All right. There we go. So, let's add some color, maybe. We could add some dark color there. Maybe this could be a tiny bit lighter. All right. Perfect. Let me see the roughness. Let me see how this looks like. So we could make this a little bit a little bit more interesting. Let's export this. Let's see how this looks like inside the marmoset two pack. Alright? I think that looks cool. Yeah. Also, I will want to make this dark color, that dark metal and tiny bit more brighter. So let's find the base layer for that piece. Let's just make it a tiny bit brighter. Alright. Just like that, could be. Let's explore the texture second. Let's see how this looks like inside my Morse. All right. Alright, that looks a lot better, indeed. Alright, that looks way better. Alright. Perfect. So other thing that I have done is in the jacket. I just added a little bit of where is it? Here the jacket. I just added a little bit of chin. The chin is like a property of the materials that gives like this effect in the rings. You can see that, there is some ring light there. That property is useful to like for the fabrics or the clothes. I just added a little bit because I just wanted to have that little effect that doesn't have any other piece that is not a fabric, just to have more contrast between the materials. So what I did was just I just exported the mask that I have made inside inside substance painter, I just exported, like this jacket and also these buckles and just overlay them on top of each other in Photoshop. And the buckle mask, I just make it like in birds. So it's like extracts stuff from the jacket one. Let me show you just real quick. Alright, so we have the mask that I have exported from substance painter by just going to here like this one unless unless just to here export mask. All right. So we have the jacket one, and we have the buckle ones. So why we want the buckles mask? It's because like this jacket one covers the entire a mesh. But inside that mesh, we have some pieces that are not a fabric that you can see here. So we're going to use that. Let me select this. We're going to use that to subtract from here and have just the fabric to have, like, a mask just on the fabric. So let's go here. First, let's change the type, the mode of this texture from, like, index color to RGB color. Now let's just press Console A, Console C, Control Shift B, and now this layer, we're going to put it in substract here. Yeah. This one. And that way you can have just only the fabric pieces. So I just made that and exported it and imported it back inside Marmoset. You can look at here. Perfect. So let's just keep working, Dave. Alright, let's go back here. There we go. We have this. Alright. Now, what else we could do? Let me see my roughness. Yeah. All right. Let's try to, like, make some texture in this cable. Let's go to the cable. Alright, let's go to the bronze color. Let's add some roughness as some metallicness. All right. Maybe a tiny bit metallic. Yeah, it could be. Now, let's add some amtocltion. Here, let's make a black mask. Let's at a generator, and now let's search for the ambient occlusion. Let's invert this. All right. And now let's just make it brighter. I think I will not add, like, too much dital on those pieces. Just enough amount of ditil. All right, let's just add, like roughness to that color. Let's change the color. Maybe this one and a bit darker. Just like that. Is color, let's see. Roughness. All right. EO. So let's do something. Let me add some roughness here. That a massive one? All right. Now, what we're going to do would be just add maybe some curvature. Add another field layer with some black mask. It's at a generator. Let's at a curvature. All right. Let's make this less visible. Let's go to these sliders here and let's just decrease them. All right, just like that. Maybe just like this could be. Right. Perfect. Let's add some lighter colors there with something like this could be not like that. Alright, let's wait for this to stave. Alright, so, so let's continue with this. All right. Let me just go back for what I had before. All right, I will just color pig that maybe a tiny bit lighter. Tiny bit saturated, like that could be. We could make it this bit. Less rough. Could be. And also we could add a tiny bit of lure slope. Let's put this in 100 and increase this. It's a tiny bit though it breaks up all right. W be now let me add a field add a field layer. Let me go and find to grunge. Maybe this one. Let's put this in multiply. Maybe subtract. Let's just increase this. Let me put this in multiply that. Alright, something like this could be. Alright. Something like that could be? Maybe. Let me see. Maybe let's select another one. This one could be. Now, let's name this urbtur. All right now, I will add a roughness layer. I will make a roughness here. It's at a black mask, a generator. Let's just generator or no, I don't want a generator. I want some fill layer with some crunch to eat. W this one would be or not. I think it's too much. I don't like that. W this one, there's a tiny bit there, tiny bit less. We could be. So let's also add some colors to this cable. Let's go to the cable, and let's see what things we could do here. Will make it metallic or maybe no. All right. Let's add some amtocltion there also. L mask at the paint or maybe some urinator. It's fine for AO here. Let's invert this. All right. So let's invert the amido cluton like that. Let's make the color of that amido gluten a tiny bit less, just like that. Perfect. Let's call this. I will also let's maybe increase this. I will also add some curvature, and this time, this curvature will be in the cavity. Here, let's put how it is. All right. Let's decrease these sliders. All right, so let's change the color of this. I mean, something like that could be. Let me add some roughness to theirs. All right. Let's put the roughness of this piece. Let me put this here. All right. Let's see the roughness channel. All right. So we have this I let's see what we could do. It's a roughness there. It is. Let's add another corbatur. But this time, that corbatur will be in the edges, just like that. Let's reduce all of these sliders and let's just leave the sharp. Like this sharp. Alright. With something like this would be Alright Alright in the roughness. Where is my roughness. Let's go here and add some roughness there. Black mask, but let's add a fill layer. Maybe something splashy like this. Let's change the color to rough. Maybe with a little bit of color. Let me increase the tiles of this. Let me make the roughness overlay. All right. And let's make this thing also, a tiny bit less. Let's reduce the opacity of that layer. Just add a little bit. I will change the type of range Bab that we added. A more, something like this. Let me export this export.ort inner armor and mask. Let's see how this looks like inside the engine. All right. Maybe we could remove the blur slope on the curvature in this bronze piece. All right. We could leave it this just like that. Let me reduce the opacity of this layer also. Something like that could be. Let me just explore this again. And let's see how this looks like. Alright. Let's see here. Alright. Why I have my hair? Why do I have my hair metallic? I should not be metallic, right? All right. I think this is looking cool. It's safe. Perfect. Let me hide the jacket just for a second. Perfect. There we go. Let me bring back my jacket. There we go. So now we basically did the upper portion of our character. We need to do the inner suit. We could do it right now. Let's start doing the inner suit. I think will be something good to do. So let's go here. Let's see what we could do in this inner suit. And maybe we could add some pattern in maybe one layer of this fabric. Let's see. I mean, this inner suit looks like it is some sort of rubber. We could add some tile, normals there. All right, so let's just do that. All right. So maybe instead of having, like, some normal variation, we could have some roughness variation like we did in the jacket. I mean, like a roughness pattern. So let's go and do Alright, maybe here in the darker color base. Let's call this space. I will add just first the roughness stuff that I want to add. Let's add a fill layer. Rough. Let's see what we could add there. Maybe we could add some squares, square maybe this one. Let's just add that here here. Let's increase that. Let me reduce the bother width. Let's make these squares pioneer, maybe 90, maybe even more 200. Let's rotate this 45 degrees. I select that. Could be a tiny bit tinier, 150, maybe 300 would be also. Maybe 350. I think so. So now in the lighter fabric in this gray fabric, we could add another field layer. So let's go and see what we could add. La mask, go to roughness. All right. Maybe we could add some dots. All right, let's add some fill layer. We could add some dots or let's see, Here cools Circle. Let's just get this here. Let's put this maybe in 300. Let me invert. Let me invert this or we could decrease the size or right here. I kind of like this pattern. Maybe let's add some filter. So let's add invert here. Maybe it could be. I mean, I think it is a lot of noise. It is a lot of noise to have those repeating patterns there. I think it looks better without that pattern. All right. So let's start adding some aminocltion those stuff. Let me change the name of this layer to patterns. Now I will just add some fill layer. And let me put that on top of everything. Right black mask, erraor let's add some amidocltion. Real quick. There we go. Let's invert this. A right maybe we will decrease this ametocltion a tiny bit global blur. Maybe no. I think that ametocltion will not be the answer here. We could make this a tiny bit darker. Alright. Maybe something like that could be. But it makes the rest a lot dark. All right, so I will not use the amid occlusion layer. What I will do I will just go to my inner armor or any other texture set that we have worked before, and I will just copy my fake lighting layer. Let's go to the inner suit again. Let's just add it there. Alright, let's wait for this. Or right there we go. Have some color variation here. All right. There we go. Perfect. All right. Let me do something. Instead of this, I would change the generator to curvature. All right, let's see my mask. I don't like this. Maybe amid closen should be a invert this this could be, could be. Let me make this darker. Well, I mean, I don't like so much how this is making the rest. Like this dark All right. Let's see. Curvature here, maybe we will do something. Let's go here. Let's decrease all of these. Hey some blur. Something like this could be. All right. Perfect. Maybe we could change this how it is. Something like that, I will add a paint layer and I will start removing. All of these weird looking lines just like that. Alright. Perfect. I mean, let's don't use that. I mean, it would be but no, at the same time. Alright. Let's just remove all of these. Alright. Perfect. Maybe we could use this. Alright. There we go. Let's call this Curvatur. Maybe let's add some color variation. Let's go to our asset here. Alright. Let's wait for this to respond, all right. Let's just add some fill layer with some lack mask. Well layer, and now I mean, no. Win the Yeah. Let's remove the mask. Let's just add this one, and let's put this in multiply, maybe. Just like that. Win this one. Alright. Maybe this one could be like this. Let's add the lure slope. All right. Comes like that. Let's make this in ten. Let's increase the slope. Let me decrease the amount of color that this has. Just like that. Like that could be. Perfect. Let me also add a roughness here. All right. All right. Let's see. Maybe we could add also some stuff here. Let's go there. I mean, maybe we could add some dots, but they could be super small. Let me just go to the roughness. All right. We could make it a lot smaller, maybe 500. I like that. All right. Let's type circle. Let's see if, right, we have these circles. Let me change that. All right. Let's select these circles. All right maybe 100. Something like this would be All right. Just something like that. Let me invert this. Perfect. Maybe we could make this a brick some height. Pets. Let's see how this looks like with the rest of the clothes. Maybe without. Yeah, I think so. Maybe not. Maybe we could just add the height. But not that much. Maybe not. I don't like it. I don't think so. It makes a lot of noise there. Let's make the circles a tiny bit bigger. Just like that. Alright, now let's go here. Perfect. There we go. Maybe a tiny bit bigger, even. Just like that. Let's add. Let's see what we could add here. Maybe we could add some color variation. I mean, yeah. That and also some rougles variation. Let me copy this color variation. Copy and paste here. All right, let me change the type of that or variation. Let me make this a tiny bit less, and also we could add some roughness variation to that piece. Let's go here. Let me add a black mask. We layer. Now let's find some crunch. Maybe some noise will be. Maybe one of these maybe the clouds. Let me put that in the roughness. Let me see my roughness. Alright. Maybe something like this could be. Perfect. Let's add also. Don't fill layer. We'll add a grunge now. Something like this would be. Let's put this in overlay and let's decrease the amount of roughness that this has. Maybe we could change the cloud for other type of crunch. Something like this could be, maybe not. All right. So let's see. All right. Let me see my roughness map. It doesn't look Too too good. I like this could be Alright. Let me just change that. Let me add another roughness variation. Let me delete that layer. I will just duplicate the roughness one. Let me put another roughness and let me make that roughness variation a bit less rough. Alright. And maybe we could put this in overlay and also this. Let's see. Maybe it could be. Something like that would be good. Let's go to this other one. Maybe we could add some roughness. All right. Let's try to use this one. Let me copy this roughness variation. Maybe we could use this One let's see our roughness. All right. Let's wait for this to save. All right. So maybe we could change that here. At a tiny bit more of contrast, more balance, even maybe a tiny bit more of tiling. Let's change this All right. There we go. Maybe this one. I'm just trying to find the correct, a good roughness. All right. Let's put this in normal. Let's export this and let's see how this looks like inside the engine. Port both of those. And let's see how this looks like. Let's go here. Now we have some stuff there. But that is still looking like to flat in the do map. We have something, but I think we could add a little bit more stuff there. So let's go here. Let's see what we could do. Go to the Curvatur. Maybe we could add another layer. Let me duplicate that one. We'll just erase all of these that I have there. I will add a color selection. We color pick this gray, I mean, dark color. I will add another mask filter. And let's add mask outline. All right. Let me see my mask, all right's leg inside. There we go. All right. Let me make the with or the blur a tiny bit bigger, just like that. Perfect. Its just because I want to have, like, some gradient on the rings. And let me delete this stuff from the teams. Alright, maybe here, let's activ the flow. Let's remove that from here. All right. There we go. Let's do the same, but with the gray fabric, maybe here. Let's change from outside to inside. All right. Let me see like this could be make this color a tiny bit less dark. Would be this. All right. Let me see my roughness. Would be Alright. Perfect. So let's explore these textures. The inner suit just this time. Let's see how this looks like insur Mamoset. I think that looks better. Yeah. Let me hide this and also hide this. Yeah, it's looking cool. Looking cool. All right. So let's bring back our jacket, an hour an hour armor. I have noticed that I haven't removed that line from the seams here. All right. Let's go here. Let's call this mask coat line. Now let's just remove that mask from these size. All right. Just like that here also. Perfect. There we go. Alright, let's just save this. And maybe we could end the video here. In the next video, we're going to keep working on the textures of this model. Maybe we could even start working on the lower portion of our character. So see you there. 34. Making the Textures of the Skirt and Belts: Alright, guys, so let's continue with this model. So now maybe we could start making the textures of the lower part of the body. So let's start making that. Let's go here. And let's see what pieces, we could start making the textures. Alright. Maybe we could start with a skirt or maybe with the pens. Let me see something real quick. Alright. Alright, let me go. Let me do the skirt first. Et's go with the skirt and belt. Since they are in the front of the pants. So let's begin with this. Alright, let me just close all the folders, and now I will get my baked lighting layer. Alright, let's copy that and then paste it here. All right just like this. There we go. Let me see my base color. Perfect. Alright. Maybe we could pick a tiny bit more direction of this just like that would be. Anything like that, maybe. Perfect. So now let's start with the skirt. Do we have this? All right. Let's make it a little bit more rougher. All right. Let's take my roughness. Alright. Now maybe we will start making ambient occlusion fold that layer. Let's put a black mask, a generator. Let's go with the ambient occlusion. All right? Let's invert that ambient occlusion. All right, something like this could be. All right, let's go here. Let's change this maybe to a darker gray. Something like that. Let's put some rough roughness there. All right. Let me remove a little bit of hue. All right. So we could add also gradient. Let me put this as AO. Let me add a gradient now. A generator inner gradient, let me invert that gradient and I will just reduce the amount of it. And now I will choose a darker color for this Alright. Maybe this one could be or maybe it should be pre gray. Let me leave it as a gray gray color, a gray gradient. Alright, maybe we could increase the amount of gradient with a little bit more of contrast. Let me see like this could be. Maybe not that much like that could be. All right. Perfect. We could also add first let me change the name of this gradients. Let's add maybe a little bit more variation. Maybe with some color variation. Let's go here at a field layer, black mask. Let's add a field layer. Perfect. Now, let's search for the grunge that we have search in Google. Let's wait for this to respond real quick. All right let's just drop that there. Let's change the layer type to multiply. All right. Let me increase this. Alright here, we could make this darker. And now I will add a filter with some blur slope. All right, let me add another fill layer here. This time will be like a grunge, a little bit splotchy. Maybe this one could be. Let's put this multiply. Perfect. And now I will just reduce the amount of opacity that this has. Something like that could be. All right. Perfect. Let's just look at our reference. Let's see. All right. So now let's add a little bit of corbatu. Let me call this color variation. Now I will just add a little bit of corbatre in the edges, right, unilator Corbat unilator right. Let's reduce the amount of these sliders. Let's just reduce them. Perfect. Just like that. Maybe the balance also. Alright, so now we have this. I would like to add a fill layer also. And now maybe let's select this one. I will just put this in subtract so that that cubatory is not in all the edges. Maybe I could reduce the balance and also increase the tiling. Maybe not. I think this could be good. Maybe we could add a little bit of llo and say, but it's like some choice of personal style. I just like the blur slope effect. Maybe something like this could be. I like it. Alright, let's go here. Maybe we could add a little bit of rough. Let me see my roughness, a little bit rougher. We could even add a little bit of height, a little bit of negative height. Maybe. But in that case, I mean, I don't want to have these breaks in all the edges. But I like the fact that this gift without without the breakups. So I will just add the breakups in another layer. So I will just duplicate that layer. I will lift this one that One. Let me change the color maybe. Let me see like this. And now I will add a paint layer, and maybe we will start painting some stuff. Maybe we could remove a little bit of this corbator from here. Just like that. Or let's add a little bit more here, maybe. Also here. Alright, let's see. Maybe we could add a bit of curbur in this place. Also would be. And now in this one, I will make, I mean, I will add another raunch with this one. And now I will add hide. Just like that. Let me increase this rough something like that, maybe we could reduce the balance of this. Let me see my mask. All right. Let me change that crunch maybe for this one, increase the balance. Something like that could be. Alright. All right, perfect. Let me add another paint layer. Now I will just remove paint layer. And now I will just remove this curvator from some of these edges that I don't want to be, like, damaged. Maybe this damage could be more on the lower portion instead of this upper portion. Maybe around here, we could add a little bit of damage. Alright, something like that could be. All right. Let me remove this painting that I have done here. Alright. Perfect. Let me change. Alright. Let me change the color a little bit of this. Alright. Perfect. Maybe. Alright. Maybe we could add a little bit of spots. Let me just copy that. Let's just call it rubato two. We need to tweak a lot the roughness. We still need to tweak the roughness for that. But now let's just focus on add a little bit of more color variation. So I would add a black mass, some paint layer. I will select my basic heart brush. And now let's search for the for these, like, Alphas. And now we could start, like adding a little bit of crime and a little bit of dirt or this type of pots. Let me change the color also on the roughness of these. Maybe this could be let me make them rougher. I like that. Let me say like this. Let me see my roughness. Alright, let me make the base layer a little bit less rough so we could have more contrast between what we have ready. A little bit like that. Let's go to the spots here. All right. Maybe we could make those spots a little bit less or lets twig also here. Let's make them a little bit rougher. Maybe not. I think so. All right. Let's keep adding this type of spots. Maybe we could add few here. What is this? Was it like that? No, I don't like it. All right. Perfect. A there we go. We could add another roughness variation. Let's call this pots. I will add a layer I will call this roughness variation. Now I will go here. I will add a black mask layer, and I will just select one of these crunches that we have here with this one. I don't like it. WT one, I don't like it at all. This one could be All right. Let me remove the color. Let me make this a little bit. Just a tiny bit less raw. Just to have some highlights. Alright. Maybe this one could be. All right. Let me in the color variation, also add a paint layer because I want to remove a little bit of these spots. Like, I want to remove. This one's from here, let me select a knife brush. I don't like that spot there. This one either. All right. Let's export this and see how this looks inside the engine. Right, let's export it bells and skirt. Let's export that. Perfect. I will also export the skirt mask so I can add a little bit of pus inside Marmoset. So let's go here. Let's find for this skirt export mask to file. All right, I will just call this skirt, fabric mask. Perfect. So now let's go to the engine. Alright, looking cool. Let's go here to materials. Let's go to the skirt and belts. I will add in diffusion, I will put this in microfiber. And now I will just select here my mask. Let's go to mask, let's select skirt mask. Alright. So now let's reduce the amount of sin that we have. Hiny bit. Let me change also the color of this. Maybe we could use the tint would be This doesn't do anything. All right. Could I see a difference without and with? Yeah, looking kind of cool. Perfect. All right. Perfect. I think it's looking cool. Let's jump to the belt, maybe. Where is my belt? Alright. Let's go to substance painter? I mean, yeah. Alright. Let's start working on these belts. Alright. So for the bells, I want to use smart material that substance painter has. That's called stylized stylized later. I really like this smart material. So what we're going to do I will just put this in pass through. And now I will just remove this base color. Also this noise, maybe instead of sharpen, we could add a blue slope. Let me select the blue slope. It doesn't do anything. It's doing something. Yeah, kind of dark touch the curvature. Let me change the curvature color or something brighter. Something like that could be Maybe it's dark touch. I don't like I don't like it too much. Alright. Maybe I could just lift the roughness or maybe reduce the opacity of this. All right. Perfect. We have the cavity. Alright, let me add some base roughness or these peels. All right. I would like, also to have right. This part will not be seen because in that part will be this head. I will not care too much about that. Alright. I will want to have this piece here without that layer. So maybe we could let me add this there. I can duplicate this unfolding. All right. All right, let's see. Now here we could add a mask. Also, we'll make this a little bit less rough. I mean, the mask should be where we're here. Yeah. Let me remove the mask. We'll add the mask in the new layer that we have created. And now let me use my basic heart just to paint this All right. Let me paint this. And we could paint it with this. All right. Just do this would be. All right. Let me see my mask. All right. Let's just keep adding the mask. Perfect. Just like that. Now, I will just put this in here in the third one, mesh fill. Right. Now we have isolated that piece. Let me remove that from here also. There we go. Let me add the curvatur. I just want to have another roughness there. Like, if that's a plastic stuff, maybe we could make it with another color. I don't know about this. All right. Let me see how this looks with the rest. Let me add a little bit of roughness variation. Here, I like maybe we could make it a bit less with another layer. Maybe this one would be. Alright. Perfect. I kind of like this. I like this. All right. We want to add a AO map. All right. Let's add a black mask, a generator, or right let's search for ambient occlusion. Let's invert this. All right. Let's change the color. Or let me see my mask. In here. All right. Something like this could be. Let's make this tiny bit rougher. All right. Maybe here in the corbator we could also add a tiny bit of hide. All right. Let me copy the mask from here. Let's just copy this. Copy effect. Where is the copy effect? Copy effect. Let's put that on here. Let's add a white bass. Let's paste effect. And now I will just do some subtract there. All right, there we go. We could add a generator. I mean, a generator now a fill layer. And now let's add some grunge with this one which subtract maybe will be. Maybe we could select another one. All right. I say like this could be. All right. We could add a paint layer. And we could paint a little bit of le scratches and also some waress just like this could be. Let me see like that. All right. Maybe scratch or maybe not. Let me also remove a tiny bit of this. All right. Just like this would be. Let me export that to the engine for textures, skirt. Let's just go to Marmoset let's see how this looks. All right. Oh, so I had another error from my UVU. So let me pause and I will get back to you in a second. All right, so we are here and let's see how the bells looks. All right. Looking cool. All right. So maybe we could go and start making this buckle, working on those metals that this stuff has. Alright. Let me say at my reference. But let's just start working on those metals. Let me save these first. Alright, so let's keep working on these metals. So let's go to the metal the metal layer. Let's call this base. Alright, we could add a tiny bit. Less roughness. I mean, more roughness would be like this. Alright. Maybe we could do the same here in the jacket. Let me do something. I just want to see some stuff there. Let me go to the jacket. Roughness. Maybe in the jacket here. I know it's in the inner suit, not in the jacket. Let's go to the inner suit. Let's wait for this to respond. Alright, let's go maybe here. No there. This one. We could make this a fully metal piece. Let's see how this looks like. Alright, with a little bit less roughness. Let me see my roughness, how it looks. Maybe not. Let's just leave it how it was. Let's just keep working on the metals in the bells. Alright, let's go here. Now, let's add maybe let me increase I mean, decrease the roughness. Alright. Let's add some color variation and some AO. Let's add a Black mass. I mean, fill layer. Let's add a black mass on that field layer? Alright let's add some amine occlusion. Alright. Let's just invert that ambient clusion. What? All right. All right. Yeah. Let's go here. Let's make this darker. A little bit darker. Let me add a blue slope. Let's put this maybe in 100. All right. Just like that. Perfect. Let's had a little bit of roughness there. Just like that. Let's make this a lot darker. All right. Maybe we could reduce balance a little bit more of this ao. All right. Let's call this AO. Let me add also some roughness variation. Let's go here. Black mask. A generator. I don't want a generator. I mean, a field layer. Let's just choose a random one this one. Let's increase this. Maybe another one. This one could be. Because I just want some roughness variation in the surface of this metal. Maybe another one, let me select another raunch map. Let me see metal, maybe. Maybe we could use this app that we have unloaded as a raunch map. I think that could be. All right. If something like that. Alright, let me add also some curvature. This should be a black mask. Alright let's add a generator. Curvatur. So here, let's reduce all of these. Alright let's search for the Curvatur where it is. Alright Maybe something like that, could be. Let me make this metal at any bit darker. Just like that. And now I will just make this rough a little bit more rougher. Just like that. Could be. Alright. All right, let me export this and see how this looks inside the engine. Let's click here and Export. Let's Export it, and let's go to Marmoset. Alright, so we are here. Let's see how this looks. Maybe we could add a little bit of painted title. Urbatur. Alright, let's add a little bit of painted title in this. We could add like something like this. Alright. A little bit more detail there. All right. Let's add something here. A little bit slow. Just give it a little bit of time. All right. Perfect. Let me see how that looks. Also here, I could add maybe a tiny bit more of detail. All right. Let's just export this. And let's see how this looks. Alright, let's go here. I think it's looking kind of cool. All right. Perfect. Maybe here in the roughness variation. We could add a little bit of color. All right. Let me put this in maybe overlay. Let's just add a little bit of darker color here. All right, let's search for another grunge. Maybe this one could be? We could add a little bit of us low. Yeah, kind of. Let's export this. All right. Let's go to marmoset. All right. So this is how it looks here. Maybe we could make this color, the base color a little bit darker. So the highlights and show up a tiny bit more. A little bit rough also. Alright. In this corbaor I will also add a tiny bit of lure slope. Just a tiny bit just to add a little bit of breakup. I would say, like this. Alright. Let's just export this again. Let's see how this looks inside the engine. Alright, let's go to pharmast. Perfect. I think it's looking kind of cool. Maybe we could add another roughness variation duplicate this, the outpler slope. I'll add another one. Let me select another Another color here. We a tiny bit darker, let's go to roughness and let me add this in overlay. In screen, maybe. This one also will be in screen. Let me remove the color. All right. All right. Just like that, a tiny bead. All right. Let's explore this again. Let's see how this looks. Alright, looks kind of better. Alright. Maybe we could start working in the fabric of these pouches. So let's go. Working on the pouches, here in the dark fabric here perfect. All right. Let me select my pouches. All right here. Let me change the name of this base. Alright, I will add. I mean, this is already dark. So let's see how this looks amid occlusion here. Alright, let's add some amine clusion. Let invert that, here. All right, something like this. All right. Maybe with a little bit of hue. Alright, I will add some blue slope, but not that much. It's a tiny bit. It's like that. Alright. I'll just reduce the amount a little bit. Also, I would like to add, like, this red stripe and also this dickle here. Oh, let's try to do. All right. Let's go here. AO, first, let me work on the fabric itself, and then I will just add those details. Right. Maybe we could add a tiny bit of color variation. Here, let's just add that there. Lack mask. Fill layer, select something random, maybe see this one could be good. Let me increase the tiling of this. I put this in multiply. Let's jump to the base color channel, and let's put this in multiply to see how this looks. Is that a little bit of lure slope there just to break up. Lu slope. Alright. We call that also a little bit of roughness. Just like that. All right, let me increase the roughness here. A tiny bit. Not that much. Just to have something. All right. Perfect. Let me add those details. I'll make a new folder. We'll put, like, color details. Right. So let me add a field layer here. We'll make this red or maybe just color pick the red color from the consent. All right, now I will add a black mask. Is that a paint layer. And maybe now, you could make that red detail. But I will just select my basic heart let's just paint that. If you like, press left click and then you press Shift, you could make or maybe it was, if you do a stroke and then you press Shift, you can make a straight line just like this. Et's cut a tiny bit here. Maybe something like this. Perfect, and also here. Maybe a little bit more in area. Remember, you just need to, like, left click and then press shift and then drag your cursor to do these straight lines like these straight lines. All right let's do the same in the other part. I like this. And now let's start removing a tiny bit. Of this just to make it a little bit more squarish. Just a tiny bit like that. Would be. We could add a tiny bit of rough or maybe not of height we could add just a tiny bit. All right. Let's save this. Alright, let's just keep working on this. Maybe we could add now like this, dial here. Let's add first this red color in that area. I will maybe change the Alpha, maybe to something more square. Maybe to this one. All right. Something like this. Oh, Yes. Something like that could be. Let me just put it in a better position. Maybe here could be. Just like that, maybe. Like this, all right. Now, let's add a little bit more colors. You can see that this has, like, orange color and also has a white color with a little bit of a darker orange. So let's try to do that. Let's call this red. Let's add a neopl layer. Let's call this orange. Alright. Let's add a black mask. Now let me reset my basic heart. And we could make like this flame shape that this has to make that flame shape. Right, this doesn't have an Alpha. Seem so? Yeah, now it's working. Let's just try to paint that. A tiny bit slow. Alright. It's super slow. Right? Let me add an anchor point here. And now I will just add a feel and let me select this anchor point. I will put this multiply. Now I will add a paint layer, right? Maybe let me do this with the mouse since for some reason, with the mouse, substance doesn't lag. I don't know why substance does that kind of weird. Maybe a tiny bit of this flame pattern. Alright, I will need my tablet for this. Alright? Let me remove the pressure. Let like this. Alright. All right, something like that. Maybe we could remove a tiny bit more of this part. I like this could be. Alright, I think this could work. All right, a tiny bit of p there. Alright. There we go. Let me I will copy this layer. I will call this white. Let me turn it off. And now let me change the color with the one that the confit has. Maybe let's just color pick that color. All right. Here we go. Now, let's horn on the white layer. Let me remove that paint layer. Let me make this black entirely. We'll add again, the field layer with the anchor point. Let's put that anchor point and multiply. I'll let's add that paint layer. Let's put that paint layer under the anchor point. And now we could start painting like the rims here. You can see those rims. All right. We need to make this a tiny bit brighter, so it has a little bit more of contrast like that. All right, let's just paint this real quick. Maybe what we could do, let's use maybe let's an anchor point. Let's use the mask outlined filter. Let's add a layer. Let's add the orange mask. Let's at a filter. Let's add some mask outline. I mean, I think it should be easier to paint it by hand instead of doing this. Let me put this in multiply. I should be inside. All right, just like this will be. I mean, I don't really like it. I mean, this could be. This could work. Indeed, let me add a paint layer on top of this, right, and now I will just remove portion of this. Just like this. Put a tiny bit here. Now, I will copy this orange and now I would make it. Let me remove the anchor point from here. I will make this a tiny bit darker. Alright. Let me erase any bit of the mass that this has. I like that. Let me copy the color from the concept. All right. Maybe like this, you can see that this part has, like, this darker color, and the other half has the brighter orange. Let's just try to do that. Maybe something like this could be. Maybe this could be. Alright, let me add the orange mask here. Perfect. There we go. I right. Maybe we could explore this. Let me see my roughness. Let me add a little bit of roughness in the red channel. I'm like this. And here we have some stuff. But for some reason, yeah, this one. Let me go here. Let's go to roughness. Let's put this roughness in a screen. Just like that. There we go. All right. Let's export this, and let's see how this looks inside the engine. Alright, let's export this. Right? I will also save. Alright, it looks cool, but this fabric is a fabric, so we need to add a little bit of chin. So what I'm going to do we just wait for this to save, and then I will export the mask for this dark fabric. So let's wait. Alright, this is already saved. So let's go to the dark fabric. Let's go here. And now let's click here and exports mask to file. Let's call this pouch Poach, dark fabric. There we go. Let's go to marmoset. Let's go to materials. But in that case, we shall need to split the material into two thing that we don't have. Maybe we could add some layer material. At a layer material here. Let's see what we could do. Efficient All right. I will choose here the mask that I want to add. No, I was, I was, like, in the I was in the jacket? I should select this one. Let's add a mask layer. Let's that a mask. Let me select the jacket. I mean, the pouch Ar. Now I will just disable all of this. I will just disable all of this and let's just add the chin there. All right. It's a tiny bit more of chin. All right. I think it's a little bit too much. All right. Just add just a tiny bit of this. There we go. Let me save this scene. Alright, so here we have this pouch with a little bit of chin. W be. I would also like to add some curvature in that dark fabric. Let's go here. Let's add some curvature. All right. Black mask, a generator. Curvatur. All right. Let's decrease all of these. Let me like that. There we go. Let's add. So filter here. All right. Let's add some slope. Let's put this in 100. Alright. Looking cool. Let me add some rough my roughness. Alright, I will just leave it like that. That's tiny bit rougher. There we go. I will also add a field layer. Now, let's select. A garnge. Let's put this in substract. So this could make a little bit of breakups. All right. This could be There we go. Let me save this. And now I will just export that back to Marmoset and see how this looks. All right, so let's export this to Marmoset and let's see how this looks. Let's export that. Alright. Let's wait for this. Alright, let's go to Marmoset. There we go. Alright. Let me close this. Now, let's see. Let me add again my light. And let me reduce the brightness of the DR. All right. Went to see with another type of lighting. Alright. There we go. I think this is looking cool. All right. Let's work a little bit more on this like piece, that darker piece in the pouch. Let's just add a tiny bit of color different roughness there. All right. So it has more contrast between the material of the fabric. All right. Maybe here I could add the stylized leather. Stylized leather. Let's just add that. We'll move this base there. All right, I will remove this base layer. All right. Let me change the color of the corbaturTiny bit more. Maybe something kind of like this. Maybe not that much. Let me see my roughness. All right. Perfect. I think this should be enough for this. All right. Now, for the curvatur I will want to remove a little bit of this curvatur here. So, I think it's this one. Let me change your name. Alright, something like this. Perfect. Go here also. All right. Perfect. There we go. AywayF this orange piece, we could add some stuff. I also we need to work this leather. I mean, this belt. But right now, this video is a little bit long. So let's continue in the next video. 35. Making the Pants and Other Adjustments: Alright, guys, so let's continue with this model. In the previous video, we were doing the skirt and the belts and also the pouches. So now we need to do a little work on the skirt. Like, I need to make I need to work on this belt and in this other one. Oh, let's do that real quick. A for this belt, I will just copy the previous work that I did for these ones. So let's go to the skirt and belts, and I will just copy the layers and paste it in the other art. All right. So let's search for those layers where are they fabric, layertyliz. I think it's this one? Yeah. So I will just copy this. And now I will go to my skirt where is the skirt. All right. Skirt here. Perfect. Dark strap. Let's just paste that there. Alright. There we go. Wait for substance to late that. All right. It's just that my computer is a little bit old right now. I need to upgrade it. I have a RTX 2060, so I need to upgrade my graphic card. That's why substance is sometimes a little bit too low. Let me increase the tolerance to get rid of those white pixels. Alright. Perfect. I think that's great, just like that. Maybe in the curvature. Let's see. Let me see the curvatur. Yeah, I think it's good. Alright, I will just leave it like that. I will also copy this, but I will change the color for this orange strap. Let's go to Belts. Let's select the orange strap. Let me see where it is orange belt here. I will just add this all right. I will just take this. Let's change the color of this basic noise. All right. Let me try maybe change the type, the layer type of light. Also here this dark touch. Let's select some dark orange. All right. I find out like this effect. All right. Let me put this in multiply again. It wasn't multiply. It was in overlay, I think. Yeah. Let me change the color, maybe. Maybe without color. Me to change the curbatur Something bright something like this could be, maybe I could add this dark touch. But let's add some blur slope. We'll just add some blur slope here. Perfect. Let's put this in 100 maybe. Maybe something like that could be. Alright. Is this on the curvature? All right, let me add another fill layer, and I will put that in subtract. Let's search for some grunge. Maybe this one could be, let's put this in subtract. Let me make this layer a tiny bit less noticeable. Alright, basic noise. Let me see the base color, and also let me see the roughness or rather have this. Maybe we could make the roughness. I mean, this part, a tiny bit less Alright. Maybe this could be. Also, that part, this piece has roughness. Yeah, it has I think I will just sleep like that. I won't care too much about that piece. All right. I think it's good as it is. It's a small piece. All right. So I think now that we could move on with the pants and boots and all that stuff, we are almost finishing this character. We just need to texture the pants and all those pieces and also the demon head. All right, go here. And now let's texting the pants. Let's texture the pens, right? Alright, let me hide all of these. We have a lot of layers here. Let's start with the darker blue. All right. Let's go here. Let's call this space. I will add a new fill layer. Let's set a black mask at a generator. All right. Search for this ambient occlusion. Let's invert that. Is a little bit too much. I think I will have to paint out a lot of this ambit occlusion. So let's add a paint layer and I will search for my basic soft. I will active my by symmetry, let me put the tablet pressure in the flow. I will remove the tablet pressure from the sides, and now I will start painting out some of these ambient occlusion because it's really too much. Let's just try to erase I know some of these. Alright just like that. It's way, way too much. Alright, let's just keep erasing a little bit of this. All right. We could add just a tiny bit there. Alright, something that I have thought maybe we could use, like, the basic stuff to make, like, adds a little bit more gradients in the jacket could be like some white stuff. I mean, bright. Let's see how that looks in a second. All right, maybe now we could make this a darker color. Let me select the color of the base layer. And now let's just paste it here. I will just, like, move it more to the purple. And now I will just make this a little bit darker and desaturated. Alright, let me see my base color will be All right. Maybe I could add a blur. I could add a blur filter just to make that a little bit bigger. Just like that could be. Let me see like that, let me add also some rough. Roughness there. Let me see my roughness. Alright, there we go. A little bit of roughness to have some variation. Alright. So let me go to the jacket. Let me see if we will do something here. Maybe we could add just a tiny bit. I don't think it would work. Let me see my base color. I don't think so. But let's just see in case, let me go to my fabric here, I will add a base I mean, a fill layer. I will add also a paint. Let me copy the color from this orange because, I mean, I like to experiment a lot when I'm doing these textures. So let's add the color here. There we go. And now let's add a paint layer. Oh, we have already added a paint layer. Alright. So let's just paint a tiny bit of this. All right, let me make this brighter more to the yellow. Athing like this. They think this would be kind of good. Let's add it. Let me see how that looks on here. All right. Maybe it could be, but this is too much. Maybe we could just add it as a subtle effect. You can see how that affects the surface. It's a subtle, subtle effect. I don't want that to be too much All right. Perfect. Looking cool, in my opinion. If we could keep adding more of these here and there. All right. Maybe here also. Let me see like that. I'm like this could be. Perfect. Let's also add it in the bag. Just like this. Alright. Perfect. Let's also add it here. Let's add a little bit more of this color. I think it's looking cool. All right. This is too much, indeed. This stuff here is too much. I don't know why this happens. But this is too much. I don't know why this happens, but that's too much. Alright. For some reason, my substance keeps lagging. I'm using my, my tablet. Like my pain tablet, yeah. Alright. I think this is looking cool. My we could make it a little bit more saturated. All right. This could be? Let me see how the jacket looks inside marmoset. For this, let me also the skirt and bells and also the jacket. So let's export that to marmoset. And let's see how that looks there. Alright, let's wait for this. Right there we go. Alright, let's see. Perfect. I think it's adding a little bit of a cool effect there. Maybe we could make it a little bit less noticeable. It was a tiny bit. Alright, let's export this again. Just jacket. Let's go back to Marmoset and let's see how that looks. Alright, I think this is better. Alright. Let me see with some real lights. I mean, SGR is a real light, but you know I think you know what I mean. So like Placet lights. All right. I think it's looking cool. Alright, let me active those. Let me put this back to one. We'll deactiv all of these lights. Alright. Let me see how this looks also in Raser. But Raser often, like, consume more DRAM than the tracing for some reason. So that's why sometimes I'm getting crushed here in marmoset. All right. Looking cool. Looking cool. Maybe we could add a little bit more of variation in the roughness of the skirt. Maybe some less rougher areas will be. Let's go. Alright, let me put this back to raising, right? And now let's go back to substance. Substance is saving, so let's wait for that to finish. All right, there we go. So let's go back to the skirt. Maybe we could add a tiny bit more of variation in the roughness there. Let me see how my roughness is here. Maybe, yeah, I need some more darker spots. All right. Let's go to the skirt in gray area. Let's add another roughness variation, but this time that roughness will be with another grunge map and less rougher. Maybe we would add this one. And now let's push that more to the darkness. This could be this could be right. Let me change the tiling. Let see like that could be maybe a little bit of rotation. Alright, let me add another fill layer because this one will be some subtract layer. Let me put this in substract. All right. There we go. All right. Now, let me go to the roughness channel and let me turn down the opacity, a tiny bit of this roughness layer. Let me see how that looks here. All right. It's a tiny bit, just like that. Let's see how this skirt looks. Right now, let's go export textures. And now let's just export the curt and belts. Let's see how that looks. Alright, let's wait. Let's go back to Marmoset. Let's see how the light it is responding. I think it looks better. Let's see. You can see how the light is responding there. We could add some light. All right. There we go. Let me save this. Perfect. Let's see, Let's go back to substance, and let's keep working on the pants. Alright? Let's go here. Let me hide the skirt. Let's see what we could do here. I don't care too much about this part because that part will be covered by this. So it doesn't it is not noticeable. I mean, it's it's heating. Alright. Let's go here. Maybe we could make this a tiny bit darker. Just like that. Perfect. Let me also add some corbatur. Let me call this AO. I will add a corbatorOlr let's add a uniator. Let's add some corbator. There we go. Let me turn down all of these sliders. There we go. Alright, we have some weird stuff happening. I will not make it like that that access this. Let me add some lower slope. Just to do some breakup. Let me put this in 100. Let me increase the intensity. Maybe we could put this it a little bit of brightness. I mean, let's see. Let me see my reference real quick. Oh, I forgot to add something very important here. Our baked lighting. I have just forgot the The baked lighting. Alright, let's try search that. Let's bake lighting here. Let's go back to our paint and boots. I mean, to our pants and boots. Alright, let's go here on top of everything. Alright, there we go. There we go. Let me see my colors or right or right or right. Right? It's at the curvature right here, we have something. Maybe we could change. I mean, like move a tiny bit more this light, a tiny bit just like that, maybe. There we go. Let me also do the same with the other sunlight. Just a tiny bit. Just like this. Maybe. All right. Let me color select this one. I will just make it a tiny bit brighter. Just like that. All right. Now I go here and I will add a little bit of roughness to that curvature. Maybe now with some layer with some grunge on it. All right. Grunge There we go. Et's put this in substract. There we go. Right, we also like to add some variation in the urafas. So, let's try to add some of these crunches that we have search on Google. I mean, it's like, it's the same process for all these pieces. Almost the same, maybe with a little bit of changes here here and there. And also, we could add some, like, detail, like fabric ditail to the pens, maybe. We will see what we could add there. Maybe let me see my preference to see how it is. All right. Don't mind that. So let's go here to your assets. All right. Add a field layer, let me add this crunch here. I will put this in multiply. I will also right this is in roughness. Let me move that here. I will put this layer in multiply. All right, is in base color. Why is this not doing anything? This should be multiply. There we go. Let me decrease the intensity. Right, let me just move dust here. I will add a filter on there slope. There we go. Maybe a tiny bit more. I think it's looking cool like that? We could also add a tiny bit of roughness variation here also. Let me go to the roughness and I will just grease all of these almost to zero. All right, let me put this in maybe overlay or maybe screen. What add this in overlay. Perfect. Maybe a tiny bit more just like this. There we go. Alright. Let me see how this looks with the pants. We should add a detail, like fabric detail here. I don't think so. Alright, let's just go to the pants again. Right, I will work on this fabric and now this lighter blue. It's called this base. I will do the same procedure that we'd have done before. We copy this layer, add a black mask, crenator some amido cltion. Let's go here and change this to AO, and now I will just make this darker, more to the purple. Let's just make that darker. Let me invert the mask. Let me try to make this list right. I will add eight layer, and now I will go back with my basic suf. Alright, so now with our basic soft, let's go and let me maybe we could tweak. Now, so let's go with this basic suf, and let's just work and erase some of these amid clusion. Let me put this in black. Let's just erase. Tiny bit here and there. A tiny bit here will be here also. Let's remove a little bit of that. Let's go here. I erase a bit more of this mid glution. Oh, I didn't add it. My sorry, sorry, sorry. Right. Let me erase that paint layer. I will just add it again. All right. Now with symmetry, let's try to erase a little bit of this. All right. Of this ramclusion maybe we could keep erasing a little bit more here. And also here, let me add a tiny bit of this metoclusion. All right. We'll also reduce that All right. Go. I would like also to add a brighter color to this fabric. All right. Erase a tiny bit of this darker color. All right. So I will add another layer with some black mask, paint. And now I will just make this a tiny bit brighter. I mean something like this, could be. All right. Let's go to the paint layer that we have just created. Now I will just make this flow a tiny bit less. All right. Let me change the saturation of this. A little bit less desaturated more desaturated. Alright. Just like this could be. Let me also reduce the opacity. Let's go to the base color channel. School be. Perfect. Now, let's just keep painting a tiny bit with this brighter color. I will reduce the amount this layer that's visible. Just a little bit. All right. Paint here also. Just a tiny All right, a tiny bit more here. All right. There we go. A tiny bit more in this area. There we go. I think it's too much, maybe or maybe not how this looks with material on. Alright, for the ambit occlusion, I would also like to have the roughness. Alright. I already have some roughness, but I will just decrease that. I will not add roughness for this brighter colour. I just forgot how to that works. I'm sorry. English is not my main language. I will just call these like ther either color either. Color, maybe. Alright. So now I would also like to add urbatur All right, let's go here. Let me produce all of these sliders and also these. Let's just add a little bit of curvature. Maybe something like that. Let's go here. Let me color pick this one. Make this brighter. Comes like that. Alright, what is this? It's from here. Yeah. I don't know why these books happens. I really don't know. Alright. Let's go back to the curvator. Alright, let me add any bit of lure slope with this in 100. And now I will add, also a fill layer. Alright. Let's move this to subtract. Alright maybe multiply also could be good. And also, I will just reduce the amount of that curbatu opacity of that corbature also. Maybe we could increase I mean, not that much. I think it's looking cool without that fill layer. Let me bring back my my skirts and belts. Alright, let me see. Let me see the contrast. I think I need to make this darker blue, a tiny bit darker, just like this. Or right now, that has more contrast. Alright. Perfect. I There we go. I would also like to add a white mask and a paint layer because I don't like how Oh, alright, that's not from the from this. Let me just remove this mask from the bake lighting. Alright, let's Where where is that? It's not from this. Oh, it is. Let's add, again, the white mask. Let's go here. Let's add a paint layer. Maybe we could remove a tiny bit of this brightness here. Just like that. Perfect. I think that's looking cool. Alright. Maybe we could add a brighter color here in the curvature. Let's add some stuff. Let's go to the curvatur here. I will add a paint layer. I will use my knife brush because I just want to, like, result, maybe what's the word. I just want to add a little bit more detail in these creases, so they are more noticeable. Something like that could be Alright. Let me also make this corbator less. Something a little bit less. There we go. Let's go also here. Let me see my material. Alright. Perfect. Et's do the same on the back part here. Let's go here. And with the knife brush, let's just draw tiny line there. I mean, this stabilized stroke, we could just erase I mean, just add a tiny bit of this there. All right. There we go. I think that could be good. Let me also reduce the opacity of this. All right, just like that. W be. I will also add a gradient to this part, I mean, to that fabric, this lighter fabric. All right, let's add a field layer with some black mask. Let's add a unilator. Now, let's select a linear gradient. Let's invert that gradient. And now let's just make it just like that. There's a tiny gradient there. Let's try to color pick something here. And now, maybe we could just make it. We could just add a little gradient there just to add a tiny more detail. Maybe we could go to the onsets just to select some color. Like this one. Maybe we could make this with some blur slope. Let me see how the mask looks. Alright, I think that's too much. Alright. That's too much. Et's go back. I think that there could be good. Let me explore that. Oh, ah, I need to also add some roughness variation into these pens. Alright, I would like to have a little bit more contrast in the roughness within the skirt and the pants. Maybe we can make the roughness. If this a tiny bit more achievable. And in the darker blue, we could make that roughness, a little bit less rough. Maybe it could be. Let me select this color variation here. I will add the same in this area. There we go. But I will change the crunch. All right. Just like that. And also a little bit of roughness variation. Alright. There we go. Let's at a roughness layer. Let's at a black mass now. Let's add a field layer. All right. There we go. There we go. Maybe this could be. Let me also copy that layer. Let me call that roughness variation. One. Yeah. So let's wait for substance to save. All right. Maybe we could make the gradient. A tiny bit less purple. All right. Maybe more to the blue. Let me see like this would be right. Maybe. Yeah. Let's go here. There we go. Alright, I have this, but I don't like that buttered goo here and let's make that a tiny bit less. All right. There we go. Let's export this. All right. So I have, so let's export the pant. Let's wait for this. Alright, let's go now to the Mamoset and let's see how this looks. Alright. Looking kind of cool. We but I think this should be a little bit darker. I need more contrast between the pants and skirt. So let me make a tiny bit darker, and also the base here, I will just make that darker, just like that because I want more contrast between the skirt and this color and also here, I will just make this even darker. Let me see how this looks. Because I'm not seeing this gradient. In these areas, let me remove the tablas around here, maybe could be. All right, I think it's too dark. Something like this would be maybe with a little bit less opacity. Something like that around here. Let's make this roughness. Let's put that in screen. Perfect. Let me also reduce the amount of that roughness. Also, this one, I will just put the tire layer in screen. All right. Perfect. Let me export this back to Marmost and let's see how that looks. Word. All right. Let's export the pans. Let's go here. There we go. It's exported, yeah. Let's see. Now, we have some variation here in the roughness. Looking cool. Alright, we could add also a little bit of chin on that fabric. So let's go here. Maybe this fabric in this area could be maybe some plaster, and this fabric could be some acal fabric. So let's go to that lighter blue, and let's export the mask. All right, export mask to file. IghterFabric. Hands, lighter fabric. Mask. There we go. Alright, so let's go back to Marmoset. Let's go here to this material. Let's change the diffusion to microfiber. I will add this one good mask, SelegP one. There we go. I will decrease the amount of chin that this has. Alright, because that's too much chin. All right, something like this could be. It's just a tiny bit. Not too much. A little bit. Let me put this more saturated. Perfect. Just a tiny bit. Not too much. There we go. I think now we have more contrast between this skirt and this fabric. Alright. There we go. We need also to work on the face of this guy. The texture of the face looks basically it's just one color, and also the ice, we need to work on the ice. Alright. So I need to keep working here. I will just for this belt, I will just copy the same like layers that we have added to this belt, I will just copy those same and I will just wrap it here. I don't care anything. And also in this belt, I would just copy the same material all over here. All right. So let's do that, real quick. Let's go to substance. Let's go to skirt. Real quick. There we go. That's right. Here we are. Now let's go to the dark strap and I will just copy this letter stylize Alright. Now, let's go here, and I will just drop it there. Wrap Perfect. There we go. Just like that. It may also go to the boots. All right buckle. Ready with that. I don't think so. All right, where are my my my belt there? Oh, I see. Let's go to strap. All right. There we go. Let me move this. All right. Let me copy this. I mean, yeah, I will just move it out of here because it should not be there. It should be in the Bod. No. Maybe not. I will just leave it there. All right. Let's add a tiny bit more colors here and there. Let's work on this wrap. Maybe on that strap, we could use the same nylon webbing. Could be, or maybe not. Let's go to the orange orange color here. Base. Let me add some curvatur first. Layer a mask curvatur let me reduce the amount of this here. There we go. Let me make this orange bit brighter, turning more to the yellow. Let me add some blue slope. Alright. Let me add a paint layer. All right. Let me also change the roughness from here. And I will make this maybe rougher, more rough. Yeah, let me make this strap a tiny bit less rough. Let me see like this could be. Alright. Let me go here. Now I will just start removing a tiny bit of of this curvature. All right. A a tiny bit of detail there. Maybe here also. Let me remove a little bit of corbaor from these layers. All right. There we go. Everything like that would be. Now, I will add some ambient clusion. At mask later. Amen to clusion invert. I like that. Alright, there we go. Let me make this more rough. I like that. Would be AO. Let's add some color variation. I will not add any grunge in the base color. I will just add a fill layer this time with some splashy grunge. Maybe this one, I will add a filter your slope. I will select maybe some darker color. I will make the opacity little bit less. Just like this. Perfect. Maybe this could be in soft light. Alright, let me add a little bit more of roughness there. Alright, let's make this bit bigger. Maybe the cbaor we could make it. It's a bit lighter. Just like that. Well, let me explore this and let's see how that looks inside the engine. Alright. Looking cool. Alright, so let's work on this rim, and I think that will be it for this video. All right. So let's go here. Maybe let's add a little bit more of cubaur I mean, a corbau there. Go to the pouch rims and that's cold the space. Maybe we could keep it with that roughness, a tiny bit. That's rough. Maybe just like this. I mean, more rough, yeah. Top it is? Lack mess. Let me make it a little bit rougher. It's a little bit lighter. All right let's go here, a generator, right? Corbator here. Let's impert Corbat Let's not invert the corbator. All right. Looks like this could be. Get a bit lighter? Not that much. This amount, I think would be good. Let me add a little bit of fill and also some grunge. Maybe this one. Let me put this in multiply. I don't think so. I don't like it. All right. There we go. A little bit of color variation. I like this. It doesn't feel like that could be. Put that rim. Alright, let me put that and let's see how that looks inside Marmo set. There we go. All right. I think it's looking cool. I think it's looking cool, cool. Maybe we could add a little bit more of curvator, but I will add that Cubaor in this recess by hand. Let's go here to the lighter blue. Let's go let's go to the This is the lighter blue. Select this. Let me go with my knife Rush. By with symmetry. And now I will just maybe not with symmetry, maybe. Not with symmetry? Maybe, well, we could add it. Maybe not. Yeah, let's square with symmetry. Now let's just make a stroke here. I just want to emphasize these creases in the texture. Let me see how that is working on this part. All right. I don't like that there. Alright, so let's work on symmetry, and then we are going to raise some stuff. We could do this also on the jacket. Like this painted diselo also here. I don't know why this back keeps happening. Alright. Let's add something here. There we go. Maybe also here. There we go a little bit more here will be. Maybe this last one, tiny bit more of that. Let's go here. We just a tiny bit of this a little bit of this tittle. I just want to enhance like these creases, a tiny bit of this way I will sleep it like that. Let's see the difference. I think it's looking cool, my opinion. Alright, let's remove the symmetry, and now I will just erase this stuff. Alright, I don't like these strokes there. We could also add We could add a tiny bit this curvature. Here also in the pouch, just to enhance these creases. All right. Let me do something similar in the jacket. But first, let's export that. Let's export that. Alright. So it's looking cool. A There we go. Maybe this trap could be a tiny bit less rough. I mean, yeah, a tiny bit less rough, yeah. Let's go to that orange. Orange color. Let's make it a bit more rough. Just like this. Maybe we could make this curvature, hide. Just like that to add a little bit more detail. And now, let's go to the jacket and let me do something similar of what I did in the pent, but I will do something similar in the jacket. So let's go there. Maybe we could select this curvature and we could start painting. Like a little bit of these creases on these folds. Let's see how that looks. Alright, let's wait for substance to calculate. Alright. That's just a bit of this maybe here also. But I don't have imagery. Alright, let's wait for this to save. All right. Let's add maybe some color there in that crease maybe not in that lower part. Maybe in this stuff, we could add something just like that. All right. Let's remove it from here. There we go. Let me see my base color. Here in the back. You could add some stuff. Maybe here rope. All right, let's go here. Add some stuff. There we go. Maybe here also. Alright, I will just export both. The pants and jacket. Port both. All right. Now let's see how that looks. Right now, we have here our stuff. Alright. Looking cool. There we go. We could also add that, that same detail, that same cubator detail here in the skirt. And also, in all places that this has holes, Alright, that's just, like, just for enhance the fault and the creases. That is, like, some personal decision that I like to do. Like, for my style. I just like the way that that looks, right? I think I need to paint something in the ice. So, I think this will be all for this video. It's already too long, 1 hour, yeah. So in the next video, we're going to keep working on this model. Those you there. 36. Making the Textures of the Knee Armor and the Calf Armor: Alright, guys, so let's keep working on this model. A right in the previous video, we make some texture for the pants and this pouch and so some more refinements. So now in this video, we're going to work maybe on this clf armor and maybe a little bit on the boot. So let's start working. So let's first work on the knee knee armor. So let's go to the pants and boots. Let's wait for these to respond, right. Let's go here. Alright, let's go now to the pants and boots. All right calf, armor and knee pad. Alright. This is the knee pad. Let's work first with this bronze piece. I mean, it's not bronze. I will not make this material like metallic. I will maybe just reduce the amount of roughness that this has. Something that I would like to do is, like, adding, like, some peeling. Like there is another metal exposed under this layer. So let's call this base. Now, what I'm going to do, I will add a field layer with some black mask. Let's add a generator. And now let's add an ambient occlusion. Let's invert that mask. There we go. Let me also change the color, make it and the dark. Something like that could be. Al right, let me add a paint layer because I don't want this to happen in this area. Let me remove the tablet pressure from my thighs right and now let's keep working. Just like that, maybe. Yeah. Maybe we could use our knife brushes to add, maybe. A bit detail. All right. I'll be tiny bit of detail here. Maybe we could make this any bit reddish. Just like that. Let's go here also. Maybe we could paint. Any bit more there. Perfect. I All right. Let's remove a tiny bit Oh, maybe not. Let's just leave that there. Alright, there we go. Let me change the roughness of this. I will just make it rougher. Just like that. Let me see my roughness. All right. Why my roughness is like this. So since we're happening, that what rights go here wheels at the base roughness. All right. This should be good. Maybe not that much. A with china. Just like that. Alright, let me also add a curvatur. Let me call this AO. Just add another fill layer with some black mask, again, with some curvatur. Alright, let's just reduce the balance. And also these sliders, just a tiny bit more, maybe a little bit of that, maybe a little bit more of this, maybe some big big stuff here. Now, let's select a brighter. Something like this a little bit more yellowish, like that. I think could work. All right. Let's add some blue slope here. Put this in 100. All right. Something like this could be good. We go here, I will add a field layer. I'll search for some of this. Let's put this in subtract. I so it's not in all places. But I think this looks cool. No, I would like to add like some scratches here in the knee pads. Yeah, because maybe he just fell down and he fell into with his knee pads, and that makes some scratches there or he made, like a knee kick or something like that. I don't know how to say in English. Um, yeah. So let's call this patur. Perfect. All right. So let's add some scratches. Scratches? All right. Let's add some black mess. Let's find. Alright, let's put this in fill. Let's find the scratches. Alright, something like this could be. Or, let me make this metallic. All right, with a little bit less rough. I mean, a little bit of negative height, bit rougher. There we go. Let's go here. Let's make this bigger. Maybe we could make this right? Tiling. Something like this could be good. Let's wait for this to save. All right. So, let's keep working on this. That amount is too much. So Alright. Maybe we could reduce the balance. Alright, let just leave it like that. I will add a paint. Let me use my basic soft. Alright. And now I will just erase more a little bit of these scratches because I don't want them to be in all the places. Something like that, but. And maybe we could even add another paint layer with a little bit of chip in here. Like a brush. That would be maybe not because that would be too obvious that this is a mirror. Let me not add that detail there. I like this could be. Not. Let me just erase that. Just like that. Let's just leave it like that. All right. So let's go for the dark pad. Let me here add a paint layer, some black mask to that knee pad. Let me see my mask. All right here. There we go. Now, for this, like, poofy part, a At there. We could call this pace. Maybe we could search for maybe rubber. Let's see what type of rubber are here. Maybe this could be Rubber raw. Maybe. Maybe we could reduce the amount of height. Let's go to the high channel here. And let's reduce opacity. Little bit more photo variation. Right? All right. Just like this would be. Let me remove the hide because I want to add another stuff. Went to add like some little pattern. I would add a pattern there. Ask. At fill. Let's search for some pattern. Let's go to Alphas. Here. That's that is alphas. Those are filters. Let's go to Alphas. Just try to find some pattern. That could be good here. Let's see. Maybe the hexagon. Yeah, maybe we could use the hexagon pattern. So. Let's just go here. Let's type agon. Each one. Let's prepare that. Right now, let's make this. Maybe bigger, eye like that. Maybe something like this. Let's add some height to this. I'm seeing like that could be. Maybe not that much. Tiny bit of roughness. Let's go to the roughness channel. Let's put this roughness into ring though it takes a tiny bit of the roughness that is under that. Alright, I will add a paint layer because I don't want this stuff to be here. I mean, I don't like this stuff here. All right. Let me add another pattern. I mean, another color. So black mask, color select, this gray. All right. Let's just make that here. Let's just make that dark like that. Let me put this around here. Right. This should be in the bronze. Maybe something like here. All right. Let's export this, and let's see how this looks inside the engine. All right. Let's see. This is too shiny. Let me reduce roughness. I mean, this should not be that shiny. Yeah. Okay, look at this. This is perfect, like that. Let's save. Let's see be more here how this looks. Maybe we could add some cropau in that cushion part. All right. A S. Alright. Let me see my reference. Alright? Oh, I don't like this pattern in that area. So let's go here, let's remove that pattern from the boots. Alright where is my pattern. All right, it should be here. This is the butter, I think. Let's call this. Pattern. All right. Here, let's add some fill there. Let me add a curva tour. At inerator curvatur here. Perfect. There we go. Maybe some blu. All right. Something like this, a little bit more of blur. We're not that much. Let's reduce the amount has. We're not that much. Maybe the big Let me add some blure lobe. All right. Maybe just add this that just to have color variation there. Roughness. All right. Perfect. We will make this. Let's just leave it like that bright. Perfect. It's looking cool. All right. Right, this that is like that. We need to add some metal there in that calf armor. This is the calf. Right knee, wrap other metal, darker metal. But for some reason, here at the boots, this is using having pegs on my stuff on my call armor. All right. Let's go here, Awesome. Why is this not working? Is this metallic being affected? That metallic looks like metal. No, it is not metallic. What are you talking about? This should be this piece. Why my metal ness is not working? I mean, the roughness working, but the metal net, it's not. Maybe there is some layer that is overriding or is not in the boots. All right. Everything is overriding my metal. And I don't like that. Not a buck. Alright. Know what's happening here, why my metal is not working. I mean, it looks like it's buck. Right. It's basically not working. It's not working there. For some reason? My metalicness doesn't want to work. Right. No, I think it's doing something. No, it's not. Not doing anything. And why is that? Is it by metallic. Metallic is going good. I don't have any metal net there. Seems like I don't have any metallicness. Here. Oh, I think I know what's happening. Oh, my God, I'm so dump. Let's see. Let me put this back where it belongs. Alright, there. Inner metal. Let's go to this one. Look at this. I had the bake lighting with this stuff. Now, the shot work. All right. It should work, and it's not working. Doesn't have lighting anymore, and why this doesn't want to work. No, I had that inside the lasers. Now it's working. You can see there. Perfect. Absolutely. Perfect. Let me make this reddish. Alright. I will also increase the tolerance Those are white pixels? No, let's just leave it like that. Maybe we will add up a little bit of lure. All right. All right. Let's just work a little bit on this metal. All right. Let's add, maybe. Base. Let's add some roughness variation to that metal. Mass. Feel layer. Go and add some grunge. Maybe some noise first. Noise. Let's add some noise. Roughness? All right. Let's go here. Perfect. Maybe something like that could be. Metlnes. Metals, no, Roughness variation. Roughness roughness variation here. Perfect. It's another roughness variation. Maybe with another another type of noise, louds could be. Let's go to the roughness layer. Let's put that in screen. Perfect. Maybe a tiny bit brighter. Roughness could help. Maybe something like that, Olay. We go. And they put that in slight. Right here. Alright, let me add some amid declution. Ask the same as always. Amdocltion. Bar that amid clear. All right. Here, ugness in that amdltion. Harkness in that amid lution. Let's just keep working a little bit on this. Just a tiny bit Everything like that could be. Let me add a curvatur. Let's call this to. Let's add just a curvature right now. Back mas generator, Curvatur base color here. Here we go. Fight. Perfect. So here. All right. Let's maybe add some blur slope. This is 100 roughness. Base color. Here we go. All right, let me export that to Marmoset. Let's see how that looks. Wait for this. Alright. Let me save this also. Let's go to Marmoset. Let's see how this looks. Here we go. I All right. I think it's looking cool. Let's see how this looks with the frasterRndering. All right. It's also looking cool. I like it. Alright. All right. Let's go back to rate racing. Right. Maybe we could save this. Let's keep working with the other pieces. We have, do some work in the curvatur. So now let's do some work in the rest. Maybe this darker color, this darker metal. It's a metal. It's like a plate. Make this more rough. Just like that will be. Alright, for this one, I will add again, some fill layer, base, AO here black mask at a unerator. I add some ambient occlusion, as inverted amenusion. Bye. Alright. We could do something. Let's add a paint layer. Let's select our basic soup and let's paint out a little bit of this Amit opltion. Let me twig. This right? Let's just erase or this ambient oltion I don't know why this is just, like, too slow with the tablet. Right. I'm just doing this with the mouse because for some reason, this is too slow with the tablet. I don't know why. I think I just need to upgrade a graphic card. Maybe it's time. An RTX 2060 is now too old. All right. Let's change the color of this. I make this darker. That is a little bit. Uh, roughness. Let me add some filter, loose lobe. Let's increase it. Maybe with ten, I say this. Also cold All right, let me add some color variations here. Let's add some blue slope to that. Let's put this in soft light in the base color. It should be in soft light in the base color. Let's see. Will be to add some variations there. Maybe this. Maybe this one could be. All right. Alright, let me also add some roughness variation to that darker plate. Alright, let me see my roughness. Alright, perfect. Let me add some roughness variation there. I back mask. Bill. Let's select some grudge. Maybe this word. Let me select that. Alright. I think like that could be. Alright, and now I will add some spots. All right. Let's call this and let's just name it like roughness variation. It's like this. Let's add another fill layer. We had a black mask. Let's add a paint layer. We'll make this stuff. Let's color pick this. All right. From here, basic heart. Let's go do your starting at project and let's select one of these. These off just to add some roughness, be some spot there to have to add more variation to the surface, make it looks more believable. Alright. All right, let's go here. Let me add some bite layer. Perfect. That. Here in this strap, we could also add a lighter color. Muscular at a pain. Add also some spots. Be like that. Right. All right. Let me add a filter. Maybe a warp. May also decrease pacity. There we go. Let's go to the dark dark plate. Pods. Let's add a curvature. Lack mask. Nator Curvature. Let me reduce the amount. These liners. Alright. A little bit bigger. Just like that. It's at some filter. If we go your slope, let's put this in 100. Just like that. Let's go pick this. Perfect. And now we need to make a plate in here. Let's just do that. Oder plate. I think I will do maybe a treatment kind of same like we did in here. So let's do that. Also outer plate. Let's call this space. Duplicate that. Add a black mask. Uh maybe we could name make this darker. This would be the AO. All right. AO, the niator amido clusion. Remember that Amdocltion. Alright, let's make this A bit more rough. Maybe here we will add a paint layer. Paint layer. We go with my knife brush. We'll start painting some stuff. Something like this. I just to add maybe more detail? Something like that complete. All right, let me add also a curvature. Let me just copy this. We'll space that here. Now I will just change color this. Alright. Let me change also the grunge map. Maybe a no one, maybe this one. B, I think it's too much. Maybe this one. With something like this could be All right. So no. No. Let's Let's see. Let's at some scratches. I will just copy this layer and I will just paste that here. There's a lot of scratches there. Let me reduce the balance. We pull that just a bit more. But this is a lot. But a paint. Alright. And now let's remove a little bit of this. I mean, you should not put the scratches in areas that's where it will not have tents for the scratch to be like here near a corner, there should not be crutches. It doesn't have sense and areas that are protected like here, that is, like, a part that is going under something. I mean, it's like, push in, like, push in. Like, in this darker part, there shouldn't be any rug and so on. But just keep working. And we keep removing a tiny bit of the Alright. Let me also change the roughness. Let's just make this less rough. This is too rough right now. I mean, is just crack up a little bit roughness. Alright. Just remember, white is to be more rough, and black is to be less rough. I just got confused sometimes also, so don't worry. Right? If we could keep erasing here and there. Perfect. Just to add a little bit more of stuff there. Let me copy this pot. This is the pans, dark or metal. Let me copy the spot layer there. Let's select the basic heart, right, starter assets project. Maybe we but now start working start adding a little bit of this right. I we're here also. This one. Alright. It's like that. It's expodi and let's see how that looks. Let's save it first, and then I will just export it. Alright, so let's expo this port right here. Perfect. Just wait for this to be exported. Go back to rmoset look at this. Right in the that looking poll. We need to add also some roughness variation into that frontal ease off right let me add just maybe one layer of roughness variation. Ask you. With this, we'll just make this with plur slope. Just like that. All right. Let's go here. Just cork up this a little bit more. Perfect. So it has it bit more of roughness variation. Let's export that, and let's see how that looks. Alright, let's go to Marmoset. Alright, so now there we have a little bit more of variation in the roughness. All right. So now we just need to work on this g stuff. Maybe I will add some nylon webbing pattern also in this strap. I think so. So let's go to that strap. And now let's search for Nylon Nylon weaving strap. This one. Let's just add it there, increase the tiing. It's like that. B cool Let me reduce the height. Let's go to the this channel. Well, I don't think it's that cool. Right. Let's just leave it like that. Right, let me copy this and I will just put it here, also in the laces. Just like that. And I will copy also. No up some of these. Copy. Orangy color and now let's just paste it here. Nice and easy. And Alright. Maybe that is big with a little bit of less normal intensity there. W B. Alright, let's put this, and let's see how this looks inside the engine. Safe. Let's go to Marmoset. Let's see how this looks. Alright, looking cool. I think so, yeah. Perfect. Also here looking good. All right, let me see. Maybe with another DRs. Right, let me just add I'm blight HDR, let me change the HDR. I just want to, like, test it with different HDRs to see how these respond to those DRs. It's looking cool in need. It's looking cool. All right, maybe this Aa construction. Let me know Alla taka, looking cool, so I like it. So here. Maybe this one. Right. This one, it's also looking cool. All right. Let me just go back to my previous SDR. It was Studio Tamoco. It's a SDR that did that you could extract from substance painter. There. There we go. So I will save. And this will be it for this video in the next video where I keep working on these textures on this model. I think that the only parts that are left to texture in this model are the boots, the face, and the hair and also the eyes. Oh, I just almost forgot the demon head. All right, just to finish the texture of the character itself. Then we need to texture we need to texture the weapon. But the weapon will be faster too. So say you there. 37. Texturing the Boots: Alright, guys. So let's continue with this model. In this video, we are going to maybe make the textures of the boots and let's see what other piece, maybe yeah, we could start making the texture of the boots and maybe a little bit of the hair. Let's see what we could do. So let's focus in the boots right now. Alright. Let's start working here. We have a lot of scratches here for some reason. Let's see. Why do I have those scratches. Right it's not from there. I think it's from here. I think so. Let's see. Let's wait for this to calculate substance fainter. Alright, let's wait for this. Let's see. Yeah, it was this. Alright. Let's see where I have my scratches. I have scratches there. All right, let me add just remove the boots from these scratches. All right. I will add scratches but in its own layer. So let's go with this first color. Let's go here. Let's duplicate that. Let's a a black mask, add a generator. Not want a curvatre. I want an ambient occltion or right let's invert that. Let's make this darker. Let me see like that. Maybe let's move this color more to the blue. Alright, let's make this more rough. Alright, let's see how this is looking. Alright, let me increase my AO. Something like this could be. Maybe we could do some blur. All right. Maybe something like that. Perfect. Maybe let me erase some stuff from here from the bake lighting that I don't really like. All right. All right. Something like this could be perfect. I don't fully like this that color. I will just erase it a tiny bit. Alright. The knocking down that Alright. Let me see like that. Could be. Alright, let's just keep working on this. Let me call this AO. Perfectly, let me see my roughness. Maybe we could make this base a little bit less rough. Something like that could be. Alright, let's go here. Let's add a blur slope. Maybe to make the ambient occlusion a little bit more stylized. Alright. Let me increase this blur slope. There we go. Now, I would like to add maybe some color variation. And also, I will add some dirt maybe to these boots, like a general dirt or right. Let's call this color variation. Let me add maybe here some of the crunch. Let me make a blur slope. I let me put this in maybe screen. No soft light, no multiply will be. Let's decrease the opacity of that. All right. There we go. We have some variation. All right. Maybe a tiny bit more. All right. Let's add a curvatur now. La mask, a generator. Let's serve for curvatur. There we go. All right. Here we go. Alright. Let me color pick maybe one color from here. Let's move it more to the green, and let's increase the brightness. All right. Let's call this Edges. And now I will add a blur slope. As I said, I just love blur slope. All right. Maybe we could, like, paint a tiny bid with our our knife brush. Let's see. We could add maybe some painted detail. Let's add a paint layer. Let's select this knife brush, and maybe we could do some detail. Like here could be a little bit of detail in the corner there. My Let me just move from here. All right. Here, also in these creases. Let me decrease a tiny bit more opacity. Let see like that. B. Alright. Let's remove a tiny bit from here. There we go. Maybe another one here. All right. There we go. Alright. Let's just keep working on the rest. Let me see my map. All right? I just want to see the color of the boots. Let me see. Alright. This is a metal piece. And this other one is another metal piece. All right. I mean, that buckle in the compet is a metal piece. I don't fully remember, but I will make it as a metal, maybe. Alright, let's go here. Maybe here in the color variation we could add some roughness variation also. Let me go to your assets. All right. Let's add this color here, maybe. There we go. We have some variation. Let's go here now to the roughness channel and let's decrease tiny bit the opacity of that roughness. So it's not too noticeable. There we go. Maybe in the edges, we could add also some roughness there. Maybe maybe some height even. I don't think that the height would be a good idea. And let me rebook the height. Yeah. Let me see like that. Let me see also the contrast that I have from for these colors. Alright. Maybe to make this a tiny bit lighter or brighter, a little bit more desaturated. Obviously like that would be write something or like this could be just want the boots to be separated from the I mean, in saturation value from the coal armor. I think this could work. Could be. All right. So let's keep working on this. Let's do the sole right now, because that's one of the biggest pieces. But let's go here. Base. This would be like, some plaster of some sort, or right or some like accustion material. Who knows? Let's add an amienoccltion there. And also, I will tweak the roughness, maybe a little bit rougher right black mask inerator ambient ocletion Let's add some roughness. Let's make this darker, like, some gray. Let's go here, let's invert that. Let's see what we have here. All right, something like that. Let's see the soil. Alright, there we go. We have something. All right. Let's go to material. All right. Let's search maybe for All right. No. Let's search maybe for some rubber will be. Let's see if we could find something good here. Alright. Maybe this plastic rubber maybe could be. I just want the surface noise that it has. I don't want the color. This could be, actually, I think. Maybe a tiny bit bigger. The tiling, right here. The tiling just a little bit bigger. All right. But I don't know about that. I don't fully know about this. All right. I'm still not sure about this noise. There, I think it could be good for the soul. All right, we have some them there. Is here. That surface detail. Alright, maybe if we could decrease the height, let's decrease opacity of the height. Just like that. Could be good, yeah. I like it now. Something like that. Let's I have added Oh, yeah, here. This is the, the emit o clusion. Alright, let me make this omit clion a little bit darker. Just like that. Let me see the color. Maybe we could increase tiny bit more the balance. Maybe not that much. All right, let's add now some curvature, black mass, curvature. Alright, let's go here. Make this more bright. Let's go here. Let's add a curvature. Let me also increase this. All right just like this perfect. Just to get rid of those white pixels. Alright, let's go back to the curvature. Here, let's decrease all of these because I just want like these sharp edges. All right. Something like this could be. Alright, I will add a the bl slope, not right now. So here maybe let's search for some big crunch. Maybe this one. Let me put that in abstract. W be. Let me add now the blur slope filter. Blur slope. Let's put this in ten. Maybe it could be. All right. Let's go here. Let me make this cubatora tiny bit less bright. Just a tiny bit. I will also make this proffer. All right. Just like that. Alright, let me do something. I don't want this or the sole to affect the buckle. So we just remove the mask from there. Just like that. Perfect. Maybe we could go back to the soul here later. Let's work on these metals, the buckle and this one. Maybe what we could do is just maybe, like, copy the layers that we did for the buckles of the jacket. I mean, the jacket know the skirt and belt. Don't just wait for substance to respond. And let's see what we could do. Alright, let's wait. Here we are. Let me go to the belts, and now maybe to the buckle or the metals. Here we have the metals. I will just copy all of these. Let's go back to the bood Let's wait for this. Al right. Let's go here. Let's go. Now for the buckle. We could add that stuff there. Something like that could be perfect. We could make this tiny bit rougher. Alright, I think that could be. Let's go now to this front hole piece. All right, let me see. This is a darker color or front metal will be outside. Alright. Let me copy the same layers here. Just like that. The difference is maybe we could make this a tiny bit brighter or maybe let's actually make the buckle a tiny bit brighter. It's like that. And Oh, so maybe we could change the color or even? No. Alright. So here, maybe we could change the color. Maybe not. Let me make the ale. Let me see my ale. Alright. Let's go to the frontal metal. Let me see how this is looking. I need to make that darker. Let me make that metal darker. All right. Let me also make my am tuition darker. It's super white right now. Right, also the curvator. Everything will just make it darker. Just like this. Let me change also the roughness variation. Maybe with another low slope type. We will select this one. And here we could select maybe this one. Alright. All right. Now, I will add some scratches to these pieces. Let's add a black mask. Let's add a fill layer. Now, let's serve for the scratches. All right. Maybe we could add maybe one of these. Let me decrease the number of these scratches. Let me make that in height. Alright. F B. Let's make those tiny bit. Just like that. Alright. All right, let me add another type of scratch. Alright, let's add another fill layer, and let's add this other one. Like mixing both types of scratches. Just like that, let me decrease the balance also. All right. Maybe that is just making this to be to look like, too similar. I mean, like this is a mirror pod. I think I would just leave it with the first one. Let' make these scratches bigger. All right. Just like that. Scale. Fell random. Let me paint out a tiny bit of these scratches that are in places that there should not be. Alright. Now, I would like to add some spots in this fabric. Let's add maybe more variation. Let's call this spots. Alright, let's add a black mask, and paint layer. Let's select now our basic heart. And now let's select the offas that I have added to this project. Maybe some seed like that could be, let's just add this here. Maybe here. All right. Maybe around here. There we go. Alright. Alright. Alright. Let me do something. This Wanzu? It's like, processing some stuff. So let's wait for this to finish. Oh, it's just me. I'm just Yeah. Alright, let's just keep working. All right, let's continue. So let's select one color there, and let's make that darker. Alright, like that. Let's keep adding more of these spots. Maybe one around here would be. Alright, maybe here. Alright. Here, let's. Let's make them rougher. We need to add a roughness variation that this to make this a tiny bit less rough. Maybe just some spots. Let me add a fill layer there, black mask. A fell layer here. Let's search for some garnge. Maybe this one could be. I like that could be indeed. Could be. Just to have a little bit more variation. Let me make the roughness, the pagety of the roughness, a tiny bit less. Now I will add. Maybe I will just leave it like that. All right. Let's make the scratches at a little bit rougher. Let's go here. Let's search the scratches, the frontal piece. Let's call these scratches. There we go. Let me add some roughness. All right. There we go. And now, I would like to add some general general stuff to the blue to this boot. Let's search maybe here, a white mask or some smart mask here. Like maybe, like, let's see some dust and dirt. Alright, it's dirty. Now, a rush Done, it's blue. Dust surface. Maybe this could be. Let's see how this looks. All right. I think it's looking cool. Let me see what these do in the mask. Yeah, I like it. Like, integrating all the different parts in one, looking cool. Alright, let me change the color of this. We will make it darker. With roughness, rougher. I maybe maybe a bit brighter again. Maybe something like that could be. Like this is some dust. Let's add another stuff. Maybe some dirt this time. Let's search for some dirt here. Alright, let's put this here dirt. Their cavities, the crown. Let's add some dirt ground. Here, let's see how this looks now. Let me make this a tiny bit. Like this brown. Let's now tweak what we have here. All right. This is too much. Let's reduce the curvature. Maybe the ao also. All right, a little bit more of ao. Let me see what this doing the mass. I All right, let me do something. Let's sp go here. And now I will go to environment Alignment to camera so I can see what I'm doing here. I think This looks cool. Let's make this rougher. All right, that's looking pretty cool, indeed. Alright. My we could increase the AO bit more. Will be. I mean, not that much. A tiny bit. Just like that could be. Let me see my reference. There we go. Let's make this even tougher. All right. There we go. Let's export this and let's see how this looks. Let's save this. And then we are going to export this. Alright, so I have exported the textures. So let's see how this looks here. I think they look cool. I think so, yeah. Maybe we could have some dirt splotches here and there. Let's go here. Maybe we could add some paint. Now, let's select here in project, some of these pots like that. Would be. Maybe we could make this bit more brownish, just like this. Maybe a tiny bit less. Something like that, let me wake this with no metal because this should not be a metal, right? Let me move a little bit from this area. It doesn't have sense to have dirt on those places. I just want the dirt in the areas that are more close to the ground. Not in every piece. All right. Maybe we could add maybe one. But there here and there, right. We keep removing from here. We will add some stuff, something like that. Alright. Something like that. Could be. Let's export this again, export. Bod. Let's see how this looks. Alright. Let's wait for this to be exported. Now let's go back to Marble set. Right, there we go. We have some stuff there in the Bod. Is looking cool. Maybe we could make this metal a little bit rougher. Let's go to the front metal here, front metal, we make the base metal more rough. Well not that much. Yeah. Comes like that. W B. Let me explore this again. And let's see how this looks. Alright, let's wait for this. There we go. Alright, I think it's looking cool. All right. Alright, we have some Emisue. Let me see what is making that seam there. Maybe it's the dirt. No, it's not the dirt. Dust is here spot edge. Or maybe it's this. Yeah, this is making some issue. I will also remove that from here, let me use a basic soft just like this. And now I will just start removing this baked lighting from this area. Right. Just like that. Perfect. All right. Em see like this could be. Now it should be fixed. Let's see. That's squad. Alright. Let see. Now it's fixed. All right. Let me see something. I will go here to the main camera, and I will just wrap the saturation just to see the value or right. The value of this fabric is too close to this to this call farmer. Maybe we could make it darker or we could make it er. I think that for our case, we could make it darker. Let's go here to this fabric, and I will just make it darker. Because you can see in the cost, this fabric is darker than this metal. So let's have that in mind. Here, let's just drop the value. All right. This could be maybe. Now I think it's too close. I here, it doesn't look that close. I don't know why it seems to be almost the same value. Is it far far from the far We a tiny bit brighter would be. Let's explore this and let's see how this looks inside the engine. A little bit different. I think now could be. All right. There we go. And boots. Perfect. Let me see how this looks. First, let me save this. Let me see how this look with raster. All right. There we go. Increase Vito cluion. All right. Et's just go back to it raising. There we go. I think we have the boots. And now we could are making on the hair or maybe in this demon head. Let's see. Maybe we could do that for the next video. We'll see you there. 38. Texturing the Demon Head: Alright, guys. In this video, we're going to start texturing this demon head. So let's start. Let's go to here to Substances painter. And now let's start making some stuff. Let me save real quick because I'm, like, making this video after the previous one. So let me save everything before we could start. Alright, so let's keep working on this. So now let's work. Let's go the demon head tectucht. But first, let me take my bake lighting layer. Let's wait for this to respond. Let me take this, I will just rub it here, right on top of everything. Just like that. Alright, base color. Perfect. If something. Let's work on the orange part. Alright. There we go. All right. Maybe this is some ceramic, something like that. Maybe some type of painted metal could be. I will not add a metal ness map to this orange part. We some roughness. Let's twick the roughness, just a tiny bit. Make this kind of tiny. Now, let's add Let me duplicate this layer. I will call this AO. I I just read it wrong. Alright, let's go here. Go here. AO, right. Let's add a black mask. Let's at some generator here. All right. Let's see some ambient occlusion. There we go. Let's go here. Let's make this darker, and more red. Let's go here to the ambient occlusion. And now let's invert that. There we go. Let's increase the ambient occlusion here. Be. All right. In the roughness, we just make it more rough in those places. And we go again here if we could keep tweaking this. Let's add some blur slope with this in 100. All right. Perfect. Now, let me add some Curvatur. Let's go here at a black mask. Let's add generator, some Curvatur. Let me add this. I mean, reduce these sliders. Like this, let me add. Some filter. Alright. Let feel like this. Would be. There we go. Blur slope. Like that. Let's see the face here. Let me add some substract. At a field layer. So grunge, or something random. Maybe this. Let's put this in substract. Right? There we go. Maybe we could add some gradient would be maybe a little bit of gradient. Let's call this. Alright, let me add any gradient. Back mask, eratorRlinear. All right. Something like this could be a little bit more of contrast. All right. Let me make this reddish, like, more red. So just like that. Let's see my base color. All right. Would be also a little bit purple. Would be also a tiny bit purple. I think it is looking cool, indeed. Maybe something like this could be. I think it's looking really cool. All right. Let's call this radiant. And now we could add any bit more of color here, maybe a brighter color, right. And I will not add a generator because I will just add it by hand. But maybe select one of these brighter colors, right? Maybe a little bit desaturated. Let's go now with the paint layer that we have just added. Let's start maybe painting a little bit of this color. Maybe here just to emphasize the forms. Let me see like that. Alright. I think maybe here booby There here. Let me decrease the opacity of these mess. Oh, I'm the roughness channel. Alright, let's go to the base color. Let's just increase the opacity of this mess. Of this layer, I mean, right here would be Awesome. Right here. There we go. Also in these places. Here, here also. All right. Maybe even here. All right, so maybe no. And maybe this color around here also. There we go. Let's decrease a tiny bit more, this. Perfect. Maybe here also. Let's see the difference. With that, and without that. Integrating, maybe we could add a little bit of fluor slope. Alright, let's select that us blur slope. Let's see what this is making. Icy flu slope. Let me see my mask. Right? I we can make this bicker. I don't see any difference in this. Alright, we have that. We'd like also to add some roughness. Variation we add also some roughness in that in those In this brighter color. Brighter color. Perfect. Let's maybe add some roughness variation. Roughness variation. All right, let's add some black mask. Feel there. Go here. There we go. Alright. I just added in the grump. Oh, yeah. I'm just a little bit dumb. Just ignore me. Alright, let's add this roughness. Let me see this. We could add this roughness. Maybe we could reduce the balance of that. Like that, just to have some surface variation. Your roughness, maybe we could add another field layer. Maybe something like that. Let me put this in screen. There we go. All right. Perfect. So now, let's do some job on this task, right? For this base. We'll add some aminocltion in the yield. All right. Ambient clusion Let's make this darker. Let's go here. Let's invert that, ambient depletion. Something like this. Let's make this more orange and more like this. All right. There we go. Make that. Rougher. Let's make. Let's add also some roughness to those task. Let me add also some painted gradient, Black mask. All right. I will just make this just like this a little bit more that soft with the same basic soft that we used before. Let's add some color here. All right. I like that could be. There we go. All right. Let me add. Let's call this A, and I will call this painted gradient. Alright, let's add some corator. Or right let's add some black mask. A generator, yeah? Bator. Right let's reduce all of these. Just like that. Let's select this color. Let's make those edges it a bit more. Let's add a filter with some blur slope also. Is in 100 and let's increase this. This could be I think so. Let's work on this type of muscle, something like that. Synthetic muscles. So here, have some roughness. I think of this, more of a rough like some muscle. So for those pieces, guess what I going to do? Yeah. Indeed, I would add some inclusion. Ambient eclusion here and there. More and more Ambien Alright. Let's go here. Make this darker. Let's make this rougher also. Alright. We'd like also to add some pattern. Ambien clusion All right. Let's add some pattern. Let's add a black masks white mask. Let's add a black mask with a fill layer. Let's search for some pattern. Maybe what pattern we could add now. Let's see what patterns we have. All right. I don't want to add circuit. I think would be good. Let's test that Let's make this in height. Let's add some height there border with. I don't think so. I kind of like it. I don't like it, indeed. Let's go here. Let's see what else we could do. I don't like that either. Right. Let's see. No. Good. No. No. No. Alright let's see. 8 seconds. Add this. I think this is nice. I like it. So let me go here. I will add a paint layer. And now I will just remove You just erase this pattern from there. Something like this. I don't want this pattern to be on the horns, and for some reason, this is on the horns. I don't know why. But that is there. Let's just raise it. Just like that. Alright. Now the pattern, let's make the pattern bigger. I like this, maybe we could add some color. Alright, let's make this bicker. And some roughness. Alright. Alright, I would like to have this in between lines. To be darker. What we could do actually, instead of painting them by hand, we could add a cavity. All these cavities. Alright, let's go here. La mask arraorPurbator. And now in the curbator let's go to here, Let's change from edges to cavities. There we go. There we go. Et's make this like this. All right. Maybe let's add some blur. Let's make this darker. That, let's add some roughness. Go. Let me see. Perfect. All right. There we go. Maybe we could add a little bit of color variation in the orange part. Let's add this. Go to your assets. All right? Let's put this multiply. Let's add some blue slop. I don't want the roughness to be multiply. I want the base color to be multiply. Low that decrease the intensity of that layer acetaman Alright, there we go. To make it even lower. Let's add also some roughness variation there. Here. Now let me go to roughness. Now let's reduce the amount of roughness that Tiny meat. Let's put this in screen. Let me see my roughness. Right. All right. There we go. Perfect. Let's do something here on the horns. Maybe just some basic stuff. Maybe I will make the lit the horns like this tiny. Let's go to the horns. All right, let's go to the horns. Let's add the roughness. All right. Let me make this patters synthetic muscles. A bit more rough. Ravi, a tiny bit less. I was like that could be. Base. All right. Let's work on this. Let's add some here. All right. Let's add some gradient. All right. And All right. Let's change this to be some purple. More on the reddish tone, something like that. Let me make the horse. Let's increase the tolerance here though. There we go. Alright we're going something. This will be radiant. Let's add some ambient oxition. Here later. A Itoclusion as always. Alright. Like this arc. Arc. Add some roughness. Like this rougher. Let's call this AO. Alright. Let's add some black mask. Another unator more corbatur corbator corbator more corbatoria Alright, let's go here. I mean, I just want to have, like the edges to pop out and tell you a bit more. Right? Maybe we could put this in softlightT in roughness. Like this suf light, maybe or screen or har light or tint will be un tint. I think so. Maybe first divide. We're like, let's just leave it in normal. Let's just select one color here. Put this in int. Alright, let me reuse. What's it? No, I don't like it. Hey, let's just leave it here. I will add a paint layer, and I will just remove that water from here. Let's add some slope. With this 100. Alright. Let's increase this. Perfect. Maybe we could add also some painted stuff here. Some painted detail. All right, some il like that. All right. Let's wait for substance to save. Right substance is working again. All right. So, let's make some roughness here in the gradient ocean. It is rougher. We could make this Alright. Then let me see about roughness. There we go. There we go. There we go. Right? Maybe, let's see how this looks inside Marmosete L sport this. Ah, I just forgot. I have some emissive, right? No, I have not missive. In the eyes, I want to make them emissive. We color copy these. Yeah. I will just like this. Alright, let's call this Base. But actually, let's make another layer. Put it on below. Let me turn off that layer. I will just make this a little bit more dark. Right. We'll add this one. I will add a black mask, paint, select the basic stuff. Let's go here. And let's change gin to UV. Let's make this. Just like this. Alright. A Alright, there we go. This should be t to be more maybe more to the reddish. Maybe not. Like this could be. Alright, select that emissive. And here also, we select this emissive. Alright, let me see my emissive. There we go. Now let's export these two substance. I mean, two MarmostTba. Let's see export here selected demon head. Let's here export. And let's see how that look inside the engine. Right here. This looks pretty cool. Indeed. All right. Maybe we could position the demon head on the body right now. But this will be just for this apos. We could post that later inside Blender once we made the rig. I don't know if I could be able to add the process to this course. It will be really simple. I will just maybe use the refi add on just for simple pause. All right, let's add all of these objects to the demon head. Now, let's select the demon head object. Let's go to transform. Now, let's move the Pivot. Where is my Pivot. All right, let's move the Pivot. Be what is then let's just move it here. Till we reach the demon head, so it's easier to tweak the demon head. Let's just put it here where this should be around here. Let's make this smaller. Maybe we could make it smaller just like that. All right, something like that to be would also like to make the edges of that wrap rider. Let's go here to skirt and belts. Alright, let's go here. Let's wait for this. Right. I think it's this curvature. Alright, let's see. Yeah, this is not that. Alright. Something like that. Let's wait for this. I All right. Let's just wait a tiny bit for this curvature to work. Let see like that. I think this could work. All right. Let's export also the garden belts. Wait for this. And now let's go back to here. There we go. Right. I All right. So here we have our demon head Aicly made, looking cool. Let me add in the demon head, let me add the missive. So here to emissive. Let's dirge or the emissive texture. Try to find it is here, emissive. There we go. Maybe we could reduce the opacity. I mean, the intensity of that emissive. The glow. Right? There we go. So now, basically, the only the only part that is left to make is the hair and the skin and the eyes. So we need to make that and we are done with the character, I think. Yeah. So in the next maybe one or two videos, we're going to finish the textures of this character, and maybe we could start making the textures of the weapon. I'll see you there. 39. Texturing the Face and Eyes: Alright, guys, let's continue with this model. In this video, we're going to focus in the face of our character in the face and the eyes. So let's go to our substance fainter. So here we are with the head. So we're going to start making the stuff. Alright. Oh, let's see our reference. I have this reference here, so you can see which color are like the main in each zone, like here, the forehead is the yellow. In the cheeks area is the red and the chin area is the blue. White Because here, the yellow is more like the places that are more like in the skins more close to the bone. They those sauce has, like, this yellow tint. And for the places that have, like, more blood, we are going to like painting with this reddish color. And for the shin will be with this blue, like, for the beard and all this stuff. Alright, so let's begin. Also, you can see that we could also, like, mix a little bit of yellow here, some more yellow here. So let's start. All right. Let's first let me get my my baked lighting. Here quick. Let's wait for substance to work. Let me copy this. Let me go to my head. I will put it on top of everything. Let's see how this looks. Alright. Looking good. So maybe now, we could add some amine occlusion. I will not use blur slope for the face of this character, Ryle's at an aminoclusion, like mask or eyelets wait for this or let's at a generator. Let's add some ambient occlusion there. All right. Just like this. Maybe we could put this something dark would be something like this could be. Maybe this could be more purple. Maybe more reddish. All right. Let's just leave it like this red. All right, so let's begin to add some colors. All right. Let's add some red color. Let's add a black mask and a paint layer. So now let's choose some reddish color. And now I will select the cement brush, this one, because this brush is smooth. Alright let's select this brush. We can start painting. Alright let's active the flow. And now let's paint this reddish color to add more life to our character. Alright, there we go. So let's start painting this here in the cheeks, a little bit on the nose here in the cheeks. We could cover, like, the face, but I will not I will add, like this red in the entire face kind of, but I will keep it the main zone, the check area. Also, I don't want this check I mean, this red to be too predominant because that will look like his like blush. And I don't want that. Right here in the ears could be we could add a little bit of red. All right. Perfect. Maybe let's erase a tiny bit. Maybe here a little bit more. All right, let me duplicate this color. Now I will make I will add a black mass again. And now I will just move the yellow All right. And now let's start painting. This yellow in the areas that are more close to the bone, like here in the forehead, in the shin area, maybe here in the clavicle, but the clavicle were not we won't see the clavicle, so let's just focus in the face. Like, here a tiny bit in this area. A tiny bit All right. Here in the sheen, also. Let's add a tiny bit of this yellowish color. A tiny bit. Like, mix it with this reddish color. Here will be right. All right. Let me make this yellow a tiny bit less pronounced. Alright. There we go. Let me now add the blue color. But first, let me call this yellow color. Let me duplicate this red again. We'll move it here. I will add another black mask with some painting. Let's move this maybe to the blue here, kind of, right. And let's start painting. Here, let's focus this blue in the chin area, just like this. Alright. I like to add like this blue for the male characters, but for the females, I don't like to add that. All right. Let's make that blue less pronounced. It's too pronounced right now. But let's just decrease the opacity and also the flow of this brush. Alright. We are having some stuff. Let's see how this looks here. All right, maybe here around the nose. A bit of this blue here also. All right. Let me decrease also the intensity of this red. Alright, let's see how this looking with everything. Alright, this AO is too much. Alright. Alright I kind of don't like it the AO effect there. So here we are. Alright. Maybe we could add some highlights. I will add that with my knife Rush. Let's put all of these colors into one folder. Let's call this folder, like main face colors. I will create another folder, and I will call this like details. We need to also we need to make the, like the lips and mouth color, also the wrinkles. So let's call this mouth. Let's add a layer. Let's add a black mask, paint. And now let's select like this maybe more reddish with something like this could be this color. Alright for this, I will select my basic salt. I will ask the tablet pressure and I will decrease the flow so let's just add this here. This color real quick. Let me change it. Let me saturate that color a little bit more like this could be. A less bit less right there we go. I think that could be. All right. Perfect. I mean, it's too much. Let's decrease it. Just to have some color there. All right. A bit more reddish. Why it like this could be. Let me also feel the inside of this mouth with that color. This one. Let's click here. I will just feel the inside. All right, let's go here, and I will just remove a tiny bit from the border of this mouth. I like that. Just a tiny bit. All right. Let me see the base color. All right. Go here and now let's start painting here. There we go. Also here. Let me change the alignment to UV and let me go here to the UV let's just start painting there. Some stuff. All right. There we go. Go here. Something like this could be. All right. Maybe we could increase a tiny bit more redness. Maybe the blue, not that much the blue, maybe the yellow. Let's see how this is looking. All right. And let me decrease the yellow. A bit more. Alright. The color here. Let me add some roughness to this color just to have a little bit of shininess. I will also use this color for the crinkle. I don't care anything. Alright, let's go here. La crimo. Now, let's just paint this tiny place here with that same color. And also, I will paint the ebads here. There we go. A tiny bit on this area in the eye. All right. Perfect. Let's just paint. Like this area, real quick. There we go. Perfect. There we go. Now let's add a little bit more of detail. Let's call this. Let's change the name of this. I just leave it in mouth. I don't care. Alright. Let's go here. Let's call this like highlights. There we go. Let's add maybe this lighter color I paint and now I will use my knife brush. And I will add a bit tiny bit of highlights in smas Let's see how they look. Like, maybe, for example, here, we'll tad some stuff here, in the detail. All right. All right, there we go. Maybe here also. Here in the nose. All right. Here in the shin also we could add some stuff. All right. He also here in this area. Let me add a tiny highlights here in the nose. There we go. Also here. Alright. Let's see where else we could add some stuff. All right. Maybe in the forehead, just a tiny bit of this, like, highlight let me see the difference. All right. I think it's looking cool. All right. Maybe we could decrease intensity of this. All right. Definitely adding something. All right. Maybe we could also do the same stuff with the shadow. Let's duplicate this. I will just make it dark paint, darkness. Let's justle maybe some darker color. Maybe something like this. Maybe this brownish. Let's see. If this dark color doesn't work, I will just go into delt. This is just, like, some testing to see how this looks. I'm just tasting right now. All right. I don't know about this. All right. The tea we could add, like dis color around here could be Alright. Maybe we could make this a tiny bit more saturated. Now, let's wait for this to save. So I will be back in a sec. All right. Here we go. So let's just keep working, adding more detail in the paste color. Here we could add some stuff. Alright. Maybe just like this. Would be All right, also here. All right, perfect. L et's see the difference. Let's add just a tiny bit more of detail. I like it. All right. So now let's add a little bit of roughness variation to this phase. So let's go here. I will add a new folder under the details. I will call this roughness variation or maybe on top. Let's add a fill layer. Let's call this roughness one. All right, let's just add the roughness there. And now let's add some black mask. With some field layer. I will add a noise. All right. There we go. Let's see. Let's see my roughness. All right. Here we go. We could use this. There we go. Let's explore this, and let's see how this looks. Let's explore the head. All right. Let's wait for this. And perfect. Let's go to Marmoset. Let's see. Also here in the head, I have active in transmission, the subsurface scattering. Right now, I think it's a little bit too high this subsurface. I will just decrease it a tiny bit. I don't want, too much subsurface right. Looking kind of cool. All right, let me see my reference. Yeah. I think we could add, some eyeliner here in the eye. Alright, so let's add that stuff. Let's add a little bit of eyeliner here in the lower eyelid. Let's go to detail. All right, add a new folder. Let's call this folder. Eyes. All right here. Now I will add a new layer with some black mask. Let's add a paint layer. Let's call this eyeliner. I will select some dark flor. We also need to adjust these eyelashes. I will just adjust that later. Not right now. All right. Now I will just activate my stabilize stroke, and now we could add this eyeliner here in the border of the eyelid. Like that could be. All right. Let me delete a bit here like this. All right. A bit more. I don't I don't know. Maybe we could increase intensity. I don't know about this eyeliner, indeed. I kind of don't liking it. I definitely don't like it. Maybe just a tiny bit here. If we could add just a tiny bit. Just like that. Let me remove this. Just like that. Alright, let's go here. Let me change the alignment to HUB. We could add some stuff here. Let's see. Maybe that could work, indeed. I think this could work. Let's explore that. Let's see how this looks. Alright. Let's go here. There we go. I think that's better. I think, Joe. I think so, yeah. We could also try and select or use this smart material that has substance that's called human human skin. Alright, let's see what this thing does. Let's just add it here. Alright, we have a bunch of layers that we are not going to use. Like, for example, I will not use this base layer. The surface skin, I will not use it. This top color, I don't like it. These dots, maybe we could use it. This fractile sun. I don't know about that. Let's put this skin human symbol in pass through. All right. There we go. Maybe we could reduce the amount of this fractal sun that is right now. Maybe just like that. I kind of like the effect that these dots are doing. Yeah, I like it. The top color. I don't like that. This o, I like that eo. We could leave those dots, I think. But maybe no, I will just remove them. And the ins Alright. I think I like it. Yeah. So let's export this again. There we go. Let's see how this looks. Alright. It's just like a subtle change. Let me see material values, Salveto. There we go. Let's go here to substance. Maybe we could increase also the intensity of the bake lighting. All right. And there we go. Perfect. So let's work on the eyes now. So for the eyes, we need to do some stuff. Here we have the eyes. Let me see something. Right here, we have the base iris. Let's see which color we could put in this eye. Maybe some blue, maybe not a blue, maybe some darker brown, I think, could be a dark brown. So, let's go. So let's let's change the color of the iris to more brownish, some dark, brownish color. Let me see like this would be. Let me add a folder, I will just drop that iris in that folder. Alright. Iris base. So now we have the base layer for the Iris Iris. So now let's go to our paint soft, maybe. All right. Let me add maybe duplicate this layer. All right. And now I will make this a tiny bit brighter. There's a tiny bit. Little bit, and let's make the second layer of the color of the ties. Alright, let's go here to base color. Where is my brush? It's already very big. So here, let's just add this color here in the middle. There we go. Now, this will be like Iris second layer. So now we need to add the highlights and the shadows. So here in the ice, the highlight is on the lower part, and the shadow is on top of this sub part because this is a concave, a concave shape. So in a concave shape, the highlight will be in the lower part. So let's start doing that. Let me duplicate this layer. I will just increase it a tiny bit more and make it more. Let's add a paint layer, and now I will use my knife brush for this task. All right. Perfect. So let's see. I think this could be more a little bit more desaturated and brighter. Here, now let's add this highlight color. I don't like it too much. I mean, this color, I don't think that's good for that type of brown. So let's just tweak the color right now. Maybe something like this could be. Something like this, I think it could be, yeah. So let's just keep tweaking this. All right. Just like this. Like, following the flow to the pupple something like this. We could reduce the opacity of this layer. All right. All right, I cannot let me use here this one. UV, but I cannot make it less. Ah. Let's use the tablet pressure for this. All right. I'm just erasing a tiny bit to add a little bit more of detail to that. Just like this would be. Just to add like this effect of the fibers, let's me make highlight I will add another highlight, but this time will be brighter. Maybe something like this. A little bit more saturated. Let me write this paint, and let's add another paint layer. All right. Let's add another pass of highlights just like this. Alright. There we go. Now we could start erasing a tiny bit more. Let's erase just a tiny bit here. All right, just like this. Perfect. I Perfect. Let me see how this looks with the material. All right. Let's add the purple. So let's add a fill layer with some black mass. We'll just make this full black. I will now select my basic soft. Let's add a paint layer. Alright. I sat a purple here. Something like this could be maybe not. Not in the center this. Let me activate my where is my wire frame here in the middle. In the middle should be around here. Think so? There we go. I think we can make this highlight a tiny bit bigger, brighter. Just like that. Just like that. Perfect. And now let's add, like, some shadow on top. Let me make this darker. That will be with the basic stuff. Is that a paint. And now I will just make flows darker. That is just making this like this gray overlay will be abstract darken no supply. Let's just leave it in normal. I will just decrease Ecrease this. All right. And now this should work. I will also erase. Let's put this in white mask. I will erase the back lighting from my eye. Just one the eye. There we go. Let me add a field layer. This will be with the Iris anchor point. And I will add that Iris anchor point in multiply. There we go. Let's go here. Maybe we could add some blending between these two. Let me see it like this. In this other layer, we could add that also. Let me see it like this. Maybe, let's do some control C, and let's just erase just a little portion. Something like that could be. So now let's make the redness of the sclera. Let's add in the sclera, a new fill layer with some black color, pain. And now let's select some reddish color like this. Go here, and now let's just paint the redness. I will make this back piece completely red. And now with a knife brush, I will just keep working on this. All right, so let's paint here in the borders. And let me put this back to UV. And now let's just paint this in a circular way, just like that. There we go. Perfect. I mean, not that much. Just a tiny bit. This could be. Alright. Let's export that to substance, and let's see how that looks. Let me say this first, and then we're going to expore that. So now let's expore the textures. Right head. Let's export that. There we go. Let's go to substance. Let's see how it looks our character with the eyes. I think we need to realign the ice. It's a little bit. I think it's a little bit too dirty. But we're going to do that later. We could do that inside Blender. Not too much of a problem. Let's do it right now. It's just open Blender. Let's try do that. Alright, let's wait for this. Here we go. Let's go to our male character. Right. Right now, I will make the ice, like, not too much, not too much therapy. Just like this. Let's put this in local. We're not All right. Active elements. Here, individuals. Alright, let me do something. I will just erase this right eye or left one. I don't know. Let's add a mirror modifier. Right. Let's select the head. Let's just make this look more forward. See, the eye should have a tiny bit of like a tiny bit of rotation to the outside to make the character look forward, but not that much. Maybe we could just decrease that a tiny bit. Maybe this could be good. All right. All right, perfect. Let's apply this, and now let's export our character. Also, I will just pose my Dama head here. Let me click here, right? Let me just apply all of these modifiers here in the demand head. Let me select this right click. Let's set this to convert to mesh, all right. And now I will just position them to here. Oh what is happening. All right. Let me do something here. Story into geometry. It you into geometry. If cuss to global cursor to select it. I will select everything here. Right click Story in to treat the cursor. White on everything. Now it's aligned. All right. Let's just position this into the right place. All right. Now, also, I will try to fix these clipping issues like this. Also here. Just a tiny bit, a little push. There we go. Also here. All right. Just like this. All right, maybe let's go here. There we go. So, let's expot this. Let's export this. All right. There we go. Let's go to FBX, baking. Let's put it here. Maybe baking selected applied transforms. Atlet bones. Let's remove that. By modifiers. Allright let's expot this. All right. Now, I will import that back here with substance. Let's go here. Let me set this first. So now let's go here to edit prior configuration. Let's select the new file that we have exported from Blender. Let's click here and let's wait for this to recalculate everything this will take a while. Alright, now he's looking more forward. Alright, so let's we explore this. Let's go here, export, mesh with triangulation active. Go here. And now let's just override this previous folder, like pile. So let's just do that. Yes. Alright. So let's wait for this. Okay, let's go back to here. And now he's looking better to, like, straight up. There we go. Perfect. Alright, something's happening here. I think it's the height map here. Yeah, that height map is a little bit weird. Oh, uh a a tiny bit of dipness Not that much. Write a little bit better. Let's save this. And now what is left is the hair. All right. We have basically everything. There is just the hair and the weapon left to do some work. So let's do that in the next video. 40. Texturing the Hair: All right, guys, so let's continue with this model. Now in this video, we're going to focus in the hair. So let's begin. So, here we have our hair. I mean, this layer doesn't do anything. All right. So let's start. Let's make as usual, ambient occlusion layer. Let's go here. Let's select our ambient occlusion. All right. Let's now get a darker color. Just like this, AO or this will be the base. Alright. And now I will just get my bake lighting, this one. Let's put that bake lighting on top of everything. Just like that. Maybe we could decrease the intensity of this bake lighting. Let's go to the AO. Let me invert the abitroton. Just like that. Maybe we could make this abitrolon a bit bigger. Just like this could be. Al also we have some stuff here. That doesn't look good. Let's see why is that Alright let's go here. Maybe we could paint this up, or right there we go. So Alright, so the roughness, the hair could be a little bit shiny because we're going to use the anisotropic flow map to make this highlight follow the flow of our hair. You will see in just a second inside Marmoset. So let's add a few more colors. Maybe we could add an edge color. Alright. Bring a little bit of highlight into our hair. Alright, let's see. Something like this could be a tiny bit of this. Alright, let me get a little bit brighter color. We be this. There we go. I think it's too much wendy I don't want that be that pronounced just a tiny color there just to give it a little bit of variation. Alright. There we go. Maybe we could the roughness decrease a tiny bit, Is a tiny bit. I don't want to mess it up too much with the roughness of this hair. Maybe, I won't even touch the roughness of this. We'll just use this basic roughness. Alright, let's export the texture to Marmoset. All right. Here. All right. I think we will need to reimport all the textures again because we changed the FVX of our character that maybe we'll make that we need to reimport all our texturing inside my worse. Let's see. If that's true. And it doesn't been reflected here. And that's, we will need to report everything. So let's go to our textures and let's report all of our stuff again. All right. Like that. Let's select roughness. All right. And the metalness. Alright. So I will do something. I will report all my textures again for the entire character, and I will get back to you again. Alright, here we are again. So now we're going to go to the hair here. And now let's go to the GGX section and let's select anisotropic. Now we are going to increase the anisotropy, and we could tweak the direction of the anisotropic. But you can see, it's a little bit messy right now because we need to add a direction map. So how we are going to do that? We are going to go to this program. It's a free program. It's called Krita. You can find it in Google. We're going to go to this program. I'm going to use this software because I could not find any other software that we could make this easily. I mean, Marmoset has it, but we need to set up like a texture project for that and all that ****. I here is easier, a lot easier. So let's begin. So what we need first is the normal map of our hair. Let's bring the normal map here. Let's just paste it. There we go. Here are our normal map of the hair. And now we're going to select the normal brush. You can see. With this brush, basically we could paint normals, as you can see. But what we need is like the normal to change for following the dissection of our brush. So we're going to go here to this tab, and now we're going to select the rotation. As you can say, I already have it selected. Let's select the rotation, and let's select this option here, the angle of drawing here. And now we're going to go to the pencil tip or the brush tip. So let's go here. The proportions, let's just leave it. It will be like here in one. It will make the brush to be this circle, but let's just drop it to 0.5. So this brush has its more oval shape. So now we're going to rotate our brush around here, 260 70 am. And now I think that will be it, rotation angle of throwing all right. I don't think so that there is any other change that we need to do. Just copy my options here. I will just go through all these, copy all my stuff. All right. There we go. So now that we have our brush. Let's add a new layer. And now, what we're going to do, we're going to paint on top, following the flow of our hair. As you can see, let me see. As you can see, we're going to, like, paint just following the flow of our hair, just like that. Just like this, maybe. Just following the flow. This will be the direction of our highlights. So try to make like one stroke, just like I'm doing. Don't like this. It will look weird. Just make it like one long stroke, just like that as I'm doing. Alright. Perfect. Just like this. There we go. Et's just keep drawing our stuff. I like this. Also here. We're going to do this with all our hair strands. All right. Make, remember to make the strokes. All right. Perfect. Remember to follow follow There we go. So now let's go with another one. Let's go with this. I will just do this one, and then I will just cut, and I will do the rest because this is basically the same process all over the place. Alright. It will be boring. Just see me do this again and again. Basically, it's the same stuff that I'm going to do with the rest. All right. It's just this. Perfect. Oh, let me do also this main hair here. All right. Just do this. Quick. Alright, let's do this one. Let's just paint this following. Flow of our hair just like this. We. I think I will make this brush a tiny bit bigger. All right. And let's just make this follow the flow. All right. Just like this. This will be a little bit time consuming. So let's keep going. Don't stop until we have this done. All right. Just like that. Perfect. This is to make the direction map. So the highlights follow the flow of our hair. Just like this. A little bit more. Little bit More. We are almost done here. We are almost done. Just wait a tiny bit more. Keep painting. Just like this. All right. I will not paint this one because that's the hair band. Right. Just like this. Alright. So I will do the other two hair strengths, and I will get back to you in a second. Alright. So now we're going to export this. Let's export this, right? We're going to export that as PNG, maybe. Let's search the PNG format. And now let's just save it. These will be like hair, low map. Let's just save it. All right. Let's go to our Marmoset Toolbag and now here in anisotropic here in the direction map, we are going to select that flow map and you will see the difference. You can see that our highlights now are following the flow of our hair. You can see the difference without it and with the direction map. Now they are following our hair a bit better. Alright. See it here. Perfect. So maybe we could decrease the roughness. I think it's a little bit to too shiny. Let's decrease the roughness. Our hair just a tiny bit. Maybe this could be. Let's export this. Let me export just the hair. Just like that, let's see, Marmoset. Alright. This is tiny bit better. Let's add a little bit more interest to this hair color. Maybe we could increase our unbent clusion. We could increase it just a tiny bit more. Maybe would be maybe with a little bit of blur. Alright. We'll increase this stuff. Right? Why is this not? Alright, let me just remove this mask. I don't think so this will look good. Let me see how this looks with that. Maybe we could decrease it a tiny bit. Leave it in here. Let's see how this looks inside Marmoset. Let's wait for this to be exported. And now let's go to Marmoset let's see the difference. It's kind of good, yeah. I think it's good. Maybe we pull decrease a tiny bit more the roughness. So here, right? I want this to be like that roughing. All right, let's decrease a tiny bit more the roughness of our hair. Let's see hair. Let's export this. There we go. Let's go back to Marmoset. Alright. There we go. I think that looks nice. There we go. Alright. Let's add a little bit of ambient occlusion and a little bit of stuff in this band. I will call this just pase, just like that. Let me duplicate this black mess. This will be AO. All right. Let mecreaz the color. I mean, the brightness. It's at a generator. Now, let's add a meto glutien generator. And now I will just increase the amount of this color that is here. All right. There we go. We could add some roughness, make it even rougher. This time we could add maybe a curvator map, a generator. Curvature. Let's go here. Let's decrease all of these sliders. Alright, let's just leave it like this. Maybe we could select a brighter color. Alright. Tiny bit brride like this. Maybe this could be it for this. Would be maybe we could add a little bit of lure slope here. But that's lure directional. Let's add a little bit of lure slope to that curvature. Increase this. There we go. O, now let's explore this again. Right? Now let's see how this looks inside the engine. Alright. There we go. Perfect. So there we go. I think this looked cool. Alright. I don't want to add, too much stuff on our hair because he doesn't have too much diesel on his hair. I think this is enough. So I think I will leave the video here. Maybe if I have more stuff to add to the hair, I will just do it in the next video. Maybe we could actually we could increase maybe the curvature. Let's see how this looks. Here, right? Maybe we could increase the patity of this urbatu color. Let's see how this looks. Alright. Let's see marmoset. All right. Maybe we could even increase the balance, right? Just like this. Maybe we could add a little bit of floor slope, let's see. Lobe with this in 100. Alright. Let's see how this looks now. All right, let's go to Marmoset. Let's wait for this. Go to Marmoset. Alright, let's go back. Alright, I think this could be. So. What's left to do, maybe actually we could increase it a bit more. Sorry for this back and forth. Alright. I'm just, like, testing. Maybe in this spot could be good. Let's just explore this. So what is left to do is to texture the weapon. So let's do that in the next video. We will need to bake the weapon and also texture it. It should be kind of straightforward, indeed, maybe. Y, basically, here we have our character already textured. I think I'm not missing any pot or place. I think everything is texturing, yeah. So in the next video, we're going to start turing a weapon. So see you there. 41. Starting the Weapon Textures: Alright, guys, so let's continue with this model. Now we're going to texture the weapon. So let's create a new project for this. Right, let's put it in four k. Let's leave it all as it is. Maybe we could also leave. We could put it in direct X. I will just put it in open J just to match the rest of our character. But you could leave it in direct X. Alright, now, let's select our low poly weapon, this one. All right. And now let's create a new project. Let's save this. All right. Let's wait for this to save, and I will be back in a second. All right, so let's continue. Alright, here we have our low poly weapon. So now we're going to bake our high poly into this low poly. Oh, I just pressed the wrong icon. Let's go here. And now let's import our high poly here. There we go. All right, let's go to ID. Let's change the color to vertex color here. All right. Let's go to the ambient occlusion. Let's increase the secretary rays. Let's go here to a curvator. Let's also increase the secretary rays. Position thickness. I think all of those could be like that. And now what we are going to do will be, I have already imported the high poly. I don't fully remember where we are. There we go. We could do a test bake with the automatic to see how this looks. I think it will be fine. Alright. So let's just do the bake. All right, let's wait for this to finish. All right. It's basically good. I don't see any major problem. Oh, I see this one. We have this normal slip. I don't remember if it's in the high poly or on the low poly. Let's see. But, I mean, this is already pretty good there. Oh, I haven't ungrabed this piece. So let's just unwrap it real quick. Maybe just like this. All right, something like that. I think this sch be good right as to the Unwrap. There we go. Now we are going to add that on the rest of our weapon. Let's select this little piece. Let me go to my text dentity. Let me select another island. Let's click here, calculate TD. Now let's go here, and then we're going to select our island and just apply that textil density with Sam ITD. All right. Let's just put it somewhere. All right. Now I will re export this weapon. There we go. Let's go. Now here. Let's go to Edit and RemportMsh. Let's do, again, the Bake. Let's see how this goes. All right, there we go. Now it's good. Alright. Getting I think those ties are for because no, those are I will have to see Alright. Yeah. I think we will need to tweak our low poly fully match this curvature. Alright, let me go to the low poly here. I will just tweak it a tiny bit. All right. This is not matching very well, our table here. So I will just tweak it. So this match nicely. Alright just like that. Maybe we could add another loop here for these to match nicely. Here also at another loop here. All right. Here, also, let's put it here at another loop. Let's do the same here. All right. Move this. We need to move this also at another loop there. There we go. We need another loop here. All right. There we go like this. Maybe this could be. Here we need another loop. All right. Maybe with this, we could just make it higher, just like that. Alright. I think this could be good. So I will re export my low poly. Let's go here. We export that low poly. Let's go back to our absence. Let's click here on report. Right now, we're going to rebake our weapon. And let's see how this goes this time. Alright, give me a suck. Alright. So the bake in that area, it's better. You can see now that it's way better. Alright. I think that for the rest, it's nice. All right. Alright, so what we need to do now will be just do the final, like, the full resolution bake in four K. And then we're going to need to fix the ambient occlusion as we did with the character itself. Let's do the bake with four k. I will pause because this will take a little bit. So I will get back to you in a second. Alright, so here we are. Let's see how this looks right. Let me do another bake. But this time, I will add a little bit of antaliasing maybe in subsample 44 times four, right. Let's just click here and there we go, Let's wait. Alright, so let's see how this looks. Here we go. Feather edges. So now, what we're going to do will be the same as we did with the character. So let's add to symmetry. Let's put this symmetry maybe in the C axis. You can see it here. And now, right, this piece, why this piece is looking like that, I think I have this piece without being grab. There we go. I don't have this piece and grab it. Why? Because I'm dump. I just forgot to grab this. Let's go. Let's do some quick ngrabO this little piece. Alright. All right, grab minimal stretch. Ah, I just forgot to add the seams. All right, grab minimal stretch. Let's see how this looks. And let's just add it with the rest of this weapon. All right. Let's add it around here will be. Now, let's re export this weapon. All right. There we go. Let's go back to our Substance Painter. Let's click here. Import mesh, and now we're going to re bake this. So see in a sec. All right. So let's go back right that's baked. I think that's the only thing that's missing. Oh, we have some overlapping here. Yeah, I just forgot to actiive always. I mean, the match by name. I will do another bake story. All right, so let's keep working on this right. Now, it's good. We don't have any overlapping. Maybe the overlapping of the amd oclusion. But we're going to fix that amd occlusion right now. So let's make a feel layer. Let me also add an amtoclusion channel. Al right now, let's go to project, and now I will just drop this ametoclusion into the base color. Alright, let's go to the base color channel, and now I will add a paint layer. Because in this way, we could select the colors from the detector itself, and we can pick this real quick and easy. So let's maybe pick this one, and let's try to fix maybe this one here. Let me put the flow with some tablet pressure and let's decrease the flow itself also. And now we will start painting here to raise that stuff there. All right, like this will be perfect. All right. There we go. Let's go here also. All right. Perfect. All right. Let's select these colors. Let's just keep tweaking this. Alright. We're going to do the exact same thing that we did with the character. All right. Let's erase this weird ambit oclusion All right, just like this. There we go. O let's do the same here. And all the floaters that we have. All right, just like that. Let's go to the rest. We have quite a few floaters. So maybe I will just fix few of these ones and then we're going to pause to do all these out of camera because I already have shown the process of how to do this. So it will be basically more of the same again and again. All right. Let's just keep painting this ambient occlusion here. There we go. Just like this, go here also. Let's remove this weird ambient occlusion. Alright. Go here. And let's remove this metocltion from this part. All right. All right. Let's see. There we go. All right. Let's fix the inner ones. Just like this. Perfect. Let's also go here. Let's try to clean these ones, these parts here. All right. There we go. I think this could be good. There are still some areas that we need to fix. All right. Like this. All right. Here a little bit in this area also. There we go. I think this will work. We have already fixed this area. Let me do some work here, maybe to blend this better. All right. So, I will basically do the same thing that I did here for all the other floaters that we have here. So I will get back to you in a sec. Alright, so I think everything is correct now. Alright. So now, what we're going to do, we're going to export this base color that we have painted this ambitocltion that is in the base color. Let me just write like rename that layer, MpfixO let's go to export textures. I will just export The base color. Let's go here. Let's select a direction for our textures. Let me call this weapon. All right. Let's go to that folder. There we go. Now, let's click here in Export. Now, let's go to that here. And now what they're going to do, I will import the map that I have just exported. I will just import it here. And now I will replace my ambitoclusion with that new map that we have just created. There we go. Let me remove I mean, like, hide the layer that we have painted. And you can see that now our floaters looks good and nice. Perfect. There we go. We have our floater nicely placed there. Perfect. Everything looks perfect. You see it there, and see our floater. There we go. All right. So now, maybe we could start making like some basic colors for these. You can see how many colors we have. We have, maybe one, two, three, one, two, three, four, whatever. Let's just start making the maps. Let's call this blade. Alright, let me first save this real quick. All right. Alright, there we go. So let's make a black mask with color selection. Let's select this blade. I will copy a color. All right. Let's add a fill layer. Let me paste that color there. Maybe we could add a little bit of roughness and metallicness. We could make this blade full metallic. There we go. Maybe we could make this also a little bit brighter. Or maybe not. I will make it a little bit more rough. And there we go. I think this would be nice. Now, I would make these outer plates ayer. Let me change the name of this. All right. Oder plates. Let's do a color selection. Now, let's just color pick This prim color. All right, let me change the color of this. Let's add a field layer. Here, I will just drop that color. There we go. A little bit of roughness, maybe. Maybe not as rough. There we go. Let's select now, like this color on the handle. Let's create a new folder, let's call this handle. Let's do black mask with color selection, and now let's select this darker color. Let me copy the color code. Now let's make a new field layer. And let's call this. I mean, let's just drop it there. Right. We have some weird stuff happening here. Just like that. Or right now maybe let me see my ID map, all right. Let's make a folder for this piece. All right. Handle, middle piece. Let me put a blue color into that. Let mask with color selection. Let's select this color. Let me copy the color code. I will add a new fill layer with that color inside. Alright, New folder. This will be for the orangy s. New folder. Let's select this menu layer. There we go. Now we need a new folder for this metal. Orange parts. All right. Let's make a new folder. Let's call these males. And now let's make a new math with color selection, and let's add a field layer inside. Just like that. Something like this could be. Alright. There we go. Now, we just need like this copper metal here. All right. Let's see. Let me also select that here, that color. I will make a new folder. We'll just drop this metal here. Metal white. We'll make color selection because now I will just select this one. In this bronze, we just add a new color selection, and I will just select this one. Also, I will copy the color code, and I will just wrap it here. Ethaic right. A little bit rough. Now let's make a new folder for this reddish piece. I will just copy, paste this one, red, hard. Let me change the color of this piece with this one. All right. There we go. So now we should have everything with colors. Also, this metal should be here. So let me add a metal there. We could paint that. All right. Paint it here. Or maybe we could select by polygon. It would be easier to do that instead of painting it. All right. There we go. Perfect, here and here. There we go. Let me copy this effect, and I will just drop it here. Haste, effect. There we go. There we go. There we go. Now we need to add some emissive here. Let's animisive All right. A massive color selection. All right. Let's add this. Let's select this color. I will put the base color in black. There we go. So now, what I'm going to do? I will just export this and then import it back into Marmoset. Let's select the Unreal. The real preset for the exporting, maybe we could select maybe the basic one, this real packet, right. This one will be. Let's just export this. There we go. Now let's go to Marmoset. As you see, I have imported my weapon here. All right. And now let's import our stuff. Well, let's go to textures weapon. Let's import the normal map, the Y. Although I will do something. I will do I will export the mesh with the triangulation from substance. Do not get any weird shading issue. Alright, let's call this trangulated. Just like that. Alright, let's go to Marmoset. Let's go to Marmoset here. I will delete this one. And now I will import the new triangulated version of this weapon. Trangulated. Let's import that. There we go. Let me move this to the side. Here we are. Now I will import my base color. I go to textures. Weapon, base color. There we go. Also, do not forget to activate your flip Y in the normal map. Since we didn't make the normal map with direct X. So let's go here to micro surface. Let's select our packet, our packet map. This is the roughness, so this should be the green channel. Now in the metalness, let's select the same package map. Let's put the in the blue hannelO right now for the missive. Let's add a mission. All right. Let's select the missive map that we have created. All right. There we go. Perfect. Maybe with a little bit of intensity. There we go. I think this would be good. All right. So I think I will leave this video here. In the next video, we are going to continue making these detectors of the weapon. I'll see you there. 42. Continuing the Weapon Textures: Alright, guys, so let's continue this model. In this video, we're going to texture the weapon. So let's begin. Alright, let's go back to Substance Painter. And let's see what we could do first. Maybe we could start making the blade. All right. We have this blade. I would like also to have the edges, like, more like brighter, just like that. All right. I will make I will call this Base, and then I will duplicate this. I will call these edges. And now I will make this brighter. Just like this. All right, let me add a black mask or write a paint layer into that black mask. Alright, let's go to our basic heart. And then we're going just to paint this. Like, we could left click and then press chief, and we could, just make a straight stroke. Alright? Let me remove the toilet pressure from this. Or we just like this could be. Also, maybe we could use our pain. I mean, feel polygon, make this real quick and easy or write just like this in this easy way. There we go. It's a little bit more. The said yes. Alright, maybe here we could well, I think so. Yeah. We could add them. Alright. Just like this. Let's just keep filling this. Alright. Few more. There we go. Alright. Let me clean this part a tiny bit more. All right. Just in this area. There we go. Perfect. Just like this, right? There we go. All right. Let's just could leave it like that or maybe not that we'd like to fill this gap here like here. All right. Like this, I'm just pressing chef. All right, just a few more. Like this. Perfect. There we go. Let's get this nicely here. All right. And this could be. Alright. For this edge, I would like to make it less rough and the other one. All right. Maybe we could make this under ye know it here would be. Alright, let me see my base color. Alright, we could make the middle piece a little bit less, I mean, more rough would be, maybe even darker. All right. Let me just keep fixing this. All right here. Okay, let's just try to get this right in a clean straight edge. Clean straight stroke, yeah, something like that. All right. Something like this could be. All right. I think so. Yeah, this could be. All right. Well, I think this could be. Right? Maybe we could fix this real quick in this area. All right. Now, let's add a base I mean, a base, ambient occlusion. Alright, let's just add a new field layer. Let's add a unit ator. Let's select ambient occlusion. Alright. There we go. Let's invert this ambient occlusion. Alright for some reason. I'm quite not getting my orientation here in substance. All right, let's just continue. We will make this brighter or let me make this a bit darker. Just like that could be a little bit rougher. All right. There we go. Perfect. Maybe now, let's call this AO. There we go. Maybe now we could add a curvature, black mask, a generator, curvature. There we go. Maybe even we could add one of these smart masks maybe some edges. And it could be this as strong. Let see like that could be All right. Right, let me add something. I will add a filter with some blur slope in 100. Let's increase this blur slope. And now I will add Alright let's wait for this. Now I will add a field layer. Let's find some grunge. Maybe something like this. Let's put this crunch on substract. All right. Let me see what this is doing. Maybe in multiply, this would be better. Maybe we could select another one. All right. I would like also to add some color variation into the surface of this edges, all right. Let's add a new field layer. Now, let's search for the grunges that we have search on Google, maybe to add some color variation there. Let's wait for this to respond. All right. Maybe some of these, we could add multiply Let's decrease The patty of this. All right, like that. We could also add, like, some roughness into this. Right? Just like that. Let me put this in roughness and now I will just decrease the roughness as well. All right, maybe we could do something interesting in this. Let's see. Maybe we could add a filter. Let's see, H is MT. It's MT. Matt effects. Let's see if we could add one of these effects here. Alright. Hammered. No, with this one. No, I don't think so. It could be something like this. Or maybe we could use this galvanized. Let me reduce the intensity will be Let me increase the scale. Ie not that much. Let me see my roughness. It's an interesting look. I like it. Alright, we could keep working on the roughness. Also, we could add a few scratches into these. Let's call this color variation. All right. Let's add more roughness variation into this. Let me find a grunge here. Maybe this one could be. All right. Let's select roughness. And now we're going to make this a bit rougher or less rougher. Just like that. Maybe could be. Alright. Maybe we could select another one. Something like this. All right. Now, I would like to add, like, some scratches. Let's call this like maybe roughness variation. We also add we also are working here. We need to add the edges. Also on this area. So let me select the polygon fill. And now I will just start filling this with this lighter or brighter color in this area. Like this, real quick. Pets All right. Let me see here. I think everything is fine. All right. Let's just keep working on this. Let's add maybe some scratches. Let's add a new fill layer. Let's add a black mass. Let's add a fill. Now we're going to add a scratch Maybe some scratches. Maybe this one. I kind of like it, yeah. Yeah, I like the scale of this. So I would just leave it like that. I will add a high channel, maybe even some roughness channel. I will make this a little bit deep. Maybe not that deep. Maybe something like this could be I would like to reduce the dirtiness. Let me know the dirtiness is not the option. Maybe the dust. A little bit of dust could be. All right. Let's see. Maybe the spots. I think the spot the spots here. R double scratch. Scratch dirtiness? No, that's not the one. All right, dot intensity, little bit of dots. All right. Just like this. Let me see here. All right. We are going to add a paint layer. Let's add this paint layer, and now let's start erasing paint layer here. And now let's start erasing scratches from where they don't have sense to be. Like in this area that is super close, that is super close to this plate. That doesn't have sense to have scratch in that area. All right, something like this could be. Alright. We could add also some manual scratches. I mean, not in that place. Maybe here will be. Let's go here. I don't like this scratch in this area. I don't want any scratches in this inner area. All right. So let's just keep erasing some stuff. Alright, there we go. Let me save this. And now I will export this to Marmoset and see how this looks. So let's do that. Let's go to Marmoset now. And now let's see how this is looking. I think it's looking good. Et's just keep working on the rest. All right. Now, for this handle, let's go to the handle. I would like to add some This is supposed to be the handle. Alright. I see. Let me reduce the tolerance of the handle middle piece. Just like that. All right. And now I would like to make this color darker, just like this. All right. And now I would call this space. I would like to add some roughness also, a little bit rougher. And I will add another layer. This time will be with a linear mask. I mean, with a linear gradient here. Just to add a little bit more of detail. All right. Let's see if we could make this darker, maybe. Could be, C B. Alright. I need the missif also to be there. Let me add a paint layer. And now I will just make this area a missif Alright. Perfect. Now let's go back to the gradient and we will add a little bit more of contrast into this gradient. Maybe not that much. Let's make the gradient a little bit more smooth, all right. Now, we'll call this Gradient. I will add some AO. All right. Let's go here, a generator. Go to this. Let's add a metocltion right. Let's invert that amocltion. All right. Let's select a darker color. Let me see like this could be maybe purple. Who knows? All right. Let's add some roughness channel. Just like this. Let me see my roughness. All right. Let me make the base of this a little bit less rough. All right. So we are there. We need also. It's not that we need. Let's add a baked lighting, right as we did before. Let's add a field layer. I will just remove the color from the channels. Let's add now a filter. With bake lighting stylize. There we go. Here we are. And now let's see let's change this output to diffuse only. For some reason, are not getting any light this. Or right now, we are getting something. Let's just leave the color there, right? So I want this to be gray. Like this white, let me saturate this. Alright. This will be like this grayish and the sun will be white also. All right. Maybe we could use this. All right. Let's put this in soft light. And now let's reduce the intensity of this. All right. Let's just reduce it a little bit. Let me see the difference quite a bit. There we go. Now, let's go back to the handle. Let's call this AO. Now I would like to add maybe some curvatur. A generator. Let's add some curvature here. Let's reduce all of these sliders because I just want the sharp the sharper curvatures. Like that maybe we could increase this fine and this sub will be. Let me add this blue slope in 100 or maybe in ten, let's say, maybe 100, at 1,000. All right. Let's add now, some grunge some grunge. Alright, let's put this crunch and multiply it could be Alright with a little bit of your slope. Now, I will get this reddish color. I will just make it brighter. Just like that. Alright, maybe we could add a little bit of roughness Into this will be There we go. Let's see. Let me see my roughness. Alright, maybe we could make a little bit more of contrasting the roughness. All right, let's go to the base. We could make this rougher or maybe I mean, less rough or maybe rougher would be would make this right. Let me see my roughness again. Alright. Let's add some color variation into the surface of this. Let's go to your acids and let me call the edges. Now I will add a field layer. Let me add this this time. I will put this multiply, and now I will add just a blue slope filter, just like that. Now let's decrease intensity of this. We could add also some roughness. All right. Let's add some roughness there. Let me go to the roughness channel. I will decrease this. All right. And now I will just put this in a screen. Let me see how this is looking in Marmoset. So let's see, let's wait for this to be exported. Now let's go to MarmosetTolbg. There we go. We'll be Yeah, let's work on these, like, white metals. G here. Call this base. I will just add some roughness variation and some amidoclusion. Alright, let's go and add a black mask inator. Amdoclusion invert this Amdoclusion. Let's make this darker. Maybe we could even add some roughness into this a little bit rougher and maybe even some metallicness, just like that. Or maybe not. All right. We could decrease also this. Let me see like this. There we go. All right. Let's just continue. Let's add. Let me call this in the handle. Like color variation. Let's go to the metal. Let's call this AO. Now let's add maybe some color variation also to that piece. Maybe this one could be. Let's add some blue slope. Lo slope. I just love are slope. All right. Let's make this here. Let's just make it less noticeable, and this will be multiply. Something like that could be All right. This will be variation. I will add another type of roughness. Let's just add some fill layer. Let's search for some grunges. Maybe this one could be. Let's add the roughness. Maybe like this. Let's go. Maybe we could add some blue slope also to this. All right. It's in ten. Alright, maybe. I'll be maybe not that rough. I just want a subtle roughness difference. Alright. Now, let's call this roughness variation. Now, I will add some curvatur. So here at the curvatur. Let's invert this, yeah, that's the curvature. Let's just decrease all of these layers. All right. There we go. Let me add a little bit of your slope into this, so the edges are not that straight, and we could have a little bit of variation in the edges. Just like that. Let me see my base color. Let me see my mask. There we go. All right. Let's see what else we could do here. Let me save. All right. Maybe we could start working on on these orangey peas. Let's serve for the orange part. This should be like a cable maybe instead of this type of plate. Yeah, I will just split that, right, let me duplicate this. And this would be with a paint layer here with this in black. All right. So let's work on this part. Let me also add a paint layer here. There we go. Let's call this face. Duplicate that and add a black mass, I will call this AO, add generator, add ambienocltion. There we go. Let's see inverts, let's make this darker. All right. Perfect. Let's add a tiny bit more of abentocltion. Maybe not that much. I think that's too much Abentocltion. Let's make a little bit of roughness. C B, could be, could be. Alright. Now I will add some curvatur. Alright. Alright, so let's go here. Let's decrease all of these. Now, I would like to change the color, maybe for something more yellowish. Just like that. Let's add a little bit of fluor slope here. Hundred. Let's increase that. Let me add another grunge. Alright, that's a filter. I want a crunch. Let's add a fill layer. Let's put this into multiply. All right. Maybe we could add tiny bit of manual detail. Let's select our knife brush. Now we could start painting the edges of this orange plate just like that. Would be maybe we could also add a little bit of roughness. Have maybe some roughness variation to this. Alright, let's make this less rough. All right. Let's just keep adding more stuff. All right. Maybe here all in this area. A little bit of detail. Alright. I Just like this. Right? Let me decrease this. A bit more like that. Perfect. Let's just keep adding this detail. Just like that. L to have a little bit of tainted detail. There we go. All right. Here, also, we need to add some stuff. Maybe something like that in the corner. Right? There we go. Maybe we could add a little bit of high. Let's see how this looks. Is a bit of high. Would be in the All right, I would like to add a little bit of color variation. Maybe this color variation will be with a fill layer. Lack mask, let's a generator. I don't want a generator, I want a crunch. It's a leg. That's a filter. Let's see. Feel one of these slushy ranges with a blue slope. Let's get a darker color. Alright, just like this could be. Overlay. Maybe it could be in screen or soft light. I will just leave it in normal. I will add a tiny bit of roughness variation. And to this right now, I will import into here my Alphas. So I will be back in a sec. Alright, so I have my Alphas here, and now I would like to in this layer, let me call this layer like edge this will be like dark color variation. I will duplicate this we remove the blue slope. I will make even this a little bit darker. All right, I will add a paint layer. Go here, select one of these alphas. Maybe we could start making some detail. Just like that. Let me add a tiny bit of this Alpha here be Daria. Alright. Maybe we could change the Alpha something different. Something like that. Alright, let me go here to this variation. I will just start removing a tiny bit. This maybe we could even make it smaller. All right. Let me reduce the flow. Maybe just like that. All right. Maybe we could start working on these plates. Let's work on these, like cream plates. All right. Maybe we will save And now we could explore the textures. Let's see how this looks. All right. Let's go to marmoset. Right looking kind of nice. Yeah. There we go. All right. Let me see my reference. All right. Maybe for these plates. For the screen plates, we will add where are my plates handle outdoor plates for this space, I will add a field layer with 00 roughness. I mean, the roughness would be one with color black, maybe. And now I would just select this. I will add a black mask because I will make this stuff dark. All right, to here. All right. All right. It's see Maybe we could clean this a little bit more. All right. Here this detail. Alright, this is not doing anything. Right now, there we go. Let's add. Let's call this like hold. Now I will add. I will duplicate this layer. I will add a black mask erator Abnocltion. Impar dish. Let me make this a little bit darker. Even redder. Just like that could be. Let me add a little bit of roughness. All right. Let me see my roughness here. Maybe we could have a little bit more of contrast in this roughness. Right? Maybe something like this could be. All right. And this one would be even rougher. And it's at a paint layer. And now, I would like to paint like some tough hair, like some manual, gradient, but I want to have this brush stroke effect. Into this maybe could be something like this. All right. Just keep painting. A bit more here and there to get some interesting result. Alright. Let's just keep working on this. Maybe we go even. We remove. A bit more here. Let's just add it like that. Maybe a little bit of painted exclusion here. I also in this area. Just like that. Let's add some stuff here. All right. Like painted gradient in this area. This is just to let I'd like a little bit more video. Into the zone. All right. Maybe we could tweak the color a little bit. Is like this. Let's add now. Put this ao. Maybe we could even increase the ao. Let's add now some rough, I mean, some edges. A curvature. Alright, there's a curvature here. Let's make all of these in one. Maybe we could at a little bit of this fine slider. We add up blure slope 100 There we go. All right. Something like this, let me see my reference. A little bit brighter. Alright, let's go here. Let's add a feel there. I will just put it under the blue slope. There we go. Abstract. Alright. Let's see. I this cool be good? Let's call these edges. All right. Now I would like to add another color variation. By this time with this, maybe with this one. Let's make this multiply. All right. Let me add some filter. Filter, no, I don't want to filter. A field layer. Alright. Maybe something like this will be. A little bit top or slope. Something like this. All right. Here in the edges, maybe we call raise a tiny bit. These edges that I don't want to be there. All right. All right. Let's see. Maybe here would be we could even add some painted detail. This one in this area. All right. Can we hear also? This part. All right. Maybe we could keep adding a tiny bit more of this. All right. Any bit more detail in this area. There we go. Maybe some painted stuff here. Perfect. Let's go also here. Now, I will just add more stuff here. Like that. Let me raise a tiny bit more. This. There we go. Alright, maybe we could even add a tiny bit of curvature in this area, just like that. All right. Now, here in the color variation, where is my color or variation. I could add a tiny bit of roughness also to that roughness. Maybe something like this would be let me Explore these tectors and let's see how this looks inside, Marmo said. Let's go there. Alright, I think they are looking cool. There we go. Maybe we could have a tiny bit more of like contrast in the color of this weapon. Let's see. Let's go to this camera. I will just throw up the saturation. I would like to see the weapon. We have the value, the handle is different, right? It's darker than the other ones. I would like to have maybe displayed maybe darker, maybe brighter. Let's see. Let me crystal again, the saturation into one. All right. So let's see let's go to the blade. Let me add an effect here. Filter, maybe it could be brightness. I think it's around here. You know there. Contrast. Contrast luminosity. Maybe we could make this a tiny bit brighter. I just want this perfect the color channel. Maybe this could be. Let's export this, and let's see how this looks. All right, let's wait. There we go. Let's go to marmoset. Right, I think that's kind of good. All right. Let's see my reference. Alright, I think this piece here should be darker. So let's make that middle and part darker. Just like this. Alright, let me add some roughness into that. Just like that. Maybe a tiny bit less dark. Maybe something like that could be. Alright. There we go. Maybe also, let me drop again this Alright. Maybe we could make it darker. Let's see how this looks darker. I think it's too much. Let me, like, tune off this stuff and let me make this one instead, a little bit darker. Maybe something like this could be. Let's see how this looks like. Four textures. All right. Let's see. Let's go back Marmoset here. There we go. I think it's looking better. All right, so this video is a little bit too long. We're going to end the video here in the next video where we keep working on texturing this weapon, so see you there. 43. More Weapon Textures: Alright, guys, so let's continue with this model. The previous video, we were doing the weapons. So let's continue with that. Let's see what we could do here, what we could do to improve a little bit more this weapon. All right. Let me just see my references. Alright. So let's see. Let's just keep working on this. There are some places that doesn't have any any variation. Let me do something here in the weapon, I mean, in the plate. Maybe we could make this darker part a little bit less metallic. Let's see how that looks. Alright, let's wait for this. All right. Almost done. Alright, let's see how this looks. A little bit metallic. Maybe it is even darker. Let's see how this looks in the engine. Let's export this for the weapon. And let's go back to Marmoset and let's see how this looks how this looks here. Right. Maybe it could be. Well, maybe, maybe not. I don't think so. I will, maybe. Just leave it like that. Just a tiny bit of metallicness. Alright. Let's go to the other pieces that we need to do some work handle with. We have already done some work there. In this orange part, also, let's work on this little piece. Alright. Let's do that. Also, we need to do a little bit more stuff here in the weapon. A little bit more of color variation there. This metallic. All right, let's just start working on this. Let's call this space. Duplicate that. Add a black mask. It's at a generator. I will call this AO. Perfect. Let's go here. That's a curbator want the cubator. I want the ambient occlusion. All right. Let's invert that. W make this darker would be maybe a little bit to the purple. Let's see the color. All right. So like this could be with a little bit of roughness. Just like that, we could maybe increase the roughness of the base layer. Something like that. Let's see. Also, we could add a little bit of blue slope into that piece. We just a tiny bit. If we just like that would be I mean not that much, maybe 100. Let's see like that could be. All right. Let's continue. Let's at the black mask, a generator, rvatur. All right. Let's decrease all of these sliders. Alright. Perfect. Let me add layer. Now I will add a grunge. All right, maybe we could add this. Let's put this in multiply. And something more splashy, we like this. Do these breakups nicely, surface, let's at a blur slope, just to make this a little bit less. A maybe something like that could be. Let me change the color of this. Maybe this could be a bluish, just like that. We call decreased intensity. And let me just duplicate some color variation, and I will just paste it there. Let's go here. Let's see what we have area. Maybe we could add this one. It's a bit of color variation there. Maybe it could be. Let me see my roughness. All right. There we go. Let's just keep working. Maybe we could do something in this orange cable. Base. Let's see. Maybe we could just leave it with the same the same layers like the other piece here. All right. Let me do something here. I will just add a pain in this top layer, and now I will just remove this layer from from there. Or right, let me copy the AO. I will just put it there. Maybe even the edges. Let's see. Mask. Let me go to the mask. Here in the roughness, I will just add one. Maybe even some metallicness. Just to make that like that P look more like a cable or something like that. I think that looks cool there. Right? Maybe we could copy some of these color variations. All right. Let me go. What Some of these colors variation, right? Let me go to the roughness. Maybe we could put this in screen. All right. Maybe let's copy the other one. Is not doing anything. Got that because that's the spots. I so let's go. Select this one. Let's select our basic hard brush. Go to Project, and I select one of these dots. We will start applying it to hear maybe a little bit more variation into the surface. Something like that could be. I think it's looking cool. Let's save this, and now we're going to explore the textures and see how they look inside Marmoset Toolbag. Alright, let's go back to Marmoset. Pay, we have some stuff there. Perfect. Perfect. Alright. We need to texture this piece. What I will do I will just copy basically all the layers that I have here for the orange part. We just copy all of these, and then I will just paste it here. Anything that I will change will be the color of these layers. But the other thing will be basically the same. Like, these edges could be a little bit more reddish final we could increase the grunge like this. You could add a paint. Let me like my basics off. I will just start removing that from the middle. Even from here, it doesn't have sense to have, like, those such wear edges, right? Maybe we could make this a little bit shinier. Would be maybe here in the blade, we could add a little bit of gradient. Also, let's see. It's at a fill layer, black mask, unittor linear gradient. And now let's see what we could do. Let's go to the position position channel here. And for the start, I'm going to select like this one. That's the end. I should be the start and the end should be this one. And let's see how this looks. All right. In bird. Will be, let's say, make this darker. I think that's giving some cool detail. Et's see how this looks in the engine. All right. Let's see. Go to Marmoset? All right. I kind of don't like it how the roughness in the edges is working. All right. I would like to have a different roughness from the inside and from the outside. Let's see. Maybe for the outside, I could add anchor point. Here in this roughens, I will add again that argon point. Let's add a field there. Let's go here, select this edge anchor point. Let me see my mask. Now, I will I will put this into subtract, just like that. A could be. And this could be also with some blur slope. All right. And maybe these edges could be with some defects. Let's see what we could do here. That's rough raw perfth hole, hammered, grinded. W be grinded. Let's see how the grinded effect looks here. Oh, I didn't select anything. This is the one grinded. I'm just selecting that in the mask. Alright, let's just select that here. Let's see how this looks. I don't like it. Let's see if we could select another one. Maybe this could be. All right. Let's reduce intensity. All right. Maybe maybe not. Well, Let's see how that looks in the engine. Let's export this, Right? Let's wait for this. Let's go. Marmoset. I think it's looking kind of nice. I liking this better. Right. Perfect now. Maybe we could add a little bit of gradient here in that in that emissive. Let's go here. Go to the missive base. Now we'll duplicate this a black mask. We'll just make it this more going to the purple and darker. And now maybe we could do some at color selection. Let's select the missive here. Let's increase the tolerance. Tolerance from here. I will just increase the tolerance. Is it like that. Let me paint out of this. All right. There we go. There we go. Maybe we could just add it by hand this like pattern in the grading. But let's see. Or right now, Let's go here. Color selection. Color selection, no. Let's go to here to filter. Let's select edge mask mask border. Let's put this in inside. All right. Just like this. What? What is this doing? I just added the wrong place. It should be here. Filter, mask outline. Inside. All right. There we go. Something like this could be. All right. Let's decrease with All right. Let like that could be Let me select this one. We had a black mass, I will just make this brighter. All right. Let's add a paint. And now I will just, like, draw a little bit of highlight in this area. Let me see like this could be And also here in this little emissive. All right. Let me see my reference. If there are more detail that we could add. All right. I would like to add, like some dickles here, maybe some names or something like that. Let's see. Let's go here. All right. You folded dickels Alright. It's a new layer and black mask and now a paint layer. So here to the basic heart, I would like to select this isalpha. We make this we make this smaller here could be around here. Now we could add some text. Let's see. Maybe not. Well, I think it would be good. Select font. Maybe something maybe this one. But where is my text brush? Alright. Maybe let's put this here. Let me think in a name for, like, the company that makes or fabric darmor these weapons. So let me think a little bit. Alright, maybe we could add something like that. I just call this like still nova military tech like for the name of the company that makes these type of weapons. Alright, so let me make this in hide. Maybe we could add this as a as a carve like this is carve into the metal, something like that would be with a little bit of roughness. Different roughness there. Would be Alright I think this is looking cool. All right. Maybe we could add maybe more of these Alphas around the model. Maybe one of these, let me select go here to the other plates. I will add a new field layer. This will be like the coals. It's a paint layer. We'll select this one. I will active my my symmetry, and now I will just add this IPO detail there. The one there will be another one here. Maybe. Let's see what else we could add. But other Alphas, we could add. Alright Maybe this one could be here. All right. I think this is looking cool. Let me make this a little bit brighter. I'm like this. And now I will add some roughness. All right. Let me put that roughness. I screen. All right, let's see how this looks inside the engine. Go here. Let's export this. All right. And now I will save also. Let's go to Marmoset let's see how this looks. All right. I think it's looking cool. Like some detail there. All right. Maybe we could even make that even brighter. Thing like that, So it's more noticeable. Let's explore this again. Et's see. Let's go back to our weapon. All right. Maybe we could add a little bit grading into this orange piece. Alright, let's go to the orange part here. Let's add a little bit of grading because I feel like that part is a little bit flat. Alright. The layer with some plaque mass. Let's go and add a generator. And now I will select the three linear gradient. Alright, I will go to my position position mass. And now I will I mean, channel, and now I will start this color for the end like this color. Let's see how this looks. There we go. Maybe we could invert this like this? W be I'd like to make this red, right? Something like this W be. Let me go to this part. Maybe we could select vision. Maybe we could select this color. There we go. K. All right, let me save this. Alright, now in the metals, I will select maybe these ones. Would be these ones, select those Ts. Now I will go to the bronze and I will add those same layers. That's I'm a little a little bit too lazy to do them again. So I will just add the same stuff. And that small piece, so I won't care too much about that. So let's just export this and let's see how this looks. Alright here we are in Marmoset. I think that's looking cool. Is bit more detail there. That's nice. All right. Maybe we could turn down the opacity of that that color, go here. Maybe we could turn down opacity. That reddish color cost a tiny bit more, so it's not that noticeable. Let's see how this looks for textures Alright, s clicking sport. Let's see how this looks. A bit better, you know? Maybe we could add a little bit more opacity here. A little bit more just like that would be. Let's explore this again. Let's see how this looks. Perfect. There we go. Go here. Alright. I think this is looking cool. Looking nice. Alright, maybe we could add a little bit more of the goals here, these areas. Also, I would like to remove those emissive pixels. Let's go to the missive here. I'll just erase all of these emissive. Let me select my basic heart. All right. I have some white dots there. Maybe we could make this tolerance, we could increase it. So it's the tolerance of this handle middle piece. Just increase that. Not the tolerance. What? This should be the issue that's in my ID mask. You see it there. I think I know the problem now. This is the issue. Getting anything. All right. A little bit better, but not quite. Right. Let me here in the paint. We select all of these. All right. Maybe not. Maybe we could fix those dots by hand. Let's just add don't paint there let's just fix those by hand, like, perfect. This and good. Here we go. That was going to do. I was going to add some digles here also. Let me copy this layer. I will go to the handle middle piece to change maybe the color, maybe to more white. Right. Let's select one of these digles here. Et's add this one. Maybe here on top. Around here, maybe in the middle could be. Anything like that could be Maybe this one here. All right. W could be there, maybe a little bit smaller. All right. Could we also, maybe we could make this a tiny bit less less bright. I like this could be a little bit of height, some negative negative height. Let me add some blurre to this. These dickles from normal blur. Maybe not. Maybe not. Let's just delete that filter. All right. Maybe here we could also add a deco. Go to the handle. This's go to the handle here. Add this right remove that paint. Now I will add deco here. All right. B. All right dickles. Let's just drop it down. Alright, I will save this. Now I will explore these textures, and let's see how they look inside the engine. Alright. Right at fixed. Right? I think this is looking cool. Indeed. Maybe we could tweak a little bit more this would be. I would like also to change the hue of the handle color. I will change the hue. Something more bluish. So it has a little bit more of contrast between this and this color. Something more bluish. I like this. Right? The gradient also. All right. Let me see how this looks in the engine for this. Let's see. I think it's looking better, has more contrast. Contrast. Maybe we could put this a little bit more to the purple. Be something like that. All right. Let's go to the gradient. All right, let's see how this looks inside the engine. Maybe something like that could be better. Yeah. So now this has a different hue from this color. Los better, in my opinion. All right. So we have the weapon there. I Here we go. I think this is ready to go. If I have, right. So maybe I will leave this year, maybe we could add some painted ditto there in the handle. See the handle, see the edges. Let me add a paint. Here, I will select my knife brush, and maybe we could add some painted ditto. Here, maybe would be something like this. Yeah all right. It seems like this could be painted stuff. So, this doesn't look too procedural. These parts. All right. Also here would be a little bit. But There we go. Let's save this. Now I will just export this one. There we go. Let's go to Marmoset. There we go. I think that looks better. So I think I will leave the weapon here. If I have maybe more stuff to change, I will record another video, but for now, I think we are done with the texturing of this character. Maybe, yeah. So in the next video, we could start making the week of our character who pose pose him and make the final renders. Finally, we are almost at the end of this course. So see you there. 44. Small Tweak on the Texture of the Weapon: Alright, guys. They are just one thing that I missed from the previous video. I forgot to add like the folder here in the plate. So let's do it that real quick. Let's go to the plate here. Alright I would make a new folder around here, maybe. Could be. Let's call this like maybe. Yours could be? All right. Let's add a fill layer with some black mask. Let's add a paint layer. It would be like this dark gray color. Even darker. Something like this would be. Maybe we could paint in the inside. Alright like this. All right. There we go. Perfect. Alright. Let me do. Let's just try to get this better. Let me use my tablet. Let's see if I could get this nicely. Alright, let me remove the tablet pressure. Something like this. Go. Perfect. Maybe here, we could add a little bit of roughness. Make that even rougher, maybe even make it. But be metallic. Maybe we call lic. We call this archer gray. Now I will add this black color into these dittals. Let me add a new field layer. Let's add a black mask. See a paint layer. Put this like this black color. Let me remove these paint layers. All right. Oh, I just I mean just dump it did. Alright. Oh let me call this gradient. And this will be darker gray duplicate this color. We remove this. And now I will just make this darker. We go and add a new paint layer. Now let's just fill these caps here. They're like that. And here. We or right now, I will add some roughness at those pieces. Maybe I will also, Alex. Maybe I will just leave it. Let me try to get this now. Right. I All right. I will add also an anchor point and I will put that here. Let's add a field there, like that anchor point. And now I will put that anchor point into substract Like that. So here, right? Barker color. Aarker gray. This one. Yeah, perfect. Etstry to adjust more is right. Perfect. Like this would be. All right. There we go. Now here, we could keep taking. There's a tiny bit more. Maybe we could make this line. Should be All right. With some help here we remove one. There we go. Maybe I will duplicate this. I will remove. Here, I will remove there and now this one would make a height and make dipness there. All right. That could be let's go to the here. Where is the scratches, right? Let's call these scratches. Chess. Right? This will be like like that. That's an anchor point. There we go. A little anchor point there. So to these scratches. There's a field layer. Let's add that anchor point. Let's select this one. Now I will put this in substract. There we go. Pus in that place doesn't have sense to have a scratch because that's like concave, sword or the thing that make this scratch will not reach that area. Alright? My me a little bit. Be less steep. Maybe something like this could be. Let's see how this is looking in the engine. Safe. And now I will explore the textures. Let's see how this Go to Hermost cool. Right. I think it looks kind of nice. I think this will be it for this video. It was just a little twigs that we had to do. So, so you in the next video. 45. Starting the Rigging Process: Alright, guys. So now we're going to rig this guy. So let's start. So let's go to Blender here in our Blender project. I will use the triangulated version, not the squadd version. I will use the triangulated version. So let me hide this. Alright, I will make a new collection. I will call this rigging. Alright. Let me right now, let's import, let me call this character, and this one will be weapon. All right. Let's go to the character collection. And now let's import the triangulated version of our character, this one. All right, let's import everything. There we go. We have our character here. And now let's import the weapon. FBX, import weapon. All right. I will move the weapon to the side, and maybe I will also make it one polygon. Let me see here in the UB right. We have different UV sets here that we should tackle. All right. Let me see. Everything should be the same UVs. All right. Everything seems to be the same. Be set there. Alright, so I will just select this. And I will make like merge everything into one piece, one object for to make this easier rig this is just, like, basically one piece. Alright, now, let's go here. I will get from the quart version, the full body version of our character. And this is full body, where is my full body. This one is the full body. Let me bring it here to the rigging collection. Alright. Why I want the full body? Because it would be easier to rig the full body version and then transfer the weights on onto the clothes instead of, like, trying to make the rig, using the clothes as a base. I will use my full body as a base, and then we could transfer the weights and all that stuff. So now let's begin. Let's go here to edit references. Let's go to addon and let's get the gi fi this Rig fi atom, let's make it active. All right. And now, let me click here. I will make a new collection. I will call this rig right here in the Rig. Let's right click or maybe Chief A, and let's go to armatur meta Rig. And now let's select this human rig. All right. But first, let me reset my pretty cursor cursor to world origin, right, Chief A, armature, human armature. Perfect. Let's make this a little bit smaller, just like that. I will also apply all transforms, maybe scale it a little bit up or right apply transforms. Alright let me go to here to object properties, and I will make this in front. And now there's active de symmetry. I will delete these bones. And now we could start tweaking this, right? Start tweaking this. I suggest you, for the legs to leave it straight because if you have maybe like this type of rotation or this type of inclination there, once we make the rig, it will have problems. So try to leave it straight as possible. Alright, Stry to get this. Alright. Let me try to get it in place. It be around here. Right as possible. Something like that. All right. Let me bring this here, right, and this should be around here. Perfect. This could be like this. Alright. Now, let's go with the clavicles, an arm. Maybe we could put this here. Let me select the arm. All right. I will just move this around here. Perfect. Let's just add it add this here. All right. Let me try to get better. The arm. I should be nice. Also, let's go here. I think it's here or maybe it's pu per display. Let's active this option, the axis so we could see the axis of our bones so we can align them properly. May be around here, right? The clapicle would be around here. Perfect. Let me try to get also the spine nicely. Alright. Let me the leg the head with the face. Alright. There we go. Maybe something like that. Could be. Could be maybe. Let's select the pace. Alright. So this. Let's just try make it smaller. Something around here. Perfect. All right. So let's work on the fingers. I will select the magnet and I will put this in volume. So our selection will be in the center of the volume that we are working on. Like, you can see this sphere will be on the center of this volume, just like that. So let's select this. I will put it by hand here. Right into eyeball lead, maybe we could make this even bigger. Let me also get my wire frame so I can see in which places we could add it or let me active. The magnet All right this should be around here. All right this also. All right. Maybe this could be around here. You can also you can turn off the magnet to adjust further the bones. All right. So now let's press N and let's go here to item so we could roll these nicely. So what I'm going to try to do the C axis should be in the direction of the direction of where your finger is going to bend. Just like that, maybe let's just try to align this better, maybe something like this. Perfect. Right let's work on this one. A around here. Or right let me activate my magnet. A right here. Perfect. There we go. I will align that later. Et's just put this in place. All right. This one should be here, and this one should be around here. The center. Let's work with this one also. One should be here. This one will be around here. This one will be around here, this should be around here. There we go. Let me hide the body bones. Let's go with the pinky finger around here. All right. This one in that. All right, that joint. There we go. Perfect. All right. This one should be like this. Alright, now, so let's roll and align these bones like this would be. Right let me also try to align by hand we are doing. Alright, let's try to get a straight line in the bone chain. This right, maybe this one is good. Maybe not. Right? Something like this could be, or maybe something more like this. All right. Let's go here. Perfect. All right here. Let's just roll these bones, right? Perfect. Here also maybe sub like this. Per Now let's just try to align this better. All right. There we go. So now we need to adjust this face. Let me hide everything, but the face. The face is a pretty like a pretty tough part the rig here in the rig five because if it's not placed well, this could make an error. It can give you an error. So give me a second. All right, so we could use this image as a guideline for the placement of our bones here with the wig pi. So let's start. All right. Let's begin. Let me hide the face itself. I will pose the ears here. Let me put the ears where they should be around here. Also, now, I will just put this in pace and fight face projection. This should be on the surface. So the magnet and the face projection is really important. So this doesn't give us an error, right? Perfect. Let me try to make the face even smaller. All right. Let's go here. Select these bones. All right. Let me deactivate the magnet just right now. Just for now. Also, the middle bones to stay in the exact middle of the word because if they are not in the exact middle, it will also give us an error. So be aware of that. All right. Let's just roughly place this all right. We also have this like upgraded base rig, right? E. Let's just place everything and maybe we could experiment with this feature. All right, so let's start placing our stuff. This one, you can see this change is this red one. You can see where it is around the jaw line. All right. So let's try to place that nicely there. All right. Let me hide all of these bones for now. A right let's go to this joint here. This should be on the corner of the mouth. Alright, let's go to this chin. All right. Just like that. This time, I will select the vertex, so I can snap it in the middle. Right? Perfect. There we go. Something like that. Perfect. Maybe in this vertex. Perfect. There we go. Alright, I will also snap all of these maybe into one vertex. All right. Let's change phase projection let's start adding the bones to the surface. Alright, let me change back to vertex. There we go. All right. This one should be here. Perfect. Let's move this around here. This one should be around here also, right? Maybe a little bit higher like that. Perfect. The nose here right is already placed. Let's go with the eyes emits a leg face projection. Let's get this ice nicely. Let it remove the face projection. I will just outline this here, and then we are going to tweak it even more. All right. This one should be on top here. This one should be here. Let's active the magnet. All right, face projection. Just like that. Perfect. Let's select this one. All right. Let me move this around here. All right. This should be here. There we go. Let's start placing an aligned the eye bones here. There we go. Perfect. Excellent. Alright, maybe we could change the bone type to stick so we could see better what we are doing instead of octaeralR? I think this is better. All right. Now for the eyes, I will get my character, and I will just align this eye bone with the eye itself. Let me select this edge loop. Maybe we could select. Yeah, I want this edge loop. So let's just try to select that All right. Oh. What did happen? Go to the I. Let's just try to select that. Right? Let's press Chief. Push all to select it. Now I will go to my rig here. Alright, let's go. Here to this bone. I will select this joint. I want this joint. And now I will press he I mean, chief S, and now I will just press selection to Cursor. All right, let's go back to this I. Let's select this middle polygon. Let's press Chief S, push or to select it. Let's go back to the bone. Select the front joint, and let's click in chiefs and selection to cursor so our bone is correctly placed. All right. So now, we should not have any error right now, hopefully. All right. Here we have the teeth, the teeth and the tongue. Teeth and tongue. Bones we could delete them since we don't have any and bones. I mean, tees and tongue. But I have an asset that I created of a teeth and a tongue. I mean, it's an asset that I modify because I just want to save time. I don't want to make teeth every time I do a character, so I reuse that asset. So I will just bring it here. Give me a sec all right, so I have this teeth mesh, and let's just place it here where it should be around here. Maybe we could make this even bigger. Something like this. The only thing I mean, I download these teeth. I don't know I don't remember where. And I just redo the textures for the teeth because I didn't like it. The ones from which these teeth come with. I've just redo that. So let's just place the teeth in the correct position around here. And now we could put these bones a little bit better where they should be. A here. Also, let's add the tongue bones around here could be, there we go. All right. So now, this should not have any problem once we click IngenateRig and try to, like, bind the mesh with the rig. So let me save incremental or right now, I will select this. I will click here. Let me see my scale and make sure that your scale is all in one and also your other transforms are in zero. Let's click here. Generate RC. All right. We should not have any issue. There we go. Let me hide the previous metac, right? Let's go here. And now we should not have any problem. Also, I forgot to this nice there. That's the nose. All right. Let's do something. I will delete this. I will duplicate this just in case. All right. Backup. Let me put this inside that folder here. Let me click here in Upgrade Base Rig. All right, there we go. Now, let's just click Injury trick. All right. Master could have found mouth corner. All right. It seems that we have mouth corners. Right, get this nicely. Right? All right. Nose glue. All right. Let's see if you go. Alright, we're getting this error. All right. Delete that. Go to the metal rig. Maybe it's because we don't have the middle. The middle joints properly aligned. Yeah, I think that the issue, right to regenerate the rig. Feel you are getting the same error. All right. Let me delete this rig. Here. All right. I'm like this would be. We should not have any issue. Topkos click here and generic trick. You know, Sin glue. Alright, we're getting a lot of errors here. This is your master? Oh. It may do also something. I will select all the middle bones, and I will click, I mean, press S X zero, and everything should be nice right now. And now I will just press G x and write to align everything to It everything too. Want to constrain this stuff. Anais, I want this to move. Why is this moving? Stop. All right. Let's see. Greek. You'll get in the issue. Original in and glue. What is that issue. Original and glue in and glue. All right. I should be the issue. All right, there we go. Let's click here E Euro. This is not properly zero, all right, S zero. Now, let's just move that place. All right. Also add this pulse in position. Let's see if our rig working now. It is working. Perfect. Actually made. But we are getting this messed up. For some french reason, for getting this stuff. This is the teeth. All right. Let me delete that. Let's go back here. At this bone, it's not properly placed. This is the top teeth. And for some reason, this just got, like, like that. Don't know why. Let's just try to put it in the middle where it should be around here, maybe. Go, let's click IngeniRik. There we go. Let's hide in this. And now we should have a rig nicely done. Let me safe incremental. Let me see how this bends. Al this is not bending nicely that arm. Let me see the legs. Alright, the legs are bending a good. I think so. We should we even more this rig. Right, let me modify the row a little bit like that. Be. There we go. Let me also move this ankle on a tiny bit just like this would be a and the arm. Let me try to align this better. Alright, let's see how this looks. All right. I just add it in the backup. I just dump. Let's do it here. I will need to redo everything I have done. Cause I just did it in the backup. All right. Let's place this here. This one here. Perfect. Let's move this a little bit. There, right to realign a bit better. These bones. Let's see how this looks right rig. All right. This is looking tiny bit better, but not quite y. All right. First of all, let me parent, I mean, bind my mesh with the skeleton with the wig. So let's click first the skeleton. I mean, the mesh. Now let's click the skeleton. And now let's console P and select automatic weights. All right, it should be nice. All right. There should not be any error. If there is some error like here, it's maybe because of the face rik, maybe you have something wrong with it. Maybe one bone is not correctly placed on top of the surface, something like that. But let me see how this is bending. All right. Bending kind of good. I don't quite like it. All right. Let's see here. This is bending nicely. This finger, this one. This one. This one are bending nicely. Can let me see the arm. It's not bending quite nice. All right. Let's see this. Per Alright, let's see the face, how this is working. Right, let's see the jaw. Right. Let me see the Alright. Let me find the rest. For the teeth, I will just select the teeth and tongue. I will just select them and now select the rig. Let's console P. This time, I will just add it in empty groups. So let's first select the top teeth. Let's select the armature. Let's go back to the top teeth. Let me hide the body. Like the armature? No, let's say top teeth, right? Let's go here. In the armature. Let's select the armature. Let's go here. Let's go down and let's select these deformation bones. Let's active them, select the armor or the teeth. Let's select this teeth bone, and I will just apply a weight of one to that. Something that I like to do in my brush when I'm weight painting is to change from sphere to projected. So I can paint and it will project my my weight through the model. All right. Perfect. Let's do the same with the lower one. Hide this one, this one. This lower teeth. All right. I will hide the teeth. Now I will just select the tongue. But with this one, let me also put this armature in front right less weight frontal, fill this point maybe. We could smooth that go here. Also, we could do the same. Smooth that and now here. Perfect. Moove that. There we go. There we go. There we go. There we go. All right. Let's bring back our character. All right. Everything working nicely. Have some bones, some teeth. All right. Let me turn off the deformation bones. So let me save. I want to get this nightly. So let's try to do that. Let's go back to the metric, right? Here. In the row. Let's go back to item. Right? We are in edit mode. Let's just try to get the correct role here, right? Just like that. Let's see if this works. We get a rig. Now, that didn't work. Alright. To get this better, maybe something like this could be regenerate rig. Right? This is better, indeed. Let me hide this meta rig, all right. Now, it's working better. Alright. Maybe put this in local. Let's see how this is working, right? I still don't quite liking how this is pending, son. All right. Let me go back to my metric. Let me try to align this a bit better. Want to get is joined in the edit mode. I'm here. We're going to rig. All right. I think this should be a tiny bit less. I mean, the giphy defines the direction of the rotation by the inclination of our bones. Like, if this is like that, this will, like, bend on this direction. If this is like this, this will bend this other direction. So let's just try get this nicely. All right. Go back to our metro rig. Where is my generate rig? I think I'm blind to be here through generate Rig. Alright, let's see what this looks. This is better or right. Perfect. That's better. Let me save the incremental. So now we need to work in the weights. Let's do some weight painting. So what I'm going to do? I will hide almost everything here. I will just add the arms, the legs, maybe the face, torso. Fingers, and that will be it. Here, I will just go down and select the deformation. Now, let's select our body and let's start working in this. Let me move the bones to see how they are behaving. For some reason, this is not working. It's symmetry, or right now it's working. Right? Let's move this like that. Select this bone. All right. Let's go here. Let's select the one paint. Right, let's press Control. Let's go here to two or this project. Now let's start erasing some of that unwanted weight there. All right. Let's like this. Maybe we could smooth this a tiny bit more. Maybe in here. Let me go here also. The blur, let me put that in project. Right, let's go back here. Maybe we could erase tiny bit. I All right. I will do the painting without symmetry in the painting because you can see that we are getting this weird weird stuff there. Alright, I will just do it like, do the same in each side. Just like this. Let's smooth tiny bit. This stuff. Alright. Me like that. Let's erase everything from those areas. All right. Perfect. This should be good enough. All right. Let's see how this is behaving. All right. I think that's good. Go to the other one. All right. We go to this part, I will add a tiny bit more of weight into that area, that chest area, maybe a tiny bit more. Let's see how this is behaving. But let's go back here. I will remove the influence from the neck area not looking good. Maybe we could do some moth, go to the other area. Let's do the same Let's see how this looks. That's better. All right. Better. I think this is looking nice. Let's see here. This also looking nice. All right. Perfect. Let's see the joints on the face. Let me bring face joints. Let me go here. Item primary phase Dadios. Alright. Here. Let's see how this is looking. All right. You can see that we are getting some weird issues. All right. So let's just try to fix that. All right. Let me here, let's go back and add this in sphere. Let me hide This one? Alright? Maybe we are getting some weird issue. Add a tiny bit more of influence there, right? Something like that would be. Help me decrease the strength of this, right? Here. There we go. So with this upper one, we could also add a tiny bit more of influence with these ones, maybe also in these ones. All right. Go back here to maybe some blue All right. Let me erase. A bit from here. Here we go. The face is a tricky area. So let's have some patience. Alright, let's go here. I think that part is looking good. All right. Something like this could be. Let's see here. We're getting some issues. Right? Let's go here. Let me, remove influence from this audio. Right? Like that That a little bit more of influence here. Here we go. Let me see how this is looking without the interface. Let's go to three viewport. Let me just click here to the active influence. I mean, the interface or we're getting some weird stuff. In this audio, let's remove the influence from there. Alright. There we go. Let's just keep doing this. Let's see if we could get this nice and good. A All right. We will have also to do this, the other I. So really least have patient on this. This is a little bit of a tedious process to do. I quite not getting this nicely. I think I will just leave it like that. Looks decent enough, maybe. This one looking good. Alright, let's go here. The other eyes do the same. Perfect. Here we go. We could remove a tiny bit. Of influence from the upper area. Just like that. Let's also do the same here. All right. It's a little bit of influence here so we could get a smooth transition. All right. We'll apply more influence to this. All right. Go to this one. Let's also try to get this nightly there. All right. I still don't know why this doesn't want to get affected. Well, that means looking kind of decent. All right. Oh. But. You just messed this up. Let me do this second. All right. I think I will just leave it like that there. I think that's the only issue. Here, let me remove fishing bones. All right. Looking nice. All right. Let's bind the eyes. Let's go to the character. Let me high everything but the eyes. All right. Let me high everything here. Right? I just want the eyes to be visible. So let's just get that go here. Let's be safe incremental. All right. We have this? Right. Let's select this one. Let's click here empty groups. Now, I will add again, my deformation bones. So The I should be, like, attached to this deformation bone. Deformation, I master. Let's see. Let me increase strength again, let's put this in project. Right? Now, that should be good. No. No, no, no, I just put it in the ground bone. Right, should not be in that bone, should be in the smaller one in this one. This one should be. Let's just add it there. Let's see if it is working right. You can see it's now moving. Let me remove the influence from here also. Right. Let's do the same here with the smaller bone for the right eye. Alright, now, it should be looking good. You can see how this looks looking nice and good. We need to do more work here. I don't want these lower eyelids to affect that much in the cheek area. So I will just remove a tiny bit more this area. All right. Let's just keep removing. More influence from there. Let's do the same here. All right. Perfect. There we go. Also here. Alright, let's see how this looks. Alright, looking nicely now. Perfect. Right. Let's see. All right. Let me hide the deformation bones. Looking nice. A With this check bone, not working that nice. Well. Alright. I think this is looking good. So now, maybe I will leave this video here in the next video where keep working on this rig. I'll see you there. 46. Continuing Rigging: Alright, guys, now we're going to continue with this rig. So in the previous video, we left the model like this, right? Oh, this is a little messed up. All right, that bone is still messed up. Alright. Maybe we could just roll this and put it in place. Just like that. I like this. Alright. Let me safe incremental. So now we are keep working on this rig, getting some weird issue there. Alright, let's go here. Let's add, again, the deformation bones. Let's just try to reduce the influence of these bones in the forehead, so it doesn't squash down the head. Alright. There we go. Any bit more here. All right. This last one. Perfect. Alright. Let me hide the deformation bones. Let's see how this looking it's looking better. It's still scratching down, I know. But there is not much that I can do to fix that. That's one problem after gifyrcT issue there, I really don't like it. But that's how it is. Maybe you know the solution, but right now, I don't know it. All right. So let's just keep working on this. Everything's working nicely. So now we need to transfer the weights that I have here to the actual character topology. So how we're going to do that? Is it. So let's start with the character phase. Let's see if we could find By this one. That's the one, yeah. So let's go here. In this one, let's add one modifier. Let's select It's not transfer attributes. It's here data transfer or write vertex data by vertex group. Now let's select this full body. Also before doing all of that, let me bring my entire character. No. Let's just do it one by one. Let's select this one. Let me get the rig. All right. Now, what I going to do? I will start, parenting my messes to the Rig. So let's just do this console P t groups. Now here, I can do the transfer attributes, this transfer, and now this should have the exact same Vertex data as the full body version. Right? Working nicely. You can see it there. The exact same vertex data. Also get the textures of the character also here just to visualize the better. So I will just import all of them. Let me show you real quick how I'm going to do that, right, in the shader editor here down. Let's click here and select Shader Editor. Now I will go to my textures. And now I will just rack my texturing All right, I will just track my textures here. Perfect. And I will just start light them where they should be. This is the base color of the head. Let's just put it there. This is the metallic. Like the metallic and the normal map should be in linear this interprets correctly. So now we need to do add few nodes for this to work correctly inside Blender. For the normal map, we need this node, this node that's called normal map. So let's just link the texture to the color. What? Not working. That's the jacket. This is the head, right? I just imported the wrong normal map. Let me get correct normal map. All right, this one. Let's just put it there. Alright. I think this normal map is lip. So let me get an RGB curve here. I will just increase this, or right now, it's working nicely. Now here, I will just add a separate XYZ. And now this XYZ represent the RGB. So for the roughness is the Y. Let's just put it there. And for the metallicness, is the C. So let's just put that here. You can see how this looks. So I will do the same exact thing for all the texturing set. So I will back in just a sec. Alright. So now, here I have the character with the textures inside Blender. So let's just keep working on this. Alright, let's see how this looks with the textures. All right. Looking good. So now we need to do we need to append, like, attach the eyebrows and the eyelashes. So let's work on that. Let's select the eyebrows. Let's select the RIC, Console P, empty groups. Now let's go to the eyebrows, and now let's do some data transfer or write vertex data, vertex group. Let's select the face, Console A. Let's do the same with the eye lashes. All right. Let me select the eyelashes, the RIG Console P, right empty groups. Let's go back to the eyelashes, select the face vertex theta, Vertex groups. There we go. Let's see how this looks right looking nice. Now, I need to do some adjustments here in the eyebrow. I mean, in the eyelashes. Let's go to the eyelash. I have this affecting these bones affecting the elas. So let's just try to remove them the infants, and now this should be nice and good. There we go. Also, I will like to position a tiny bit better. These eyelashes. A, so I will just delete one side because I will use my mirror modifier. All right, let's just put it on top here. So it's better aligned. It's not a mirror modifier. Let's click here, a pen I mean, apply that mirror. Let's see how this looks. Looking better. Let's see the eyebrow, right? We need to do some adjustments in the eyebrow. I like the eyebrow. All right, let me delete all of the influence from that. All right. See how this looks. All right. Need to also do the same in this side. Alright. Let's see how this looks. All right. Looking good. All right. So let's just keep working on this. Oh we work. Keep working maybe in here. All right. We select my head in good provide the mask. I will just merge the subject with the main mask, right? And this one, I will also merge them together. All right. Perfect. And now let's select the mask, P empty groups. Let's go to the mask. Let's add some data transfer or maybe not that transfer, what we could do this time because data mesh that will not deform. We could do it by hand. Right. Let's select the mask. Let's electric. Let's select this headbones go to the mask, the mask. I mean, the headbone. Now this should be good. Perfect. I'm going to do the same exact thing with the hair and with this cable. Maybe with the cable, I won't do it. I will do maybe some duct transfer. Let's see. Go for the hair. I would like to lift the hair like separated. So maybe this one maybe this hair band, we could merge them just like that. We'll select the entire hair. Select the entire hair. Right? Maybe we could merge these together. Maybe not let's just leave it like that. All right, Control P empty groups. All right, let me select this one transfer. Let's just start painting a full influence from the headbone just like this. All right. O here. Let's do the same in that airtrand here, let's do the same. All right. It's like this. All right. Perfect. All right. Let's go now with this cable. Let's apparent the cable with the rig. Let's do some data transfer. All right. Transfer verte groups. Let's select the head. Right. Now they should be good. Let's test this. All right. Working nice. Ah. What? No, this should be good. Where do I have another in the palm. What have the selected in the palm. Be working nicely? If you're not selected, anything right. Nicely? All right. There we go. So now the inner suit. For the inner suit, I will end the inner soot with the rig, just like this. And empty groups. Let's select the inner sot. All right. Let's do some data transfer. Let's select this time, the full body. In that way, we should get this nicely, just like this. See how this former Looking good. All right. Let me hide the jacket. All right. That let me hide also. These ones. There we go. Now, let's select this one, this inner armor. Let's pairing that with the rig. Let's select that. All right. Let's add a data transfer. All right. Let's select the full body. Just like that. Apply that. Let's see how this looks. All right. Looking good. All right. Maybe we could tweak a tiny bit more. This. Alright. Seal prick. All right. Let me modify a little bit more. I mean, the vertex paint here. All right. I think it's looking cool. Maybe let's try to get the middle piece not be form that much. Alright. I mean, I don't want the middle piece to be deformed that much. With something like this could be. No. I would be just like that. All right, let me erase a bit more. The influence from here. Daria. Me, Ense. Et's do the same here. Me also Ense. Let's see how this look. Right? Perfect. Perfect. Looking better. All right. Right. There we go. Let's keep working on this. A incremental. All right. Let's attach also the shoulder pads. Let's go. Console P empty groups. Let's select shoulder pads. Now I will just attach them to this bone. Let's select that here. Go to this bone. Let's just attach that there. Alright let's go to the bone. Like this. Perfect. Alright, looking good. Now for the loves, what I'm going to do would be just to parent the parent these, all right, empty groups. So here, that's a transfer by Berea pertetGroups. All right. Like that. Let's see how this looking. Alright, looking nice. Looking good. Everything is getting live now. Alright? Let's just keep working on this. All right. Maybe we need to do some little twig. Maybe here, we could make this red, just like that. Let's do the same thing in the other side. So we don't get any weird distortion here. So also here, remove that. Right. Now we should not get that weird distortion that we were getting there. Alright. All right, perfect. Now, let's select all of these plates. I will just make them one. Now I will just paren them to the armature. Alright. And now I will just paren them to this bone. Alright? Let's go to the other one to this bone. Perfect. Let's see how this is looking. Alright. Perfect. Now, let's work on the hand armor. Let's just do this one by one. WOE empty groups, let's go here. I will just append that to this bone. All right. This one, right. Let's Maybe let's select everything. Right? Select the armature P, empty groups, let's select this one. The armature? This one? All right. Let's select this hand bone. I will just paint that there. Let's do the same in the other area. Let me go here. I will do the same in the other area. Perfect. So here now, like the armature, you know, this one, Perfect. So here. There we go. Alright, that's not the bone that I want. This is this one. There we go. Here select this one. Perfect. Let's see how this is behaving. Looking cool. All right. Let's select the other one. All right. Let's do that in the other bone. All right. Perfect. Et's go here, select armature, then this knuckle armor. Let's do the same here. This one. Perfect. Go here. All right. Perfect. Let's go here. The pinky finger. There we go. All right, the arms are rigged. Alright. Let's bring back our jacket. Now, let's a pint jacket. I will merge these little strap with the jacket itself. All right. Select the jacket. Let's select the RC Console P, and two groups. Let's go here. Now, let's add some data transfer. Let's select the full body, vertex data, vertex groups. Perfect. Let's see how this looking. Looking nice. And All right. Maybe we will need to do some a little bit of work here. My smooth this entire piece. Also here, a little bit of smoothing. The other area as well. All right. Perfect. Let's see how this looks. Now it's working better. Perfect. Let's safe incremental. Alright, we have the top piece of our character rig. All right. Now we're going to rig the lower part. Let me hide first the belts and the skirt because we will need to add custom bones for those for those pieces. Let me merge. Piece the eyes to the demon head right. Eye that also here, I will just merge them. Maybe not the straps. Maybe we could leave it like that. Maybe not. Let's just merge them. I Alright, let's go with the pens. Let's select the rig empty groups. Let's go to the pants. Data Transfer or write vertex data, Wull body. All right. Let's see how this is looking. Perfect. All right. Let me also select This poge. I will just merge this wrap with the poge. All right, select these empty groups. All right, let's go here, data transfer. All right, vertex data, select the pans. Perfect. Let's see how this is looking. Working nicely. All right. Let's go here with the knee knee armor. Let's select these empty groups. Select the knee armor that transfer. All right. Let's select the pants. All right. Let's see how this is looking. This is stretching too much too much. All right. Let me see something. Maybe. We could lure a little bit more. Right. Here also All right, Let's bring back the knee armor. All right, ras Vertex eta. Let's select the pants again. Let's see how this is looking. Still not working properly. Et's see. Let's do some smooth. Let's see how this is looking. It's stretching a lot. So maybe I will just remove the influence from this bone, and I will just add it here. Let's see how that looks. Well, like, maybe we could do the, the other way around, let's remove that from here. Let's just appent that here. Let's see how that looks. That looking good, either. Alright, I will left like the knee armor for the last because I think that I will need to add a custom bone for that knee armor. So let's just leave it for the end. All right. But Alright, let me just remove that from here. Alright. Perfect. Let me save this. Let's go to the calf armor. Or right empty groups. Now I will go here to my calve armor. As transfer vertex data, full body, let's select the full body or right perfect. Now, let's select the choose and rig empty groups. Let's go here. A transfer vertex data, verte groups, and let's select the full body. Alright, it's working nice. This should be with the cow farmer. Just like this. Right here, awesome. Perfect. There we go. Let's save this. All right. Now I will go here to the rig and I will add Another. Let me remove all of these controllers. Alright? Let's go to the edit mode on the rig. Alright. Let me go here. We'll add a new layer. Where is my new layer? Bones. Drop it down. Boston Bones right? All right. Now, let's select this layer. I will press Shift A with a new bone here. Let's select the bone. All right. Now I will just put it in here. And maybe I will like this one. And let's just put it in, maybe. I don't want this to move. Right, let me just remove that. I'll select this one and just put it. No, the lower one, this one. Alright. Asel B. Keep offset. All right. Maybe not that. This one. All right? Keep off the. There we go. Let me make that with smoter. Right? Now, I will call this bone death it. All right. It's important for you to have this suffix, the L and R because in that way, Blender will know which bone R on the left side of your model and on the right. Like, for example, this bone is in the left side of our model, so this will be called L. If this bone were here in the right side, this will be called R. So you can see what we could do with that feature. Now, here in the edit mode, here we could select CymetrisT should be working nice. But this is not working. But what did I rename? Let me see. This one, indeed, this should be the one. All right. Let's call this de underscore knee right now, this should work nicely. Metris, there we go. Let me select the mirror. All right. Maybe we could tweak the role a little bit, just this perfect. Now let's go here. I let's weight paint to that bone, its entire knee pad, like that. Perfect. So here, right. Let's see how this is looking. Let me bring back my layers, right? My controls. Now we could just adjust that properly there. All right axis. Perfect. There we go. Alright, I just added like a constraint. So this bone stays in place when we bend our knee. So what we did was in this bone in the pose mode, I just went here to bone constraints, and I just added this constraint that is copy rotation. Then I just select a target the rig of our character. Then I just select this bone here, and I applied like the copy rotation just in the X axis and in local space with the influence and 0.5. Let's do that in the other area, so you can see what I did, right copy rotation. Let's just leave it in the X axis. Let's just put this in local space. This will be in 0.5. And now let's select the rig. Let's select this bone. All right. Now, this should work nicely, as you can see, all right. So everything's looking nice, working good. All right. Now that we have basically the pants already rigged, we could let's do something first. Let's go to the jacket. I don't want these bones to influence the jacket. All right. Spell these bones. I don't want them. All right. Maybe I could remove that. Would be right? Let me apply this influence to this area. All right. Just like that. I don't have any other. Fine one. All right, we'll just leave it like that. I don't care. All right. Let's see. We could smooth any bit. But this in here. Let me see how this behave. We need to I need a bit more This bone fall here. I mean, the influence of that bone. All right. Like this, smooth that a tiny bit more. Maybe we could add This be Alright. Maybe not like that. All right. And let me separate these straps. Let me hide them. Right, like this. Let's smooth that a bit more. Let's go to the other hand. I mean, clavicle. Here reduce the influence. Is clavicle. All right. Save this. Let's just test that right. Let me bring back again, my straps. Let's do some data transfer or lets select jacket, Vertex data by vertex groups. Let's see how this works. Alright, it's not working nicely. Ryle's selected straps. All right. Go here's the same. Let's see how this works. All right. I quite not liking it. Alright maybe, I mean, you know, like All right. All right, let's see. Maybe let me do again, the data transfer, vertex data, vertex group. All right. Perfect. Go here, smooth. Go here, smooth go here, smooth and smooth. Perfect. Let's see how this looks. All right. I will use that from here. And now we should be good. A All right. I mean, I quite liking it, indeed. All right. Let me do something. All right, I will do something. I will merge them. And now here, I will select everything here with, and now I will select this vertex and I will just press copy to copy the entire influence of that vertex into this entire piece. All right, let's go in the other side or right here, go here. Copy. There we go. Now, this should work nicely. You can see this works better. Alright. Let's safe incremental. Now we're going to bring our skirt here. Alright let's bring our skirts, right? Now here, I will select all of these. The select my armature unless just do some empty groups. Now, for these pieces, like for this strap, I will append that to the pelvis bone. Let's go here to the pelvis bone. I will just append that there. All right. Let's do the same with this buckle. All right, of this bone. Same with this wrap. There we go. And the same with this strap, I mean, this cloth. All right. For this pouch, I will add another bone. All right. Let me bring back also my demon head. I will add two bones, let's go here. Let me hi everything, and let's just leave the deformation bones active here to the custom bones. I will click. If A in edit mode, if A, all right, here we have our stuff. I will add this custom bone around here. Let me roll these just like this. There we go. We'll just put it here. And now I will select the pelvis, this bone here. I will press conto P, keep upset. All right. I will copy this one. Maybe I will call this death poach. I will copy that and I will just put it here. All right. Let me roll this just like this. There we go. This will be de Demon head. There we go. All right. Let's save this. All right. Now, we need to add some custom bones for the skirt and this strap. So let's do that real quick. Let's go here. Maybe I will make another layer. Let's call this third. Oh, now, right. Now, what we're going to do? I will append, a bone. All right. Let me just rotate this 100 180 degrees. All right. Let's just put that in the center. Maybe something like this. Now, I will click here and subdivide this. Maybe let's change this. Let's put this like the third subdivide this. Right, subdivide Let's make this with Arthur. It should be 02 means, yeah, 02. 02, one, 02, four. To be four. Why five. Alright, I think this is good. Yeah. Now, I will copy these bones. I will just put it in this side. Even here, I will need a new phone here. There we go. I will just add the suffix of L, just like that. Let me select the suffix. I will just add that at the end of everything. Just like that. All right. Now I will select this stuff. I will click here and symmetries. I can work with symmetry now. Let me add maybe three chains of bones maybe something like this. Another one, this area would be All right. There we go. Let me try to do some roll here and align that nicely. All right. Like this. All right. There we go. Here, let's do the same. All right. Perfect. There we go. Let's select all of these bones. Select everything here. Now, I will just click here and let's do some Control B. If offset, all right, this should work nicely. Al right now for this. I will select maybe this one. Let me duplicate this. I will go to my UB editor. Now, in the duplication of that skirt, I will delete the inside. All right. Let me also delete the thickness of this. All right. Do that in the duplication. Not in the original skirt mesh or writing. Now, I will right? I will select this mesh, and then this one, I will click here automatic weight. Why I'm deleting the inside part of this skirt Because the automatic weight doesn't work too good. I mean, it doesn't work nicely with meshes that have thickness like this skirt. So I'm just deleting the inside for this to work properly. So now let's test how this is working. This is not connected. Maybe I'm dump. Yes, indeed. I think I did something really dump. Right. I will have to fix it all by hand. P connected. PET Control P. Connected. What Heeneh my God. Here. When this one. I should be connected here. And connected Connected. My God. Let's go back again. Let's see if this list let us the enough console C. All right. You said something really dumb. Oh, my God. All right. So We need to get, again, the parenting of this nicely, again. So let's see connected But right, connected. Alright. Connected. Now, this should work nicely. B let's do the same here. Oll B connected. One'll B connected. B, let's go here. Ontll B connected, go here. C B connected. All right. Let's do the same thing with the rest. B connected. A, C P. Connected here, all right, Console B. O let's select this one. CP, connected, all right. And here, C P, connected. Let's do the same here. Control P. Connected. Console P. Connected. Control. Chief Console P connected here, Console P, connected. Or right now, this should work nicely. You can see there, all right. Let's duplicate this one. Again, I have already here. I have it already here. All right. So now let's select Earth, and they are mature. Let's click here in automatic weights. Let's see how this is looking. I think it's looking nice. Let's go to the three D Viewbard. All right. Looking good. All right. Now, let's transfer the weight from this like plain skirt to our skirt with thickness. So let's select our original skirt. This one. So here, that's transfer, select the other one ertext data, vertex groups right. And now the should work nicely. Oh. Why? Is this not working? I should work. All right? Is this one, all right? Let's here. That transfer all right Vertex data, Vertex group. Let's select this one. All right. Let's see. It's not working. Why is that B, empty groups. Let me do the same thing again. At a transfer Vertex data, vertex group. Alright, now this should work. Alright, now it's working. Let's hide the other one. Let me say incremental. And now this is working rapidly. Perfect. All right. Let me go here. Just the armater and the skirt. I don't want to have any influence in this top area. All right. I don't want also these bones to affect skirt. Right? Let me just erase the infant from the top. Apria here. All right. Here, it should be attached here. Just like that. There we go. All right. Let's go back. Here we have it. There we go. Let's go back to our rig. Let's bring back our controls. Let's see how this is looking. Let's go to pose mode. Torso. Alright, now we could also pose our skirts. Alright. Empty groups. Let's select this one. Here. Right. There we go. Now, let's go here. To the demon head. Like the armature, P, entry groups, let's go to the Damon head. Let's select this bone, and let's just fill that with red. There we go. Now we need a chain into this wrap. Will be basically the same of what we did in their All right. Now let's go and select the armatuEmpty groups. All right. Now, I will go to edit mode in the armator. Let me hide all the trolls of the rig. If A, all right, maybe we could move this it'll bit better here. All right. Let me try to adjust the roll like this would be All right. Now, I would call this De Ba belt. Let's subdivide this a few more a few times, maybe five times. No these ones. Alright I think we can Alright, maybe we need one more bone. Right? Let me readjust the bone. This And now I will go to the strap and I will select each bone, and let me select the pelvis also. Let me apply red into that part. Alright. So let's start adding the influence for each bone just like this. Perfect. There we go just like that. All right. Let's do the same here. Or to P, and two groups. Let's go to the strap. Rap no. This one. All right, there we go. There we go. Let's go to the strap and then just do some smooth. All right. Just like that. All right. There we go. So basically, we have our entire character already rigging. That's nice. That's good and nice. Alright, let me bring back my controls. There we go. Let's make a bone for this weapon. So we could add right. We could add an armature, a single bone. All right, let's just put it here. E. All right. Now to this bone, I will add on constrained. On constrained, I will put this set child off, right? I will select this rig, right? And now inside that rig, I will select this bone. The palm, deformation hand here, let's select death Alright. Here and R. Perfect. Let's select here, click Set inverse. Now, this should be good. Perfect. Go here. Let's parent this stuff with that groups. All right, with that Armage. Let's set one in here. All right. I have also this for some reason. This is curd. It should not be like that. I have R there. Let me do something. I will go here. I will add a transfer per group, right, and then I will just select this skirt, right. I will just move this maybe outside this proxy mesh right. In this one, I will change the type of the bone, maybe to stick or maybe to be bone envelope, fire. All right. Maybe some B bone. All right. Every stick, right. And now we should have everything already rigged. All right. Let's see. Let's test this. Right? Let me go here. Let me put that Right. We'll put this in the center of the world, right? Well, I will just put that in the hand his hand. All right. This is just a test. All right. Let see like this. All right. And now we pull the hand. I mean, the arm. See it there. All right. Now we have our character, Rick, and that and I think that means that there are just two videos left, like for the posing and the rendering. So basically, we are almost finished with this course. So see you in the next video. 47. Posing the Character: Alright, guys, so let's pose this model. Though, for the post, I'm not going to use the post that is here in the concept because I don't have this we didn't make this hoverboard. So this pose, it's made for the hoverboard, but we don't have the hoverboard. So I will do, like, a variant of this pose, like for standing, something more like this, as you can see. I just did this pose before just to test some poses, and I really like this one. So let's begin with the posing. So, the first thing that we are going to do will be to add a floor because we need some floor to put the fits on top. No? All right. Let's add a cube. Let's just squash it down, just a tiny bit. All right, let's just put it here. There we go. Now, let's start doing dispose. So let's analyze dispose. All right. You can see that we have a line of action. Let me see it like this. All right. Also we have some contraposto. You can see the shoulder. Let me change the color. You can see that we have some contraposta. I mean, for get the poses nicely. We need to have this contra posto. I mean, yeah, you can see how this comes. Like, the shoulder and the waist should be, like, crouching in in the same direction. You can see it's going down and it's going up. That makes the post feel natural and nice. So let's begin with the posing. All right. So let's get this model. Let's put it on place or let me get the root to rotate this a little bit. Just like this. Perfect. All right, let's move the feed. Let me remove the symmetry. All right. Something like this would be something like this here, let's go here. Maybe we could move this part here. This maybe could be. Alright, let me rotate the waist. Let me see like this. Alright. Let me put the feet on the surface. Just like that. All right. So now let's bring let's rotate. Let me put in global, right? Let's rotate this stuff. So we have a better line of function. We could exaggerate a little bit more the line of action. Oh, we have some floating geometry here, so let's go back to the rest position. All right, let me bring the former bones. Now let's select that piece. Let's select the armature right. Let's go to this piece here, and now I will just add the full influence into that piece. So we could go back now to the pose mode and keep refining the pose. Here, let's add a little bit of contra posto. Something like this. All right. Okay, something like this. All right, something that I will want to remove will be the influence on the jacket. Like, for the influence of the neck on the jacket, I just want to remove that. It's gohe to the neck bones. All right. I don't want this influence there. Also the head. The stuff. This one maybe could be let's see how this looks. Alright, let's go back to Rs pose. I think this is looking nice. Alright. Let's just keep going with this. Alright, let me move this feed more like this. Maybe we could start moving now the jacket. All right. So like this would be right. We have some weird stuff happening. Alright, why is this not moving properly? I think it's because we don't have Let me see what the influence of this bone. It doesn't have anything. Let me go back to rest pose here with this object. Let's go here at a transfer vertex data, vertex groups, select sort. Right now, this should be good. Not good. A All right, maybe it's because I need to parent it again. All right. Let's go. Let's do this again. That transfer data verge group, let's select the skirt. All right. If this is working nicely right now. Yeah, it's working. So let's keep working on the pose. All right. Let's rotate this a tiny bit more. All right. Maybe we could rotate a tiny bit more, just exaggerate, like the pose, a tiny bit. We could also move the waist. Alright, let's go here. Maybe we could even ate a tiny bit. Per torso try to get also some siluet Alright. Nothing more like this. All right. Let me move this more like this so we can see the feed A bit better. Let me put this in individual orange so we could move this more. That the same here. Alright. Let's also move poach. This. Let's try to have an angle that we cool and we can see what we are doing. All right. Let me move this a tiny bit more, just like this would be. Maybe something like this could be. Alright. Maybe we could reduce the irritation that we did here, rotate it rotate it back a tiny bit more, right? What we what I'm going to do, I will add like a camera. So I can see better what I'm doing. Let's select a camera, Aline. Alright, Align camera to view where is viewpars supposed to be here. All right. Let's click here. Align active camera to select it. Right? That's not the option. Not that All right. Cameras dead object has active camera. So let's move this. All right, let me put the camera here just to have the angle where we are going to see this character. Looks like this copy. All right. Maybe we could put this aperture to be like square. Some like this. We could. We could make this just like that. Right? Let's just rotate this. Tiny bit more. Alright. Let's go here. Let's keep posing this. All right. Give me a sec. All right. Let's just continue with this. Maybe we could make this cloth tiny bit more like this. We could even rotate this cloth. Right, something like this could be. Maybe not that much. Let me put this back into local space. All right. There we go. Somebody like this could be. Alright let me try to get this hand nicely. Alright, let me make this character to look. Maybe it's not looking at the camera. Looking somewhere else. We call rotates. Base. To me bring back. Just make it. That go here. All right. Let's select the eye. Maybe he's not looking at the camera. He's looking like the side, maybe there is something there. Maybe it could be. Maybe he's looking at the Let's see. Like this. Let's make this to look bit side could be a tiny bit. All right, let me add this weapon in position. All right. Move this here. I will start posing the weapon. Maybe the weapon. All right, maybe the weapon is around here. All right. Let's see Let's put the weapon in position. All right. I like this could be. All right. Maybe something like that. All right, select the weapon. Select bone of the weapon. Let me put the bone in front so I can see it better. We could bring it more like this so we can have a little bit of siloet of the weapon. All right, maybe we could move it more like this to be better in the hand. All right, let me come here. Maybe we could rotate this. A bit more. This, let's go to this bone. Let's rotate that. Then Alright, let's just put it. Put this weapon around here will be Maybe. Alright, I would like to remove the constraint that I have on this bone. Alright, I will just remove this. I just apply it because I want the transformation that I did, but I don't want the weapon to move. Every time I move the hand. At least for this, I don't want the weapon to behave like that. Alright. So let's continue working here. Maybe we could maybe rotate this a tiny bit more. All right. Let select this active element. All right. We put this in median point. Working rapidly again. All right. Here should work. All right. Something more like that would be, let's go back to local individual individual orange. So, let's just keep working on this. Maybe we could pose this stuff a tiny bit better. Maybe we could have a tiny bit of ilouett in this area. All right. Perfect, let's select a chain of bones. Let's move them just like this. All right. Let's go here. All right. There we go. Let me move this more like this. W B. Alright, maybe I could move this more like that. So it's a little bit further away to the other leg. Alright. Be rotate more. That rotate this even more here. Would be Perfect. Here. All right, we're getting a little bit of issues. See what's happening there. Like this one. No. Let's go back to Res pose. Here. Maybe we could remove influence from there. Just like this a little bit. Alright. Let's see how this looks when posed. All right looking kind of better. All right. Maybe we could increase the focal point, I mean, the focal length of our camera. Maybe something more like this would be maybe 670 All right. Something more like that. We're not going to render this character here in Blender. I'm just getting like this camera just for for posing to have a better visualization of my silhouette and all of that. Alright. Maybe it is more like that. I All right. At tiny bit more like this. Let me hide the skirt. So I can see better what I'm doing here. Let me rotate this leg just like that. All right. Also, this one, we'll just put it here. And let me bring back my skirt. Alright. Go here. Let's just put this, make this arm, like, to hold the weapon re something like this. All right. Let's go here. Back. All right. We could open a little bit more. This This finger, maybe, let's bring up the arm. Let's bring, like the detail finger controllers. Alright, so we could move the better. Let me hide the deformation bones just like that. Perfect. All right. Move the more like this. And now we could wrap the finger around the handle or like that. Alright, let's go with the thump. Alright. Maybe we could make this hand more like this. All right. Let me move the weapon and even more. Alright. Around here. Let me make the weapon a little bit smaller. Just like that. All right. Maybe not. Let's bring back the scale. All right. Let's select this one. Let's close more this finger. I like that. Perfect. There we go. This let's try to get this hand good and nice here. Maybe something like this could be. Because he's not holding, like, pull the weapon because the weapon is, like, on top of his shoulder, so he don't need, like, to wrap his entire hand in the handle. He's just holding the weapon so it doesn't fall off. All right. I quite not like how he's doing that. Maybe it's more like this here. All right. Let's get the finger nicely there. Also get this other finger nightly there. All right. Write more like this. Go back to the hand. Maybe something like that could be. Maybe we could even wrap this a little bit down something more like that, so we could we could close a little bit the hand even more. All right, so let's go here. Let's pose this other hand, maybe some simple pose, like some neutral pose here. All right. Maybe he have on his hand, he have the demon head. Alright, let's just put it there. Like, he has he's holding his demon head right to add the demon head there. So this has a little bit more interest. Alright. With something more like this, all right, at this. Let's just take it and put it on the hand, right. All right, let's go start making this hand to hold the demon head. All right. Let me bring up a bit more this demon head. All right. Here. Let me rotate this A bit down. That There we go. Like this one. Let's open it a bit more. Alright, let's go with the other fingers. Quite dog like the way that he's holding the demon head. Even more like this would be good. Tiny bit more of power, more like that. Right? We could move a tiny bit this and let's start using the details, controllers for the finger, so we could pose this hand a tiny bit better and more interesting. All right, something more like this. A All right. Perfect. There we go. Maybe we could even rotate this more like this. All right. I There we go. All right, let's move the demon head just a bit more. Like this. I Would even rotates like this. All right. Let's just tweak more these controllers so we could have nice looking gold All right. Perfect. More like this. All right, now it's looking good. All right let's go here. A All right, let me parent this bone to the hand bone. Let me get this bone from here. I will just parent that here parent. And now I will just parent that bone into the hand bone here. Let me remove the fingers, the arm or I select this bone. I select this one and then need this one on P. Keep offset. All right, so I will have to repose my demon head. It's just I want this demon head to move with the hand if I move it. Alright, the demon head in that angle looks clean die. Maybe maybe not. And Alright, let's just add it at this here. Just keep rotating this head so we could match again the pose that we had before. Nothing more like this would be. Alright, let me bring back my arm. All right. Right? Maybe we could. I should this demon head a tiny bit more. More like this could be. I think this way looks cool. Alright. Maybe not. I think like this also looks cool. Alright. Let's make him look more like this. Let's make him also angrier. All right, something more like this could be. Let me hide the deformation bones. Something more like this could be. All right, there we go. Let me safe incremental, Louise. All right. There we go. Toing a tiny bit more. This leg rotation. Like this. Perfect. I think this could be. I think this looks Ooh. All right. Here. All right. The deformation bones. Maybe we could do some smoke. Here in this area. Like that. All right. I think this looks good. Maybe we could also accelerate a tiny bit more like the perspective. This more like this. Let me also see the other angles. Is a bit more like this, aria. Would be. All right. Let's keep doing some twigs into this. All right, maybe a little bit more of twigs into this cloth. All right. There we go. Alright, I think this could be. Alright. So I think this pose is nice, at least for me. You can do your pose. An pose that you want, you could do it. So now, to get this pose out of splendor, let's do this. Let me Dave incremental first. Also, I will do another save, but this time, I will just call this post post it. Alright. Perfect. So let's hide the rig. All the rig hide everything. I will get all of these. Now I will click here in left. I mean, right click convert to mesh. So now we have baked the post into the mesh itself. So now we could just export this as a FBX just like this. Go here. Let's make a new folder and call this post, just like that. All right. Let's call this Dimon under post. All right. Let's do this selected objects, applied front form. Don't apply any modifiers, remove Athletes bones and animation. We don't have any animation here. So now I will click here in Export FBX. Now we could go back to Marmoset Toolbag. Let me hide the previous mesh that we had before All right. Now I will import my new host mesh. Alright. There we go. Here we have our stuff. But this is not the right materials. So I don't want to add, like all the materials again. I'm a little bit lazy indeed. Right. So we just need to apply the materials again to each piece, and that should be it. Let me leg Alright. I don't want to eat. I don't want to do it one by one. I think we will have to do it I mean, this is just because Blender change material names. All right. Let's do this. I don't want to wrack my head. I will just go through each material, and I will just remove the suffix that blender, add it automatically, like that. There we go. Let's go here. Third, all right. Let's go here. Perfect. A. That. Perfect. Let's select the weapon. Perfect. Let's go to the hair. There we go. Let's go to the skin. There we go. Let's go to the inner armor. I mean, inner suit. And I think that should be it. Alright, let's select our model again and let's export this to Marmoset. Let's import this back. We should be good. Go. Right let's click here. Import. There we go. Alright, now we have our stuff with the material supply. Your material material should have the same name of what the material on Marmoset are. So here we have our Demon Hunter post nicely and good. I didn't like, post this. Oh, my God. I just forgot about that strap strap, indeed. Maybe we could just hack it. Tiny bit. Let me put this in medium points. Alright. Anyway, that strap will not be think in any angle. Maybe we could make it, so it doesn't trespass our mesh. We go to my speech topo because I have something there at hiding or the retopology shading. I don't want this. All right now, let's just put it here. All right. Let me go. This strap. I will just tweak it a little bit, just like that. Alright let me export this x export post. Let's go back to Marmoset. Alright, there we go. Now, the only thing that is left is to render this guy. Let's make some renders in the next video. 48. Render Scene: Alright, guy. So let's do a breakdown of the render scene that I have here in Marmoset. So let's see. I have basically nine lights, counting the skylight. Alright. Let me tune off everything. And now let's see. So the first thing is my skylight or my DR is the studio Tomoko DR from so Substance Painter. I have just exported that DR from substance and bring it here. Like going here in image, just go where I save my DR and just select this one studio Tomoko. All right. I just drop down the brightness just a little bit because I don't want this to be like in one. It's too bright. I want this to be more subtle, just like that. Alright. So let's go with the first light that is my key light, like this one. You can see what this does. It brings a little bit more of like interest to the upper portion of our character. Let's go to the second light. Is this rim light just to have a little bit of highlights on the silhouette of our character. I have another rim light. Like this strong yellow light. I really like how this looks in the edges, like, to, like, pop out the character more from the background. Let's bring this one here. This one is just like a feel light. So this part of the skirt doesn't look that dark because without that light, it looks basically black. I don't want to have, like, any full blacks in my render. So I just added this light just to feel a little bit in this area. So it has a little bit of light. This one is basically another ring light, I mean, feel light. Just like for the same purpose that I have this one, maybe just to make it feel a little bit more these areas. A little bit subtle, but it's there. You can see what it does. And we could increase the diameter, a little bit even the brightness. All right. Let me decrease the brightness a little bit. All right. So let's go to my other light. All right here. Let's see what this does. This one is just a rim light for the plate, so I can have the same rim light that I have here also on the plate. So the plate can pop out more from the background. This light, let me see. Alright, this light is a light that I added to the eyes area because without that light, they looks a little bit dark because of the shadow. Maybe we could increase a tiny bit more the brightness there. Maybe it could be maybe not that much. All right. I do something here. Sometimes I hate the navigation of Marmoset, right. Let's see. Look, right, give me a second, so I can align this propidly. All right, you can see it there. The difference. Alright. There we go. And also, I have this other feel like just to feel a little bit more the blade with light. Alright. Maybe we could bring this up, maybe. Maybe we could decrease. Alright. Is the diameter, right? I have another light. I don't like Alright, let me see. Something real quick. I have this like the light five. That light is this rim light. So let me do this feel like, let me do something real quick. We'll drop this and also reduce the spot angle. So I don't have that highlight on the eye here because I was having, like, the highlight of this light on the eye, and I didn't like that. So basically, that was it. Let me go here. Also, I have here in the backdrop in Amed Sky. Alright, let's see the camera. Alright, for the camera, I have done a few tweaks, for the post processing. Like here for the tone mapping, I just selected the GX. I crank up a little bit the highlights. Also, I crank up a little bit the mid tones. I drop down the shadows and also create a little bit of clarity. The contrast also a little bit and the saturation. Because you can see the difference from this camera to this camera is quite a big difference. Also, I added a little bit of sharpen, so the image is more sharp. Yeah. You can see the difference here. All right. Let me unlock my camera, copy the same value that they have, right. It's not too perceptible, but you can see the difference if I crank up these to ten. So I just added a tiny bit of this sharpen look. Also, I have a little bit of bloom. Let's see, with the bloom without, I just added a tiny bit, maybe just in here, I have a little bit of bloom. You can see it there. It's there. All right. I also added a little bit of ignete just to make the focal point the center of the image. You can see it there. You can see that there is a black radiant around the corners of our image. That makes the focal point our character. Also, I added a little bit of digital grain here just a tiny bit. Maybe we could also drop down a tiny bit that grain. Alright. So also, I added this floor that flourish as a shadow catcher that I just, like, turn on these two options here and also drop down entirely roughness, so I can have this ice looking reflection on the floor. You can see it there, maybe with a little maybe a little bit rougher would be. Something like this, right? So is it not a perfect reflection? So also, I added a turn table, so we could see him in rotation just like this. All right, add the turntable, right click in an empty area. And now let's select the ton table here. Next, you should just, like, drop your FBX under that turn table and then select the tone table that you have just created and click here in sick Loop speed. That will like sync the rotation speed of your turn table to the timeline of your scene. You can see here like this timeline. So it do a full rotation in the time that you have added on your scene. All right, let me delete that. So that basically is for the final scene for the render. Maybe you could do it differently than me, but I just like this result. So this will be this video. Tia.