HYPER-REALISTIC 3D KID GIRL DESIGN

1. NEW TRAILER VIDEO: Hi, I'm Kelechi John, a TD character and prop artist with over five years of experience in the VFX and game industry. In this class, I'll guide you through the complete character creation process as we build a hyperrealistic TD head of a young white girl. The focus will be on clean forms, natural proportions, realistic skin textures, and a finer polish render. You're aiming to upgrade your portfolio or develop a studio ready workflow. This course will take you from sculpt to final image with clarity and precision. What you will learn, you follow a professional pipeline and learn how to sculpt a young female head in zebush with attention to anatomy structure and natural surface detail. Texture realistic skin in softens with the painter, using sto tonal variation, core detailing and colo verifyment. Groom believable soft using eigen in Maya, focusing on natural flow, volume, and airline shaping. Set up lighting and rendering Ar nood creating cinematic beauty renders that highlight your character's realism. Who is this class for? This class is designed for intermediate to advanced three D artist, student or OBS who are familiar with basics of Zebrush, Mayer, Subton Spencer, Marvelo designer, and Arnod. If you're looking to take your character work to a professional level, this course is for you. Why take this course. By the end of this course, you'll have a fully sculpted texture groomed and rendered three D character head ready to feature in your portfolio or show. Also gain insights to high end character workflows used in games and films. You will create your own version of the character, including a fully detailed sculpt in Zebrsh, hyper realistic skin textures in substance painter, natural egg grooming in eggin and a polish final render in Aarne. This class is packed with professional tips, practical workflows, and creative guidance to help you build a portfolio piece that stands out, right? That for that will do. Let's get started. 2. 01 Prepping Base Mesh In Maya: Hey, guys. So in this tutorial, I'm going to be, okay, first of all, a little backstory, though, little backstory. So found a reference on my Facebook page. So actually, Scott M did like two D art for this realistic character in here or this realistic reference in here. So and I was like, why not just recreate this in three D? So just to just to get the feel of creating a younger, a younger character. I'm always used to kind of creating more older characters. So I would like to challenge myself by creating someone quite younger. So outside my comfort zone precisely, though, it looks like it's kind of a simplified feel to it, but it still its own challenges also, too. So friend kind of challenge myself to create something or someone younger, so let's get right into it. So I've already kind of gone in and then did some few a reference grabbing from the Internet just to get a feel of a young girl character, and then I'm going to be doing my best of capture the essence of this, maybe not the entire likeness of the fast itself, but capturing the feel and the essence of this character from the sculpting process all the way to the rendering process also, too. So let's dive into this together. So close this. So I already have a Bse mesh to use, so I'm going to using a Bse mesh. I'm not going to be doing this from scratch. I have a Bs mesh already, so I'm going to be working with that base mash in here. It's going to recreate this. So I'm not going to do I won't say quali though but just the head sculpting itself. Let's put this all the way around here. Okay. So now let's just talk about some ground level understanding of my thought process before jumping into the actual sculpting itself. So that will be to talk about the average head size of an average male. So let me just extend this out first. Okay? So now, this is in centimeter. So the average length head length for an average male character, at least for the most part. So you can see the measurements from the headline, roughly on the line all the way to the jaw. Is for male, which is for male in here, so centimeter inches is roughly around 25. But for females roughly around 23.8 centimeter or 9.4 ". But for this are younger female character or gle character, it needs to be something lower than this. It can't be this length, it's supposed to be lower than this, so I kind of did like an approximation. I kind of checked online. I couldn't precisely find something that gives me precise measurement for looking at this character in here now, you can see most likely she might be around the age of most likely my best guess would be around seven, six or eight. So I couldn't find something in that range, kind of get something precise for the Ed measurement. So I'm kind of used more or less like an eye approximation of what I feel the Ed length should be. So I'm going to start by going on to This is May 2024 in here. So I'll go to the perspective camera. Okay, by the way, this Ed is gotten from three discosor like a base me from the dis three discount store. So I kind of adjusted the general proportion of the Ed also too before we kind of going into measurements in year instead of Maya. So under perspective camera, and you said this focal length with five millimeter length to get something more that's like a portrait portrait camera open here. And I'm going to import. I'm also going to import my own eye based machine here to kind of use. So this is the Ed. So yeah, you also gonna get this best match from the discantor. You should find that in the discant, a female head. Letting this out go to the material in here, delete this past in here. Let's get a more darker shade. Slightly more darker shade. For this, something like this, should be fine. Then all B. Let's use these backdrops. That kind of creates more contrast for us to see in here. So I've set up a camera now. So let's kind of measure up the head in here. So like I said, I kind of reduce the proportion of the head itself. It was roughly around 23.8 centimeter. So let's go into Windows under preferences settings and preferences. Let's make sure on our display, No, that settings rather. Let's make sure units for measuring units in a set to centimeter, so we can use that kind of capture the essence of the correct units. So close that then I'll eat space about on my keyboard, F to frame, F to frame on this side, also, too. So let's get the space about to frame this up. Let's do a measurement. Let's see the length for this. So I needed this to be roughly around maybe 17 17 or 16 inch centimeter for you just to kind of get a close idea for a younger female, a young female character, actually. Put this up here instead. So yeah, so let's go over to Edits. That create instead, under creates should be measure to. Distance want to start by snapping in here, then we'll go all the way to roughly where the airline is. So roughly around roughly around here snap in there. Okay. So we're getting something around 19 centimeter in here. But I would I would like to get this even smaller than it is right now. So my best guess might not be entirely sure, though. I can't sluge I can't sluge this to half of the cycle. That would be way too small. Maybe I should bring up my calculator in here. Let's move my calculator in here. Okay. Yeah, like, so, it should be fine. So if we kind of sludge this average head for a female divided by two in her. So that would be around 11. 11 would be quite too small for a younger female. That's way too small, so. Let's say we kind of add, let's say we add something to this let's say we add an additional seven more inches to this, so it should be roughly around 18 inch around 18 inch. Let's get our head to be roughly around 18 inch centimeter for this. So just a close approximation. So I'm going to select this now. It's this and then let's frame Let's scale this down some more like so let's go back to our measuring tool. So let me select the top measuring tool. Where is my skill. Okay, let me get this down. I see the measures. The measurements completely dispelled or to be in here, so we can see this a bit properly in here. So now I kind of move this now to 18.5. It's around 18.5 " a centimeter rather now. 8.5 centimeter now. I don't know if you guys can see this though. So let's kind of size our head kind of fit that measurement. So this is the airline. Okay? So probably scale this down a little bit more let's roughly get that around there. I think, somewhere around there should be just fine. Some around here should be just fine. This we can work within here. This we can work with I need to kind of scale this out later on. We can. I believe I want to believe it's sentimental should be just fine, okay? So now we can hide this measurement now. Let's hide this now. Okay. So, one more thing I would like to do would be let's bring in let's bring in an average female head in here, so we can kind of compare and contrast in there. Let's get the feel of it. So if you notice here now, this is like a main average head size. This kind of scale down. We having 17 centimeters. Let's copy this average head. Let's copy this one instead. So I'm going to just conclusive to copy that, and I'll go back to the dal file in here and I'll just space this in so we can kind of compare them in size. Okay, so let's get this roughly around here. Move this forward a bit more. Okay? So now, looking at this now, we can kind of use this also to kind of get a good ideas too. If this is a younger male. Since I cannot find an accurate measurement for there. I'm not going to kind of use proportion of my going to figure out how the size of the younger female head she to feel like, so I feel like I need to scale this out a little bit more. So maybe instead of 23, we can get this out most likely 20 or so or 19. Let's scale this out so more scale out some more and let's go back to the measurements. Okay? The measurement for this, let's set this, stop one to somewhere around 19. Let's get this up to 919.5 instead. 19.5 is. Okay. Let's go back to the side. We can hide this now. Hide this now. And then lestr and scale the head gonna fit something similar to that. Okay. Select these two. I'm supposed to be able to move this forward. Let me move this forward a bit more. I think something around this side should be just fine. Let's let's bring this back out. Shift p to bring this out. And that group, review this again. So we can see we can say this should be roughly around the head of a younger female character for younger female around the age of say seven to eight, I guess. So this should work just fine, please. Maybe this might not entirely be it, though, but I think this should work for us. So we can select this. Can delete that for now. Okay? I'll save this. So we can definitely use. I'm going to rename this to let's just name. Let's give her name. Let's give her name. So we got to give your character's name so it feels give a bit more personality to it. So let's name. Let's name Cara. I'll send this down, delete this group. Okay. Import let me import my I model in here. I'll need to impose my model in here now. So I have an I model that I can use realistic eye model that we can use. We won't need to recreate that. Well not need to recreate that out, down here, so new main I. I'll bring this to the new I and the minuscule. I'll drag and drop this in here. Okay? They are inside of the head actually. So Shift B. Let's bring this out of the group and let's set this up. So I'll select I think put them back in your group first. Put them back in your group first. Then let's center vote on them. This out. Scale them down. Let's try and get them in place. Push these back in. This actually this is actually pretty close. Maybe temporarily hide in minuscus for now, because it's getting a bit distracting. Okay. Let's see. This is actually pretty good. This is actually pretty good. It kind of closes up every gap in there. I'm not getting any major gap in there, I believe. Not really. Yes, kind of, it's filling this up actually, pretty much. Pretty much filling this up. Okay. Let's scale this down just a little bit more if that would work. Scale it down a little bit more. S just a gap in between. Okay? Yeah, I think we can work with this. Let's look at this from the side. Let's look at this from the side. Let's see. That actually rests well. That rest well in there. I need to undo the scale a bit more. Let's go back to the previous one. I need to push this back in some more. Then we can compare this again. Let's see what we get. Look at this from the side. Be trying to kind of see if this is kind of sitting rightly. Yeah, this should work. Maybe out a little bit more. Just a little bit more like so. Yeah, yeah, this is perfec. This should work just fine. It's going to make some modifications later on, but this should work. This should work just fine. Tho work just fine for what's needed for. Okay? Let me save this. All right. And I'm going to give them for the minuscule now, I think we can bring this back out. So minuscule is just the tear drop around the eye. We'll talk a bit more on that later let's just do a little more working there, actually. Then we'll come back to that. So I'll save this. Yeah, so I think I believe we believe we can export this out now. So let's name to name this group to Cara yes, this should be fine. Then we can put can name these two arabes Bs, mesh, right. That is fine. All of this is working correctly as it should. So the next step will be to export them out now individually. Let's export them out individually. So we also have an iris. I don't know if fashion. Let me show you guys. So there's an iris inside of that. We have an Iris mesh inside of that, so we already have some details in there already, so it should be fine. I'm not going to be exporting out the Iris, so just keep that in mind because I don't want to mess that up. I should all be fine the way it is right now. But the I I'm not going to move. But the other part of the mesh, I can move and adjust I ever where I can. So yes, let's continue on. So let's go and export this out. First, let's create a folder for this in here. So I'm going to create a folder. I want to name this folder to Z or up, A to Z, imports. The imports. Okay? So we can copy the five parts. Let's start by exporting this selection. Place the five parts in here, and we can name this to cara Bs mesh. Okay. That should be fine. Let's export out the outer eye. We need to export the outer eye also. Export selection. Oh, mistake I supposed to putting this out as an OBJ instead of an FBX. It should be OBJ, so I'm going to export out the head again. Let's just name this to outer eye. Okay. Save this. Let's export this head, copy this export out again. Phase this in export this out. I'm going to export the minuscule also, too. Okay, so export selection to be minis. Am I explain that correctly. All right. This should be fine. Yes, this will work just fine. Okay, so now in the next lesson, I'm going to start working on kind of importing all of these into Zbrush and then start working on them and then using reference kind of capture proper essence of the likeness of our character in there. So I'll see you guys in the next lesson. Bye for now. 3. 02 Camera Set Up In Zbrush: Look, welcome, guys. So now we're going to be in this tutorial, we're going to previous tutorial, we kind of set up a file and expect them out. So in Zibo here, I'm going to input in files in here to start sculpting the character. Okay, so let me just create some space in here, and then I would go in and then I'll just double click on I think we should have a police in here. So this police fair let's double click on that. You want to say no, you just need the default project to start with, and this should be pretty much fine. I'm going to turn off the floor to turn off floor. So on the right side of your screen just on the floor. Okay. I think, let me put it this way. I think this is symmetrical. So this is fine. We have this symmetrical in here, is fine. I will work just fine. Now, let's go in and start importing our mesh in here. Let's make sure this does not have any subdivision levels. Let's go to the lowest subdivision level, delete higher. Then let's start importing in. So imports. So we want to replace this now. So Z Imports yeah, this is fine. So let's start with the main head. So cara is mesh. Okay. And I'm going to append Let's append. Let's append a cylinder in here led the cylinder, ding out and slide the cylinder. Then I'll go up and then import again. Let's import the minuscus now. So you can see the minuscus imported India now. Shift F, so you can actually see the pul frame and ply group for it also. So now let's go in and append again. When the spare dots let spare. Then let's go in import out I Shift F. Yeah, this should work just fine. I should work just fine. So I'm going to temporarily hide the minisks for now. Okay? So now so make sure perspective is turned on. So if it's beyond the keyboard, make sure perspective is turned on. Very important. I'll come into this interface layout here. So I'll click on this to bring out this spanner down here. I always like to work with the default. Default zebrus layout most of the time. I don't really have a customized layer, so you just bear with me working with this. If there's any customized layer, that's completely fine. Completely fine. I'm just going to sing the default to Zeni for the most part. So now let's make sure our camera set top is accurate also kind of matches that we have in Maya. So in Maya, we have a perspective camera, so we go to perspective in. Now they attribute ditto, we have the full car length at 85 millimeter length for this. So let's go back to Zbrush. Let's set our camera something similar to that. So on that draw, let's hit 85 in, so we can kind of match the camera and Zbrush. And we'd like to increase this crop factor to somewhere around four somewhere around four seems to be a bit more accurately, kind of accurately matches that from Maya. So if you kind of compare, let's kind of compare. So I'm sure you guys was kind of compare this, so I'm going to do something. Let's do from the front view instead. Get some space out of this. Let's say this modeling standard. Make sure you're on the front. I think I kind of messed things up. Okay? Oln space but drag this to perspective. Old space will drag this to front view. Okay? Let's maximize this. Turn of the grid for now. Let's get this framed in, like so. Then let's go over to Z brush, put this to the side. We can act do something like see through in here to see through then let's try and match tra and march this with Mya so we can kind of get so we can kind of march this as accurately as we possibly can. So I'm going to be using the eye as my kind of anchor point for this So you just basically need to get a rough estimate. So based on this, now you can see, let me think I can snap out of that. Let's get that back in. Okay. If we should use yes, we can use this. So if we kind of draw over this now, if you notice we're kind of getting roughly around roughly around the same size. So if we do all the way up here also, you can see how we're kind of matching the camera reference from Zbrush all the way to Maya using the see through inside of Zbrush. So you can see, yes, we kind of match the camera as closely as we possibly can. I see. I'm just trying to check for the leap, check for the lower part of the ear. Up out of the just trying to merge that. Same here also. Okay. Same also, too for the tip of the head. This roughly in there, so we're in the place the right place. So we're kind of marching this as closely as we can, which is fine. So this would work. So let's go back to ZBrush and then take this down so we can see only Zbrush in here. All right. So yeah, moving on. So yes, we can carry on with this. So we're kind of average in between our camera for Maya and for Zbrush also. So we can start working a bit more on this. Okay. Checking, make sure everything is in order. Shift F, select the head. Okay, let's go down to pull the group. So you want to always kind of check your model properly in Zbrush before starting this sculpting process in there. So basically, I'm kind of checking and making sure everything's working accurately also to in here. So let's do auto group with UVs. Okay. So it seems like we are really just one single before the entire outin which is fine. So we can't see this can't see the back also in here because we are not have not turned on double sided in here. So if I go over to display properties, we can turn on double sided. So we should be able to see everything now. Yeah, awesome. What else? Let's kind of check how much resolution we need to kind of f skin detail in here before creating layers for this very important. That's also very, very important. Okay, so let's do that. So we'll go over to geometry. Go over to geometry, subdivide this. Let me put this aside so we can see. So now I'm subdividing this nu you can see the have 3.9 at roughly almost at 200 k. So I keep subdividing I would like to get something up to 15 million. 12 million seems to be just at right, I believe. Let's test this out. Let's test. Let's test out. Let's test some skim pose in here. I'm just going to just go into Dame standard already. Let's see. Okay. Then standard already. We'll go over to Lightbox, and I'm going to test the Kemp Alpha N. So let's test the flip normal skin alpha in year. Maybe not. Let's test the actual Alpha, we're going to be using in. So texturing XYZ. Texturing XYZ be somewhere here in her. So we cl open this up. Okay. So I'm just going to try this female face in here. Basically just use anything, any random one in here. Let's do we think we have there's a mapping for it. Let's something for the fod instead. So let's use three instead. So double click on this three, and I'll go over over to the Alpha, modify Alpha. Mid value should be around 45, radio alpha should be around ten. Okay. And let's go in. So make sure this is on drag dots. So we can drag this out here. Then we'll do a closer view in there so you can see how clean that is Let's see if this is clean enough if something we can work with. Feels a bit noisy though. Let me turn off symmetry for now. Let's just do this over Okay. Getting closer yeah, this will definitely work. I definitely work. If it's increase increase the intensity, you get something a bit more intense, let's zoom in. It's obviously too intense, though, but this is fine. We're basically not going to be looking at this all the way, close up this way. We're going to start seeing some issues around there. In regards to the noisiness of dim pus, for the most part, if I clear can do that, for the most part, if I take this back to something lower and then I do something around here, so so the closest ring you should have to this skin to the face should be somewhere around here. If per venture, we're getting a bit close up, it should be somewhere around there and we can actually see good resolution detail in here from this distance from this distance, we should definitely work for what we needed for. We're still going to be blending it down with some mod skin posing in between later on so. This will work just fine. Let's go back and set this back to dots. Set the back to the A in here. I think Let's go back into this. Set this back to zero, set this back to zero. Yeah, so back to the default, right? That is fine. Okay. So now let's create let's create a layer for this that we can start working with. Let's go to layers because you want to make sure everything you're working on separate individual layers. So kind of work in a non destructive way instead of Zbrush for your scope. So in case you want to go back and then change some few things, you can always go back and do that quite easily. Okay? So I would create a new layer in here and I'm going to name the two primary Let's use all caps for this. Primary Ed forms. Okay, I should work just fine. Check this again. I believe you're good in your Okay. Yes, so that's fine. So now in the next lesson, I'm going to start and then go in and begin to make some sculpted details based on a reference and other references we have in here. It's going to capture something. I'm not really going for outlook likeness in here, though. I'd like to go for something that feels more similar to what in terms of the facial features of a young girl in here. So we'll do that in the next lesson. I'll see you guys in the next lesson, bye for now. 4. 03 Neck Forms In Zbrush: Okay, O comber, guys, so let's get into the sculpting proper for it. So this is going to be a main reference of capture the silhouette of a head a bit more. But also keeping in mind keeping in mind the anatomical structures of the head also, so we can get things a bit more accurately. So I'll go all the way. Let me just use this instead. So there's a major features to keep in mind why scopting or working with it and head scoped, see if we can get some space in here, okay? Yeah, for example, regions, you need to kind of keep accounts. There are a lot of regions around the kind of keep account, too, but since we're working with the base mesh, we already have a base blockout of most of the shaping there, so just need to kind of modify those shapes based on the reference we have in here. So we need a bit more space. Think I tried shrink this a little bit more. Set this around here. I think around here should be just fine. I don't really have no space to work with in here, anyways, let's carry on get this up a bit higher. Okay? So I'm going to come over. Let's take this down. Let's go to geometry. So I can't show you guys who subdivision level I'm working on. You maybe get this somewhere around here instead. So you can see the values. You can see the active points in here. I need to go to lower subdivision level. So Shift D to go to the lowest subdivision level. So she will need to go to the lowest subtlbution level for it. So the lowest subtlbution level is at 12. Now, let's also try something else in here. Let's see if we can get this to be even lower than it is right now. Let's see. So we need to find a p delete layer in there. Let's see if we can get this even lower because we construct this and it might give us something lower. It might if it doesn't, then we have to work with what we have. So I'm going to copy this name first. And I'm going to delete this for now. Then go to lower subdivision level. Unless you reconstruct subdivision. Let's see. Unable to reconstruct subdivision level operation council seems like we won't be able to do that in here. So let's see if we can undo and get back our layer in there. Yeah, we do and then we've got some back our layer. So Chi D to go to lower subdivision level again. Let me just keep it in here so you guys can actually see what subdivision level I'm working on. So in lower subdivision level, we need to kind of do the blockout for this. Let me set this to them standard. So in here in the lower resolution kind of move things a bit gently in here, so don't kind of make or rather break things in here. So it's X on the keyboard to go to symmetry. So one thing you keep in mind is the general major features of the face that you can see, more or less like tale bigger shapes in here. So look at this n bigger shape for our face would be our jaw. So you see how we get or rather we have a slimmer jaw to our general face. Also, too, we have a smaller leap to our compared to this desk, a bit too wide, kind of, so and then also to a smaller shape of nosers in here also. So these are features we just kind of keep in mind by blocking things out. So let's start with the major organs. We can see. She also has a smaller neck to her, so why? Because if you go over to if let's say, let's say I'm using this for example, you can see a slimmer neck size to. Let's look for something else in here we can work with. So the neck should be a bit slimmer. Neck should be a bit slimmer for her. So let's get let's go and get similar simmer size for this. Okay. Let's reduce this. Then I would like to use the pdside. Let's use d and control. Let's use the max last so in your I like to max out this part like so. I'll blow the marks, down control and tap on the surface to blow the marks. Come on. Come on. Okay, so with the move brush now, I'll just come in at an angle like so and then reduce this some more. So you want to be careful, though. Let me blow this out a bit more. I want to reduce that where is absolutely necessary. I don't go too much unless you're going to more or less like break the shape, sort of. Okay? Maybe I maybe I went overboard. Let's extend this back out a little. Okay? Let's look at the lower part of the neck. Let's see where we can get in the let's see, shoulder shoulder seems fine for this, shoulder should work fine for this. Clear this out. I go to them standard. Let's block out some regions for the neck just to get some shape in there. Okay? Like for example, we can see a shape in here for the neck region. So let's just get this similar similar angle, and then we can start blocking in shape. So you can see this extending loop around the neck. So this most around the neck, it's going to create that also in here. So it goes around somewhere around here. Let's create this depth in here. Similarly also in here, we need to kind do this a bit more acreately because kind of thins out at the edge. More less kind of taper in around this part, something like that. So go this shift to go to smooth, take down the smooth intensity for this. Take down this intensity, then soon this down. Okay? All right. Something like so should be fine for now. We're just trying to get something in the smooth down a bit more. Create a bit more depth in here, so smooth out. Let's accentuate the bone around this region also, too. So let's dig this in, smooth this out. Smooth out some more. A's it depth in here smooth that down. So just blocking the shapes in for now. Let's do something a bit more here, small down. So you don't make it too aggressive though, but just enough to be there just for us to know that something's actually in there. Let's look for other reference in here. Let's do this from the side. Let's use the same viewing angle for this, go a bit closer. Okay. So the depth is roughly around these parts, prezzi bra size. Okay. Smoo this down. Okay? Yeah, something more or less like that should be fine. That would work. You can see the structure in here. Let me show you guys. I think I need to show you guys. Let's see something for a female, it's a male rather. We can see the depth in here, we're trying to recreate. So if I come to this if I come to this angle, zoom this out, come to this other angle instead, you can see us blocking out you can see blocking out the depth in here. So it's the depth. We have a depth around these parts. Okay? So now, I want to keep in mind that for a female is not as deep as that of a male. So if female has something a bit more soft and kind of shallow, why for male is a bit more it's quite deeper, actually, so I want to try to keep that in mind. Also using realistic reference kind of capture the essence of that also, too. Let's go over. Let's look for something. Let's get something more something like this should be fine. So it's more or less like it's more or less like this. Let's look at this from a similar angle, too. So you can see how we kind of blocked out this ones like this thickness in here, similarly to what we have around here also, then there should be a depth around there. So let's clear this out. So we can see we can see the depth we have in here is what we also have in here Okay? Like, so all these features are something kind of keep in mind while blocking out your reference so we can get something realistic or believable enough. Then put it back to the side. So let's kind of figure out how to kind of get this in. So you can see this part is a bit slimmer. Just below the neck. It's a bit slimmer around this region. This region like this is a bit, let me do this a bit more. This region, so it's a bit slimmer. So ours looks like it's a bit stiff is a bit too white, too white based on more it is like a Bs mesh for hold out female characters. Let's run shrinks in some more. Let's shrink things in some more. So I would like to max out this region, so get smoother transition in there. I so with the move brush, increase the brush size a bit more. So do both for the back and then for the front so. Let's shing this down. Okay. I think even the size also too, would adjust a little bit more. So get this in. Try to avoid going overboard in very important. Don't go overboard. I need to get this down also a bit more. Let's see what we have. Let's look at this from this angle. Like, so shing come on. Shing this in a bit more. Let's clear this out. Let's look at it from the side. Let's see, so this should be fine. I should work just fine. But I'd like to send you let's go in and then find that. I don't know if it's a better reference to use, though, or maybe there's something else we can use. Is is the closest one we have, though. So I see this bone around this region close to the shoulder. So it's more or less like poking out for this young female character a bit more. It's a bit more slightly a bit more obvious to see. Can see that in there. So let's try and get something in here also, I would like to use I'll use the standard brush instead. We want to be careful though, don't go overboard because we already have something in there that kind of captures the essence of that boat need to slightly accentuate it a bit more. Like, so yeah, something like that should be fine. This we can work with. Yeah, that should be fine. You can see how we cannot get a separation around here more less like where that this extended clav carbon. I don't know if I'm correct though. We kind of ends. So there's like an ending point around here, and then we have this modul structure boing out, so we can just put a stopper it use them standard brush and just create like a stopper in here, something like so, and I'll blend smooth that down. I blend smooth that down, like so. Okay. Then create a depth here, smooth that down. So we don't need to something, making this a bit soft and a bit lighter in here. Let's go over to the back of the character. Let's see what we can block out in there. So we can basically use basically use this reference in here to do that, but it's going to be quite soft. Going to do something quite soft in there. Let's soon this down a bit more, okay? So we can just do them standard brush also so we can do, that's a bit too wide. Okay? Something like so. Since I went down with too much, let's get this back out. Then we'll blend smooth this down. So it shouldn't be too obvious in there but just something light and around those parts. So we can basically kind of pick through and then see that sort of then Oh, no, then standard, create a separation around here. You simulate more or less the starting line of the back and do that, that correctly enough. Should be directly in the center. Okay. I'll do that. Let's do this again. Okay. Smooth that down. The moon is like some neck bones at the back, so it's a bit slightly a bit more slightly obvious in there, so let's capture that. So basically going to let's use the clear brush instead basically going to elevate some more. Like so I'll just smoo this down. Shouldn't be too obvious, but just enough to kind of give us an idea that something's actually in there. Maybe I should go a bit more I Okay. My smooth intensity a bit more and then smooth this down. Okay. Okay, something like that should be fine. Though, we're not going to be sandy bag, though, but just to get something in there. Okay? Them standard brush. Give them standard brush. Let's create separation in there. Okay. Yeah, that should be fine. Let's not spend too much time there because we're not going to be in those parts, so it should be fine. Then we can continue some more blockout in here. Let's go in close out for neck. We need to have a depth in here, supposed to be like a depth in here, smoother down. Shouldn't be too obvious, but just enough to get something in here. So have something that kind of cut cross in here also. Smoother down. Smooth this down some more. Yeah, that should be fine. That should be fine. Okay, that should be fine for the lower part of the neck. That should be fine to lower part of the neck. Let's go proper now to the head itself and then go back to our main reference. The other reference is in here also, too. We can use IC good one. It's a good one. We can use this to kind of capture the essence of the jaw and the proper size of the lips also, too. Okay? So let's capture this jaw some more. So let's push this in a bit. Let's go for a good angle for this because this so greatly contributes to the angle you're doing that move rush. So depending on the angle you're doing this, it kind of or give you better results in there. So you can see pushing this in kind of creates the illusion of having some depth in it kind of looks similar to this in your so let's push this in slightly a bit more. No, I think we went a bit overboard in smooth this down. Okay. Extend this out a little. I feel like I'm not using the move brush to, but I'm actually using the move brush. It's just let me do that as a bit much. It's just moving it like gently, gently pulling this out gently. Like, I want to be as gentle as you possibly can for this. Smooth this down. Okay? S mood this down a little bit more. I just feel like I'm not doing anything, but I am, actually. Then let's let's get a smaller lip size to her. Okay? There's something around this seems up. Feels just about right. But the note also, too, let's get let's reduce this a little bit more scale this up from a distance. You can see I cannot get any more younger feel to right now. Use the move brush, extend this down a little bit more, just a little. Not too much. Try not to go overboard in here. Okay. Yeah, this should be fine. So the general structure of our school, so let's reduce the size of the score some more. Okay, so I'm just going to slightly push this down a bit more. Yeah, something like that should be just fine. So we're kind of getting something younger in her. Let's look at other features so we can implement kind of get our feeling and looking even younger than it is right now. Kind of capture the essence of a younger female character in here. Let's see. So par parts and basically looking at right now is somewhere around the size for this, how much depth we need to get in there. Let me reduce the broad size some more. Look for a good angle in here and then I'll push this slightly in some more. Okay? Something more or less like this should be fine. We're capturing the essence, some more, I can use the clay brush and get some depth in I think that is too much depth. The right brush, but too much depth. Let's take down the intensity down some more, and let's create undo that. You need to be on o instead. So basically what I'm trying to recreate in here, let's look for a better reference in here so we can kind of show you guys in here you can see you can see the depth in here. You can see these depth in here. You can see this depth we have in here. So basically, I'm trying to recreate that in our sculpt. So let's put this to the side. But I want to be as careful as I possibly can. So I'm going to o out instead, and then I'm just going to keep in mind this eyebrow also to so deep in this a bit more. Smooth that down. No, no, that's still a bit much. That's still a bit much. Want to go as soft as we possibly can smooth this down a bit more. Okay. I think something pretty much like this should be roughly around there exactly where we want it. Yeah, it should be fine. So basically what we do did now I should I've shown you guys ready but just so we use like a reference s reference. Basically, this depth also we have in here. So that's what we're trying to kind of block in now. So that's why I said previously, we're still going to be working with reward and atomica reference just to get this to a bit more realistic based on human structural Musle structures that we can find based on our reference, can get something looking realistic because all of this kind of adds up to making your character feel and look a lot more realistic, right? Okay, I think we can I think we can stop here for now. So the next lesson, we just want to carry on and then continue to make her feel a lot younger and believable, also, too. I see you guys in next lesson, B for now. 5. 04 Facial Forms In Zbrush: Okay, welcome bad guys. So we're still on this. So let me bring out my reference, and we need to kind of work more on the facial structures now. Kind of examine this just to figure out major landmarks around this and compare this to the reference we have on the side and then blog those features in. Before we move on, I would like to add some more take down the bro size a bit more. Also add a bit more depth around these parts. Okay? More or less like so. Now smooth this down. Okay. Just smoothen out the house to reduce the tension around those parts. Okay. Yeah, this should be fine. Alright. So we can see some landmarks around around the bot. One major thing, I would like to. I would like to get in place would be figuring out the slimness of the face compared to a more chubby facial structure. Now, the main reference cannot fusing is not giving us a very clear idea because of the arts in near bots. Looking at this, I can obviously tell that she has more of like a rounded face to her. But we can actually use, I think we can actually use this instead. I'm not entirely sure if this AI or some photographs actually photographic image. Actually, that's fine. So we can use some of the features of this pace and then introduce that into our scopes. Okay? For one here's more wider eye structure and then it's a bit more defined around these parts. Let me use the blink material. Blink material actually true, but let's take down the stick down the shade down a bit more so you can see more of the kind of shadow of shadow depth in here also. Try to see try to figure things out in here. Okay? Let's go back to Matt cup so you can see the shadows kind of faded out on this side because I kind of like to kind of get some shape around this part, so there's no specification as to which part you should tackle first. What usually work is kind of tackling any part you immediately see in there's any part that's a bit more obvious to see. You just go and then fix that in there and then keep, you know, grades and do that. Suppose we want to move brush. Use this in a little. I'd like to get better transitions around this part also to put that in. Look at this from the side. Okay. Get this down a bit more. Right. So once I kind of capture the general shuett for the edges, then we can move on to something else. Okay, now let's start rooting some separations around it. So one separation I see in here would be this separation around here. Then we have another separation around here. So I would like to block that in my scope. So let's use them standard brush instead for this. It's quite low intensity, so don't intensitize way too high. So let's take this down. Reduce my browsize a bit more. Let's start from the top. You can see a shape around the nose. So let's block out the curve around. Let me get this closer. Get this closer, put this around the air. So let's create that landmark around those part. With them standard brush, I'm going to let's create let's create two depth in here first. A deed in like so. Let's zoom out. Let's see what we get. Yeah, that is fine. That would work. We need something in there Okay. Then I'll come in closer a bit more, create another depth pass around here, then get this down so more. Zoom out. Let's see what we get. So when I use the I think if I use the blind material, I see that depth a bit more. But for now, let's just kind of capture it from this part with the mat cap divisible. Smooth this out a little bit more. Okay. Let's accentuate the nose and going to do with them standard brush. Get some tighter edge around the nose. Okay. Smooth that down a bit small. Let's go a bit closer. Undo that. D do that accurately enough. Like so should be fine. Smooth that down. Okay? That should be fine. All right. Let's get depth also around these parts. I want to be careful in here, though, because you don't make it too deep. Making it too deep, make her feel a bit holder. You don't want that. So once you introduce that, you want to kind of get a smoother transition in there by smoothing it out some more. Okay? I think let's get out of this. This is another reference Zemo closer reference. You can use this kind of capture the essence of the lip structure in here so we need to work on a higher resolution for this, but for now, let just block this on the lower resolution and make sure this is working correctly. I can see some depth around these parts. So it's majorly what we have in here. So let's strat that depths with the dem standard brush coming closer and then I'll dig in here some more. Okay. That should be fine to begin with. Out and elevate this part out. We need some IR resolution to capture that a bit small but for now that is fine. Okay. Let's go in and then figure out some other parts for this. Let's use this in here. It's going to figure out what we should lock in. So you can see this region around the just below the region just below the lower eyelid. So these parts also have other parts in here so it's more or less like two. So we need to kind of separate that. So let's go in a bit closer. Let's kind of figure out how this is in here first. Because this will be like this is a main reference for this. Okay. We also need to make the lower part of the lip a bit slimmer. So let's use the move brush. I'm going to E W on the keyboard. Put tap out in control and drag this all the way up. Let's get in a bit closer. Shift F, Control W, do that. Not doing that accurately enough. Drag this out. I'm trying to kind of mark so. Just the lower part of the lip. Control W, undo that. Control W again, something like that should work just fine. So Control shift, click on this. Max invert the max. Blow the mark some more. So let's use the move brush. Still on the move brush. Let's thin out the lip some more. We use the brush size some more. Undo that. We use the brush size a bit more. Okay? Let's thin this out. Okay? Bigger bro size and bring this up a bit closer. Okay. Let's create the marks. Let's see what we are. Kind of making her feel a bit too sad. Let's do this a bit more do a bit more Grizz your brush size, get some fuller leap to her. Okay? Leave this up some more, invert the marks, bring this down, kind of close that some more. Undo that. Invert this, get this up a bit, invert that, bring this down a little bit more. Okay. So I will need to leave this upside up a bit more. I don't want to feel like it's kind of sad or something. So let's increase the blow size a bit more again, leave this part up some more. No, that's a bit much. Take this down. Do that. You want to be extremely careful though you don't want to break things in here, blow this out some more. Okay? So I'm doing this and repeating this again in the max. Use me bro size. Leave this part up some more. Okay. Yeah, this is way better. This is way better, so don't be afraid of undo that if it's not looking right and then you can redo that again. That's completely fine. Ese brow size a bit more. Leave this up slightly, bring this forward a bit more. Undo that. Okay. Let's move one step forward again. Yes, better. Yeah, this should work just fine. So let's move on. Let's go to the high. So based on the separation we have in here, let's do I think I'm still trying to figure out the cheeks in here some more. IT I'll need to fill this part up some more. So let's use the clear brush, I guess, increase the brush size. Let's figure out how it looks in here instead. So let's add a bit more flesh in here. The smooth that down. Let me zoom out. Let's see what we get. That was a bit much. That was a bit much. Let's do just one stroke and smooth that down. Okay? Yeah, I think this should be fine. So moving on, I need to add the same signal, around this region, start to move flesh in here now smooth that down. I'm not sure I did that accurately enough, though. I don't to kind of feel a bit distorted. So let me undo that. I wasn't I wasn't looking accurate enough. Yeah, this should be fine. So I do that if you step, it should be fine. Increase moon intensity or more, smooth this down. Let's get a proper blend around that part. So this is the blend material. We can see this a bit better now, this is fine. Then let's go in under the eye. Let's work on the eye a bit more now. Okay. I think the length of the eye in here is actually okay, so we just need to create some more depth around the eye. I can use let's start with the deem standard brush and create some depth in there first. So I know there's one let's look at this. There's one there's a depth in here to begin with. Okay. Zoom out. Let's see what we get. Let's see what we get in here. Okay. We do the broad size some more, go a bit up. Yeah, something like this to begin with. Okay? Then we can increase this a bit more. You can see another extra layer of depth around these parts. That connects this way around there. Let's zoom out. Let's see what we get. Something like this, but it's kind of making her feel a bit older, so we need to kind of fill up this part some more. Let's use the clay brush instead. Let me zoom out some more, get a good angle of a good angle around somewhere like so. Let's look for a better reference that kind of captures the depth a bit more. Let's look for something that will kind of capture that depth some more. Let's see this Not that one seems flat. Let's come. Can see how there's more flesh around this part, so we can leave that up some more. But it's transition table. The transition is more or less like these parts. Let me use this instead. This region around here is a bit higher compared to this region in here. So one can keep that in mind before blocking this in. So let's go in close this for now with the clay brush. Let's kind of fill this part up so more kind of bleede down around the air. Let's zoom out. Let's see what we gets. So you always want to check this also from an angle just to be sure you're doing this accurately enough. Smoo down. Okay? Okay. Let's look at the side profile view from one of the references in here just to get another idea if you're on the right track. Okay? Check this. You can see how it's going to fix this path in here. This part needs a bit of fixing. He's like his way to bogus, we need to kind of add some get some angle to it. So let's start with I think let's start with the H polish first. I'm going to do one sprook polish first the smooth this down. I'm going to fill that up later on though. Let's just do one pass first just to get an angle to it. Just to get an angle to it so now I can use the clay bed brush now, kind of fill that part out and then just to get a smooth out transition around there. Okay. I think the angle is maybe slightly too sharp now, Smoo this down some more. Okay. Let's use the standard brush and try to get an angle to it. Smooth that down. Smooth that down. Just need something that is a bit fided around those parts that would work. Then, no, undo that them standard brush instead. Smooth down. Okay. I think this we can work with. Let's see if there's something else you need to block out in here. Now, our reference is not extremely super linear, but that's fine. We can still very much work with this. Once we get our major blockout in here, we should be good. Okay. So let's go in and work a little bit more on the nose. Getting up close on the nose, redemptdar brush, creates some measure of depth around. Okay. Now we need to flesh that part out. Let's use the clay brush. Flesh this part out some more. Like so. Okay. Let's do something similar in here, smooth that down. All right. I need to get some more flesh around these parts. Smooth down. Okay. Yeah, this should work. Let's compare to what we have in here. Let's see. So let's add a little more feminine features to this. You can see some depth around here. So I think we can use the Dam standard brochure to do that. So let's use a bigger brooch size. It's more or less like this indentation we have in here. So I'm just going to try to capture the essence of that a little bit more in the Okay. Smooth down some more. So should be quite light in there. Something light in there. Let me feel the spout cup some more smooth down. Okay. Something light, but still very much in there. Okay. Most of these shape actually going to reiterate them a bit more and then work on them a bit more. It's kind of capture something better. Hope now this is working just fine. You can see a shape around. You can see a shape around depth around here, which is similar to what we have also in here. So let's repeat capture that the essence of that also in here. It's all of these separations that kind of gives us that a bit more that believable look kind of going for. So two changes or there that gives that interesting, realistic look to it. So let's get it depth in here. Zoom out. Ska price ranki for that. Now, let's use a smooth brush. Smooth that down. Okay. You can use the clay buildup brush and build some more or less like some thickness in there, then smooth that down. Okay. Smooth this down more in here, smooth this down. Now she's looking a bit old, so we need to kind of smooth, get some more flesh around these parts. I think the depth we come on, the depth we introduced was way too much but too much depth in there. So I want that to make it look cold. She don't look old. So let's flesh that part out some more and then smooth that down. So we get better smoothed edge around those parts. Okay. Let's add some more flesh in here. Smooth that down, smoother transition around the edge. Smooth down a bit more. Okay. I need to compensate for it around these parts. This part feels a bit disjointed. So let's use the clay brush and then fill that part up, smooth down. So sort sort of fleshiness here and there, depth here and there is what you is what you need to actually kind of sell out this image a bit more. Okay. I think this is coming out quite nicely. Okay? Let's see if there's something else we can do, at least for the forehead, precisely for the forehead. Let's see an obvious detail in the yeah, it's not too strong, though, but stay in there. So let's go in and then recreate that. So it's more or less like using them standard brush. I'll go like, quite light handed in her more like smooth that out by lots. You just need to kind of just sit sit sit on those p but not shouldn't be too obvious siting there. That should be fine. So carry on your next lesson. I'll see you guys in next lesson. Bye for now. 6. 05 Eye Forms In Zbrush: Come Burger. In the previous lesson, we kind of work on, I would say quite a lot of the facial features in here, but there's still a lot more work to do. Smooth this down. There's still a lot more work to do in here just to get this to look right. Smooth this down. So more. Okay. So let's go on jump writing so I'm going to be tackling more of the nose now, and I'll do this on one sublution Before going on sulution level here, I'd like to kind narrow my nose in noticing here in her nose feels a bit more narrowed down at the top part. So let's just arrange this. It feels more or less like this thought slant to it, though. But just looking just straight. Feels just straight, so that we need to fix. I need to kind of add that with some measure of slanted curve to it around Slanted curve is more or less around these parts, right? So let's go in with the move brush on the move brush in here. So what we can just do to start by shrinking this in, more or less like so. Then reduce the blow size a little bit more. Then we can pinch our curve in here, we can pinch our curve in something more or less like that should be just fine. Okay. So moving on. So there see some more features in the nose, you need to kind of block out. For one, there's a separation in here, you can see this separation in here. Then we also have a flat edge around this part also, too. So that we need to introduce ours cope so I'll start with the dem standard brush, and I'll come to an angle around these parts and then create that depth in there, okay? Something more or less like, so should be just fine. Smooth that down a little bit more. This not too sharp or too of you in there. Then reduce my brush size. Holding down all, I'm going to create an edge around this part, so it's not going to be too obvious, but if you go on subdivision level higher, you should be able to see something slight in there, something slight difference in there. So let's accentuate this on a higher subdivision level. So I'm going to out go in. Let's accentuate out a bit more. Okay, something like that. But I'm going to smooth this down a bit more, increase intensity of the dam standard, reenact that shape a bit more in the smooth down. So it shouldn't be too sharp in there. Use the move brush, leave this back up. Smooth this down again. Let's get something soft around those parts, so should feel a lot soft in there, elevate this a bit more by adding a bit more flesh in here. Okay. Smooth down. Let's see if that looks good. If it doesn't, you can just clear that out. Let's see what we get. This should be fine. Okay. Us the clay brush, add a bit more around these parts. Smooth these down. Let's see what we get smooth down. Okay, go to lower subdivision level. Let's use the move brush instead. Smooth brush give us better transition now pull around those parts. Use the brush size. Okay. I don't want to do that too much, though. I kind of feel like I did that way too much, though. There's a bigger brush size for this, find this at a good angle and then push this down back again. Okay? No. Smooth this down. Okay. I think we can work with this. Let's see where we get in here. I would like to elevate this part a bit more. Let's use the more brush instead. I don't want to mess things up. Look for a good angle and leave this part up some more bitmre smooth down. Alright, I think we can work with this. I feel like I should flesh this out some more. Let's do the clabid brush. Smoo this down. Let's see what we get. Now is entirely not entirely there, undo that. Undo that. We need to kind of fix. There's too much gap in here actually, we just gonna fix that. Let me declare bid a brush instead with a smaller brush size. Okay? Smooth down. Smooth down some more. Alright, I think this should fix that. Yeah, this should work just fine. I should work just fine. Okay. I would like to add some more fleshiness around the parts. Smooth down a little. Yeah, like so should be fine. I'll use them standard brush also, too. Let me show you guys a better example of what I'm doing in here, so we can be on the same page, too. Let's find a good one. It is a female should be a female. Okay? I need a separation. I'm basically trying to create this slide coat in here. So just a small at around there. It's a little coat around there, so you're supposed to kind of create that around there also, too. So of doing that with the dam standard brush. Dam standard brush should do just fine in there. Reduce the brush size. So more let's use this from the other angle instead. So you can capture the essence of that a bit more accurately. Okay. Yeah, precisely that, but to smooth it down some more so not too sharp. Just barely in the Barely in there like that should be fine. So let's go. Yes, I think it should be fine. Okay. Let's go on subution level higher in here. Hold outs, get this out, smooth this down. Okay. Let's sent you this detail for the lip some more. Dig this in a bit more. Yeah, just about that should be fine. Let's get the lining around the edge of the lip, Oto, read something like so this should be fine. Smooth this down a bit more. Let's do for the top part of the lip also. So we should come down here. Like so. Yes. That will work just fine. That works just fine. So this is nice. Okay. Let's accentuate this a bit more to the edge. Let's see how that is that that is fine. Okay? Do we need to elevate this a little? Okay. Look at this from this angle. I feel like we one subdivision level lower with the move brush. Let's extend this out a little bit more. Alright, that feels more like it. Now let's do a bit more correction for the eye. I would like to I think I was still on the marks last. I like to mark so this lower part, so invite the marks, blow the marks. So with the move brush. Let's silt this down some more, reduce the bro size, go in and push this up a bit higher. Okay. Just basically trying to get some slantedness to it. Maybe I went overboard in. Let's just leave this back up some more. Okay? Yeah, I think this should be fine. I be fine. I like to undo that. Let's bring back the max. I like to create let's get this in in a bit more down a bit more. Invert this, leave this up a bit a bit higher, so that should be fine. Let's go to the deem standard brush and then accentuate the depth in here. So if you should zoom, you can see now this lead there's some more depth around this part, so I need to recreate that depth in there some Let's go to one subdivision level higher. Biting the on the keyboard. Then I would deem standard brush is fine. Take this down some more. Let's go. Let's do this from around here. Okay? No. I need to be as no. I need to be as accurate as I possibly can. So it should be fine. Like, so it should be just fine. Okay, can smooth these down to get the smoother transition around those parts. Clear the marks. Yeah, that is fine. Yeah, this is fine. We're basically pushing this now and then capturing those details that we need in here. Okay. Let me zoom out a bit more let's of smooth it out though. I wouldn't like to completely smooth out this eyelid, actually. Try not to smooth out way too much. And I referencing here, that should that should somewhat Okay. I think we need to make it a bit more obvious, so we them standard brush. Okay? Something like so. Let's mood this down. Right. I think we can work with still on the I still on the I, let's grab let's grab these parts a max Shift F, Control W to get that ape poly group. Let's look into that on the Shift F. So we're kind of working on secondary forms now actually. So I'm going to out. Let's solo this actually. Let's solo this out. Okay. I we need a thick edge for the eye. There are a few of doing this. Let's start with the He polish, actually. Let's start with he polish. I think my brow size is way too big increase the bro size. Then I will just come and then flatten this out, like, so this should more or less, create a sharp flat edge for us that we can accentuate later on. So the dam standard, let's go back to this. Let's do for the top lead of the eye, increase the brow size a bit more. So basically doing something like so, to capture some depth around those parts. Maybe you can go one more on the lower part of the eyelid. Okay? Let's go to lower subdivision level with the move brush. I feel like I need to push this down a little bit more, get this up some more. Let's increase subdivision level with the dem standard brush. Wed the brush size getting close up. I would like to sharpen this holding out Nah, that is not smooth enough. Increase the bro size. Go on subdivision level lower instead. Put out. Okay. Yeah, that's more like it's Okay. Yeah, that should work just fine. Let's do for the inward part also. Now, that doesn't look right. Let's use the broadside some more instead, capture this. Now, that's off, getting a bit closer. Stop there. Go to the other side. Perfect. That should work just fine. Let's see if there's detail we need to do create in here, so I should like some fleshiness around this parts that need to accentuate so we can use a standard brush, I believe, increase the brush size, let's create some measure of depth in here zoom out. Yes, yes, yes. This we can work with. Smooth this down the standard brush. W d in smooth that down. So just be light in there, bring everything back out, go out of solo mode. Smooth down. Okay. Yeah, that's fine. Okay. Slow that out again. Slow this out again. Control Shift click on this. There is some measure of fleshiness on the edge come out here. So basically, there needs to be some fleshiness around this part, so it is very similar to what we have close that. Let's see if we can find an eye reference in here. So basically what we can find here, this fleshiness around this part so. We need certainly to block that the clay brush.ccentuate that some more. Let's go on subution level higher. As the clay bed brush and fill that part up, like so. Cree some variation in there, smooth that down. Go out of solo. I think, come on. I think we need to make our eye a bit bigger. Slight needs to be a bit bigger, I guess. Or we can do CvD more brush, crease the brush side or more can bring this closer. Like, so let's bring everything back out. Let's see what we have. I don't think let's get this out back, so it should be fine. I think this should more or less fine. So we still on the move brush. Okay. Then we go to the club do brush and fill this part up. Let's go on subution level higher, fill this up, part out some more, smooth that down. Okay? With the move brush, we can move this back in a little. E the brush size, smooth out some more. Let's get in, close up. Smooth this down, increase the subdivision level, smooth this Can we smooth this down some more? Okay. Let's just fill that up. Randomly fill that up and get some measure of texture in there. Okay? We them standard brush, creates a bit more depth around these parts, smooths down. Okay? Okay. Sm this down. Let's go to lower subdivision level. Smooon this down. Okay. I think this should work? I think we can work with this bring everything back out. So I need to kind of average look at the eye again just to be sure if my if the eye size eye size is accurate enough. The original that comes with the base mesh is good enough. I don't know if I'm just trying to make sure if I if I need to shrink is smaller or make it bigger, you know, move brush. Okay? You don't move adjust that way too much than you need to, though. So don't break it. Okay? I think I need to select the I now. But I think Okay. That's fine. We can always adjust that. So let's move. Let's move this forward some more. Up a bit more Clay the marks Shift F. Let's do Auto group instead, so we can get them. So just to get them separated and then we can adjust them as we necessary? Let me look at this again. Let's see if it's necessary. I need to adjust this a bit more. Okay. Yeah, I think I think I might need, so Shift F. Let's done Auto group. Let's done Auto Group. Click on that, hold center this. I'm just going to push this this way, a little. Go to the other side, hold get to the other side. F to frame into that. Move this this way. Move the slightly this way, a little bit more. So should be fine. Clear the mark shift F. All right. I think this we can work this we can work with, I believe. Let's go back to the main body on main head. Okay? And I would like to max out this lower part of the eyelid blow blow. Okay? With the move brush, I would like to move this closer. I want you to kind of rest I want you to kind of rest more on the eyeball. You rest more on the eyeball, like so. Okay? Play this out. I think we can move on with this. This is working just fine. Yeah, so this is working just fine. So if there's something else you need to do or block out in here. Let's see. Let's see if there's something else you need to block out based on the reference we have in here. Yeah, we can do something slight on these part. Just around this part. Just get a little more depth in there. Just a little more depth in there. Let's just standard brush instead holding out. Smooth this down. I don't want something too sharp. Something quite light. It's not too sharp and obvious in there. Smooon this down. Let's see what we get if it's good enough for us to keep or not. Okay. Physically, bio brush. Feel this part a little, smooth that out. Yeah, yeah, I think we can work with this. This we can work with. I think there's still some more work to do in here, but for the most part, this seems to be coming out quite nicely. Okay? This we can certainly work with, right. Let's create a little more denton around there smooth that down. So that's a bit too much do that, reduce the brush intensity. Let's do something quite light. Something quite lights in there instead. Let's go in, get something light in there. Let's see, undo that. Maybe old out instead of accentuate it a bit small smooth down. Yeah, this should be just fine. I don't want to go overboard, so should this should be just fine, right? So the next lesson, we're going to carry on and then keep working on this. I'll see you guys in next lesson. Bye for now. 7. 06 Secondary Forms In Zbrush: Welcome bad guys. Previous lesson we kind of worked. We're still working on the face though but we tackled more on the nose and the lips and the eye also. So let's carry on and then continue blocking out versions of features we can see from references and then getting them into our sculptor. There's one major one I saw on the nose, so I would like to similar to this, though, quite similar to the features of this nose in here, so let's try and replicate something similar to that. So this is the ship in there. I don't know if you guys can see that then there I think we can find one in here also, too. So I would like to implement this shape on the nose. Mo less like let me show you guys in here so more or less like we have you separation in here and separation in here and this part is kind of coming out some more. So basically, I'm going to try and extend eco year and year also. Then just add some measure of thickness around this part. So let's see what we have in there first. We already have the blockout for there already. So we just need to kind of add some more fleshiness to it. Maybe I should use the clay brush instead and then go in there use the brush side or more, go to the lower subdivision level. Let's go on subdivision level higher again. And let's do this in here instead. Okay. Something like so smooth down. Let's see what we get. Look at this from the side. Yeah, that will work just fine. That will work just fine. Okay, some other wrinkle detail on here, but that's going to be more's for the tertiary detail. I was going to be more for the tertary detail. Okay, checking this just to be sure we have this working correctly. I can see something in here. I need to adjust let's go to lower subdivision level with a move brush. Get this part out a bit more so we can see that thickness some more. You should be fine. Okay. So I'm noticing some major Let's see. Let's see, there's something I need to do on the nose. You know some structural differences on the nose. Like, for example, I can see some light in here based on shadow depth around these parts. So I would like to get that in. Let's use the clay bed bro. Let's go down subbtion level higher and just add some lifting around these parts and smooth it out, like so Smooth some more around the air. Let's see, no, no, no, not looking. Not looking good enough. Let's smooth some more. Okay. Let's see what we have around here. Smooth down. I think this should smooth down a bit more. That should work. I've seen some weird shadowing in front. Smooth down around the air. Let's see. We have breakups in there already, which is fine, precisely what we want. This is them standard brush, add, like, a dense around these parts. Smooth that down. Basically introducing some more distortion or slack distortion or breakups around the structures of the nose, just make it feel a lot more believable. Okay? Them out. Nowadays, think if I can find actually in here though. I like to accentuate some of the depth around here. So it's more or less like this similar structure we have in here. Same similar structure, we having that kind of bends down this way. So I'd like to introduce that also on my scope. So similar to what we have also on this is a painted reference, but we can obviously see a breakup difference in here so I'd like to introduce slightly of that in my scope. So let's go to Day subdivision level instead. And we can do this with them. Let's try the standard broach instead. Let's do this from this angle instead. Pre brush a bit more. So I'm going to be holding down ads to dig that in. Let's see. Now, it's not looking good enough. Let's do them standard brush instead. Increase intensity so more. Okay. Something pretty much like this. Let's compare. Let's see. Let's go on abdtion level higher and then smooth this down. So just to introduce a little measure of depth in these parts, smooth down some more. Okay. So you should kind of see some highlights some shadow depth in there just to illustrate some measure of depth in here. Maybe I should intensify it a bit more smooth that out. Trying to compare and see. I think this is way too intense. I was way too intense. Smooth down. So this is a younger character, so we don't want to kind of get too much depth in there, still needs to kind of feel smooth. Let feel this part up some more smooth that down. Et's look at this from a distance. Let's try Mat cap in here. Let's see what we have. I think I'm having an issue in here now. So we need to undo that. Undo that depth. I think the previous one we did was actually undo that them standard again. Go do that. Let's use a smaller bros intensity for the moons. You can get something soft around there. So just to find the right balance for it. It's all about finding the right balance for it. Once you capture the right balance, look a lot better catching shadow depth in there. Okay. Let's see. Let's elevate this part some more smooth down. Okay. Let's see what we have. Reduce my bro size, smooth down a bit more. Compare this from side view, smooth down a little bit more. Okay. Let's use the mark cap. Let's see what we get in there. I think this should work. This should work, right? So let's go just down the jaw line. Let's go onto abibtion level higher with the dam standard brush. Right now, I'm kind of already working on second details now. I'm already working on second detail now. Okay. Smooth down. Okay. That should be fine. Let's add some more fleshiness on these part. Smooth down. Let's see what we get. Reduce my bro size, smooth this down a bit more. Okay. From one of the references, I notice some kind of cuts just on the jaw. So measure of depth around there. It's actually in here, but it's not too obvious to see though. It's actually in there. Let's look for something that is a bit more obvious. I think I have a reference in here that is slightly more obvious to see. Yeah, this is the one. You can see some depth around these parts. So let's go to the lowest Sobluton level instead. Put the dem standard brush. Let's just add a dense in there. Like, so let's see, go to one subdivision level higher again, smooth that down. That should be fine. Okay? Let's go to lower subdivision level. You can see some line just underneath the neck. Let's see. I think I have one here that's better yellow straights not clear enough, though. I think there's one add one here is quite clear. Just basically rink on nedy neck. What did I see that again? It's in here, but not too obvious, so it's similar to what we need to create in your something that's not too obvious. Yeah, yeah, this is in here, so you can see this line on nd the neck. So I would like to I like to create that also. So we can do just three. T should be just fine. One, two, three, this should be fine. Let's go on subdivision level higher just to get something in there. Doesn't need to be too obvious. So this should be just fine. I should just sit underneath that parts, smooth this down. Okay, we're almost coming to a close for this for most of the facial features. I think this should be fine. Some weirdness in your let's smooth that out some more. Okay. One very distinguishing factor I kind of see for younger female characters for younger younger characters like this, this dancing is quite it's a bit more obvious, so let's get it a bit more obvious and, you know, that's way too much. Let's go to lower subduon level. Make it a bit more obvious. Smooth that down. Let's use the pinch brush instead. B PI. I'll tighten these parts some more. I'm still going to break that. I'm still going to break that though. I think I need to use the move brush. Let's push this down slightly, so I think of I think it's kind of smooth some of these edges out. I'm going to do that when I'm breaking symmetry for this. I think for the most part, this should be just fine. Let me save this file. Okay. Let's look for something. Okay, I see some other major features for the lip is a major feature for the lip. Let's go on subdiviution level higher. Let me put this here. Let's open the geometry so you can actually see which subdivition level I'm on right now. So I think if you can find do you have it in here? Let's find a leap detail so we can better better illustrate differences in here. So, it seems more like a separation around there. So I need to capture the essence of that in here. I think we can use the Let me the standard brush instead. You should work just fine with the standard brush. So I'm basically going to elevate this part, so Okay? Something more or less like so. Let's use the clay brush and then add some extra layer in there, so should be fine. Yeah, something just about that should be just fine. Let's go on sublui level, let's see what we have. Then we can use them standard brush to add an actual coat in there and smooth that down. Lets create another extra level of separation in there that should look and feel a bit more unique. So something like that should be fine. Maybe extend this out a bit this is a bit extended, so maybe we can extend that out to the clay brush. Undo that. Need a bigger brush size instead. Extend this out, smooth down. Let's see what we have. Yeah, this will work just fine. This we can work with. Yeah. Awesome. Maybe even flesh out. Just trying to see if I need to. Let's go go subdivision level lower for this. Then we declare build up brush, increase the brush size. No, no, let's use inflates instead. BI Nflate these parts. Flat these parts, smooth this down. A get smooth out transition around those parts. Smooth this down. Yeah, yeah, that should be fine. Let's see if there's something else you need to do in here that is important. Going to start looking at all the references in here. You can see depth around these parts of the nose, just around this region in here. So let's go to lower subdivision level. You can use the dem standard brush for this increase the brush size. I would like to be a little bit more subtle in here. So let's just not that accurately. Let's create a dense in here, something like that. Let's see this out again. Smooth that down, so it's not too obvious. Go on subduction level, let's see. Smooth down a bit more. Yeah, so should be fine. Okay. I think this working just fine. What else where can we blocking in here? Let's go to the lip. Let's see if there's something else need to block out for the lip. There's something you need to block out for the lips. Basically, I was going to reuse the dam standard brush actually to create I thought I had this separated out. Let's separate that out again. So Control W for darts. Bring back degrees more control. Click on this to max that out, Shift F, ChivD, Shiv D, blow out so more D to increase the subdivision level. Maybe let's even completely that. So basically, I'm going to use DM standard brush to add another extra layer of depth in, so. Something pretty much like that should be just fine. Let's get some more depths in. I do that. Let me get a better angle at this. Okay. Yeah, this should be fine. So that should just sit about let's increase ablution level. Reintroduce that a bit more. Let's see. Yeah, I need to lend smooth them down. Okay. Well, that should work. That should work just fine. I think I need to smooth this out a bit more on these parts. Get this out a bit more. Okay? All right. Let's see. I think we need to accentuate this a bit more. No, I'm not doing that accurately enough. Okay. Okay, that should be fine. Yellow should work just fine. Maybe for the sake of just getting something extra in here, we can go to lower subution level with them standard brush. On subtion level higher, I can create a cat in here. Okay. Now smooth that down a little bit more. All right. I need to smooth it out even more. Let's use the pinch brush first, pinch and tighten it out first, then smooth that down. Yeah, this should be fine. Let's see what else we can What other details you can introduce in here. I'm just looking at the size of the nose, not the size of the nose. I feels like the size of our nose, it's quite big. So let's reduce that. Let's get some smaller nose structure in here. I'm going to be on the move brush for this instead. Seving up. Okay. So I'm just going to shrink this in a little bit more. Similar also. Let's look at this from a distance. Let's see what we get. I think this we can work with. This should work just fine. Create a indention in a smoother down Okay. So moving on, let's see if there's something else something else we can introduce in here. The references are not extremely clear both. We're just going to try and figure out something that we can still introduce in here to kind of sell this out even more to look a lot more believable. Most especially on the fo don't know if I need to add some detail or breakup on the foid. Let's ask some breakup on the foid. So I'm going to use the clay builder brush. Maybe something like this. Sms blend them down. So more not so obvious, but just sitting roughly around that parts. You know, like so should be fine. Okay. Let's see. Okay. They should work, connect something in here, smooth this down. Yeah, yeah, we need to get something in here actually. Some flesh in here should be just about right, so smooth them down. Okay? Go on subrion level higher. I need to create a separation in here. Most of this part is not going to be visible though, but just get something in the smooth them down. All right. I think this is this should be just fine. This should be just fine. I think if they say something else, it's going to blockout, you can always do that. You can always do that later on. But for the most part, this is working just fine. I feel like I should introduce some more hit in here, smooth them down. Smooth down some more. Okay. I'm not sure that's looking good enough. That isn't looking good enough. Just checking. I feel like I should lift this up some more. No. Move brush. Plus I should move this up a bit more. Okay, that should be fine. Let's see. Maybe a little more depths around these parts. Do you need a bit more depth around these parts? Okay. Smooth down. Okay. Smooth down a bit more. All right. Yeah, I think we're in a good place. I believe we're in a good place. So next we're going to do next lesson will be to work on the year, work on the years in her, and then we can move on to more of like adding some breakup detail on top of this breaking symmetry on top of this. Are you guys next lesson. Bye for now. 8. 07 Ear Forms In Zbrush: Okay, welcome burgers, so previously we kind of worked on still on the fisher features, obviously. So kind of pushing, pulling and adding some more details the fish. So today on this episode, I'm going to start or rather, I'm going to, let's go it start. I'm going to work on the kind of get some structure in the I think we can use I think it's a good one we use this instead. This we can use. So let's try to isolate the Let's isolate the grab this Control W, Control Ship click. Okay. So on both side, that's fine. Solo this. Let's jump right in and then capture the essence of this in there. All right. So let's go subdivisions level higher, so we can do this in here. I'm going to start by using the move brush. Let's reduce the subdivision level, take this down a bit more again. You can see a pinching around here. So let me get this in first. Okay? Let's see another pinching around here. Let's go include the subdivision level a bit more. Get this out. What else do we have in here? Okay. Okay, so let's use them standard brush now and then. Increase subbon levels need to increase the intensity of the brush. Okay. That is fine. I think that's a bit much. Something light and there should be just fine. Okay. Move this in here in some more down here. All right. Let's capture and so this also too. Okay. Smooth this down. Then go in and then create more depths in these parts. So use the bro size. Let's take down the bro size. Let's capture some more depth around these parts. Okay. Goes all the way down here. Okay. Smooth down. Let's see if we can do some more depths in there. I think something like so should be fine. All right. We need the depth in here also. Okay. Then we need to use the clay brush, do that. I think the standard brushing stato just fine. You can pull think we need to turn off lazy mouse for this, take this down. On do that, reduce the intensity for that. Let's move this down first. Get some indentation in there get indention in here also. Okay. Then elevate this out. That's a bit much, smooth this down first. Then let's get this elevated. Let's go on sobution level higher, elevate this. Not doing that accurately enough. Okay, smooth down. Let's see where we get. I'm not sure I'm doing that accurately enough. No, I'm not. Let's use the move brush. And move this down some more. Okay? Move inwards. Reduce the brush size, go back to standard brush. That's kind of giving this wobbly shape that I don't really like. Et's use the bros size a bit more. Come on. Why is it getting this weird wobbly shape in there? Smooth down do that, get some indention in here, smooth that down. Let's do a continuation pattern in here, smooth this down. Okay. Smooth this down. Let's get the proper blending here. So something pretty much like that should be just fine. Then we need some more depth in here. Let's get some depth in here. Smooth. Yeah, that should be fine. Dips in smooth this down. I don't need to be too aggressive in depth in here, smooth this down. Okay? Them standard brush. Smooth down. Alright. Standard brush. Sm this down. Bro size. Let's get some elevation in a year or, or so. Smooth down. Okay. I think this should be fine. Great indention in, moon this down, elevate some more smooth down. All right. That should work. Continue this on smooda down. Pretty dense in smooda down. Just need to look perfect. So we just need to get something in there that would work. Smooth this down. Okay. I think this should be just about right. This should be just about right for this, let me use the move brush, go to lower subdivision level, extend extend this out a little bit more. Also creates an unevenness on the shaping the Okay. Yeah, there's definitely an issue around here. Let's use the clay, build up brush. Build better transition in here. Smooth that down. Okay? Smooth this down the wrong ki, I think this should be just about right. Smooth that down. Okay. Let's bring everything back out. F, let's get this face in us so bring everything back out. Okay. Now, I need to figure out the general size of this smooth this down. Sin we made an issue in there or made a mess in there. Let's go to lower sub dibution level. Also smooth this down. Smooth this down. All right. Okay. Trying to see. Let's go to lower sub dibution level. With the move brush now, I'm just going to slightly move this forward outward a little bit more. I think it should be just about right. Lukic sieve. Okay. Yeah, I think this should be fine. Let's increase the subution level. Let's bring back our IA is in place now. That should work. Let's see. I think I thin this bat out a bit, or maybe this is just fine. Basically just checking. Checking. Let's use the inflate, use the brush size, get some thickness to this. Okay. Round here should be fine. Smooth in there. I feel like that is kind of pinching. It feels like that part is pinching in. Just smooth that out. We don't want pinching in there. Okay. Yeah, that should be fine. Okay. Just check in, see if there's something else need to do in here. Most likely create some more indentation in here right. I think we can live with that accentuate some more Okay. All right. Yeah, I think we think this is just fine. This we can live with. Okay. There's something else you need to do in here, I believe not. There should be something naturally just to kind of figure out what that is. I'm basically just kind of checking going around the model to see if there's something we need to do some pinching in here smooth that down. Smooth that down. I think that one is from the topology itself, so Shift F. Now, this is from death from the topology, so I'm going to ignore that. Um let's see. What do we need to do in here or what do we need to add in here to make this come alive even more? Let's see. Okay, let's go to lower Abution level. I feel like I should use, let me use the inflate brush instead. Use the brush size some more. Maybe inflate this a little bit more like so. Like soap, maybe that should be fine. Blend smooth down. All right. So at this point, it kind of becomes a bit harder kind of gets kind of see something different in your if you have a particular reference that you can kind of use, that kind of use some additional features you can add in for the most part for now, this is looking looking quite good. There's something else need to add. We kind of capture something else. I need to add. I can always go in and add that. But for now, I think we're in a good place. We can break the symmetry in the next start making symmetry in the next lesson. Okay. Uh, yes, it seems fine. Okay. Still on inflated brush. Oh, let's use the pinch brush instead. Let's tighten these parts a bit more. Okay. Should should work just fine. Alright, let's go to the highest abribtion level. Let's see what we have. It's looking interesting. It's interesting enough to work with. I don't want to kind of create another depth in yet. That'll just make it look a bit off. But let's compare this with so realistic references to see if we need to create a bit more depth in here. I doubt. We don't need to. We don't need to. Let's confirm with another reference in here. Now, really. Let's compare. Now, we don't need to. I think what we have in here should work just fine for what we need it for. Okay. This is working quite nicely. So at this point, you just need to kind of kind of look a bit deeper and kind of analyze the reference even more just to pick out features that you feel or you need to add in there. So for the most part, I can't really see any major can't really see any major feature I need to add in here I said, maybe I look at it some of that time and then I'll find. That's why it's so important to kind of take a break and then look at your reference, maybe after a few hours, but probably the next day to see if we can spot out something completely different in here that you can add or block out inside of your sculpt. But for now, I'm not really seeing any major any major shape I need to block out in here for the most part for the most part. Okay? Right, I think I think we are good in here. Let's check this. Okay. That's expression in there for the nose of added dt. There's something in here we need to add something in here. We're adding any expression in here actually. Maybe we should add just a tiny bit of expression, maybe. That will be when we're kind of doing the asymmetry breakout kind of breaking this symmetry in here, so we can probably add that and then we can see how that looks like. But for the most part, everything seems fine, okay? So we're going to continue on the next lesson. Bye for now. 9. 08 Breaking Symmetry In Zbrush: Okay. Now, come back, guys. Some previous lesson you kind of worked on the air. So today, let's break symmetry. But now I'm noticing an issue. No, this is not from this though. She's not from the air actually. But I think I would like to with them standard brush. Let's extend this out a bit more. Okay. Now, the issue I'm talking about is, I think before I kind of created my layers, I didn't make sure I kind of get this all the way to 12 million before creating the layer, so I made a mistake in there. Uh, so I'm going to turn of the recording for now. I would like to subdivide this a bit more. Subdivide this again. So this is subdivision layer we're supposed to be in the high subdivision layer we're supposed to be in. So with this in here now, I think I can let's see if we turn on record and let's see what happens when we turn on record in here. It's no record because I kind of extended the subdivision layer. That's completely fine. That's completely fine because we have already kind of blocked out the primary condition shape in there, so I can create a new layer in here now. So this would be asymmetry. Come on. Imetry I'm going to break in the symmetrical structure of this in here now. But I don't think I notice from my references in here, is this line under the I feel like I need to sort in them out because it's not too obvious. So most of the characters in here is actually in there, but not as obvious as mine. Mine is way too obvious, especially all the way to the end. I need to sort in all of those out some more. Okay? So let's open geometry in here Okay. And I'm going let's put this here. Let's go to the lowest subdivision level actually for this. This is the lowest subdivision level in here now. I think we can use the let's turn off symmetry now. She F. I would like to Okay, let me clear this out. Let's don of symmetry for now first. I need to work on the lower part of the. I don't want to affect the upper part, so invert the marks blow this out. So I'll use my smooth brush and I'll smooth this out. So it shouldn't be too obvious in there. I really symmetrical as plan. Let's don't off symmetry now. I'm going to go to my lab do brush. I'm going to fill up one side and smooth that down so more. Okay, let's go to the subdivision level. Let's see what we have. Let's add some more flesh in here and blend smooth this down. No, no, do that. Let's do on the lower subdivision level instead. So we get smooth out transition around there, so smooth this down. All right. So let's go to the subdivision level now. Yes, I think we can work with this. This we can work with. Okay, so now I'm going to use the Dem standard brush, go to a higher subdivision level. Maybe that's way too high. Let's see how many we have in here. Let's go lower again. So the DEM standard brush, let's add some wrinkles around the eye. It's in here, but not very obvious, but you can see something in there. Let's look for something that is a bit more obvious in you can see it slightly in the air. So I'm going to take down the bro size some more. Let's create one. Let's see, okay? Reduce my bros size some more, reducing intensity of the brush. Okay? This should be just fine. Okay. No, you don't want too much, though. Let's zoom this out. Let's see. I believe that should work just fine. Let's come to the other side. Okay. I think this should also work. All right. Let me undo that. Undo that. Yes, that should be fine. Okay, so let's see what else can we add? Yes. Supposed to, like, add some expression, I guess. But before doing that, let's see what we can do to kind of break this up some more. Let's look for major regions we can use to break this up. Yes, I see one. Go to lower sub vision level. I'll use more brush for this. Reuse the bros size. Let's look for a good angle for this. I would like to extend this out a bit more so that you feel and look slightly uneven. It's going to be very salt to do, but very much in there. Let's push this way. Okay? Just slight variation here and there. Lemon this down. All right. What else? What else? Let's go to the higher subdivision level for this. I'll smooth this down. So one side should be a bit longer than the other. Okay. Let's create some more fleshiness on one part compared to the other smooth this down. This should add another extra level of breakup increase my smooth intensity for this. Okay. We sort two ways breaking this up. So two ways breaking this up. Okay? Come up here. Add some more smooth this down. Smooth this down. Smooth down, some more. Okay? I'll need to add some breakup in this center in here. Let's go to lower subdivision level. Let's do a break up in here. That feels a bit too obvious. That feels slightly too obvious in there. I know there's something in there that I need to more or less, like, introduce. Introduce my brows size. Do something, so smooth down. So you should just slightly sit around that but soft handed that way. Basically brush, build some a little it in there, smooth that down. So that should break this up a bit more. Okay? That is fine. What else? What else? What else? Let's see. Let's add a bit more t in here Okay. Smooth that down. Okay. All right, that should break do Let's use the mats cap grave for this. Let's see. All right. I think this is coming out quite nicely. See if there's another region we can add some more breakup too. I think for the most part, this should work. Yeah, let's make some of the one side of the eye a bit of the eyelid a bit higher and then the other part lower. Well, basically, you just need to work on one part and then that should reflect on the other side. So let's go to lowest subdivision level for this marks these parts, invert the marks, blo marks. I would lift this up. So more, let's use the move brush out a bit more increase my brush size. Blood mark some more. Nothing that accurately enough. Okay? Let's not too obvious in the maybe just a little so get this. Let me put this produce a bit more. So it's feeling like it's feeling like it's a bit too I think I moved this way too much. Let's compare. Let's look for something in here that we can use to compare. Yeah, I think I moved that way too much. Let's get that maybe maybe make this won higher instead. Maybe make that higher. I think we can work with this. This should be just fine. Okay. What else? What else? I see something in here. I would like to add rather pull this out some more pull this out a little bit more smoother down. Actually creates unevenness on both side now. Okay. I think you should be fine. Okay. Let's go to the higher subdivision level. Let's go back to the blink material. Let's see what we have. I think this we can live with. Let's see. Let's compare this to another reference in here that we can see if we can find some if we can find some differences, I can see a difference in here, can see wrinkle detail around the eye. So we can also introduce that in here also too. We use the broadside some more Okay. Like so. Let's go to lower subdivision level for this. Let's see how they break up here, or they break up here instead. Let's see what we get This is actually nice but. We need to smooth them out a bit more. Let's go to higher subdivision level. Do that. Let's introduce that again. Don't do that. Don't do that. I'm not doing this accurately enough. Let's go to the lower subdivision level instead. Maybe we can do this this way. Okay. Yeah, this is fine to break up that to break this up. No, no, no. No, no, this is not accurate enough. Let's undo that. It needs to be even lower. It needs to be lower around perfect perfect around should be fine. Increase subdivision level, smooth this down. Let's see, yes, think I prefer this instead. Okay. Maybe we can reduce, go to lower subdivon level. We can maybe accentuate one side, increase subdivion level. Yes. Yes, this would work. Let's see if there's something else we can do in a I think I think we're in a good place. This is a good place. All right. Yeah, I would like to do something in here. Let's use the Let's increase sublon level. I would like to add a bit more fleshiness in these parts. I'll smooth that down. That should break this up a little bit more. Okay. That should be fine. All right. This is fine looking good. Yeah, I think we can live with this. Let's save this file. 10. 09 Base Skin Pores In Zbrush: Okay, we come about, guys. So since lesson, I think we can move into the chem cause now. But before I do that, I would like to adjust the joy a bit more. I feel my joy is down way too much, so you can see something quite small in here. So I would like to adjust that a bit. Also, let's see. Let's see if this is trying to see, I think we should be fine. We should be fine. So let's just adjust the join now. Okay, I'll turn on symmetry for this. It should be done symmetrically, increase the blow size a bit more. Okay. Maybe that's a bit much. Let's put down a little. Yeah, this should be pretty much fine. All right, so let's go to the higher subdivision level for this. That should be fine. Then I'll go. Let's go to the layers in here, and then put this here for now. Okay, let's cover this instead. Yes, so let's go to layers, create a new layer in a ani. Rename this to Bs pose. So rename this to Bs Come on. Bees pose. That should be fine. Take this down. So let's go into surface noise. I'll click on surface noise. So I have a potlarseon I need to use in here. I believe I should have that in here so this is like some bees skim puss We pretty specific setting for it. So we're going to use that in here. So let's go in and click on this Alpha down here. I don't know if you guys can see that. I believe you guys can see that since I'm having my mouse ilighted Click on this Alpha on and off. Click on that and put this here. So I need to find that alpha under my local *****. Let's go to Maxson Z Alpha flip skin tie Bo. I believe is sports as do click conduct that's the one. Okay. Get some space in here. Come on. Let's zoom this in. So we can't really see that in here for now. Oh, before I think there's something I would like to do before that, though. So let me turn that off for now. Let's work with the normal regular this normal regular noise alpha in here, so I'm going to change this first because if I go to the side, it's looking a bit wet on the side. Let's say this to UV instead. To U V. Let's try and eliminate this weird weird line around this. Let's see where that is coming from. Okay? No. Let's just the scale of the noise. I need something a bit larger. Something quite large. Just to break up the surface some more, maybe not too much, though. Let's see what we have in here. Let's check around this. I think we can actually use this. This is just going to create sort changes around certain certain imperfection around the face, so it doesn't look like the face is entirely smooth, so should probably Let's try this on face. Let's see what we get. You know, I think it should be in the opposite direction. Not too much. Somewhere somewhere around here actually seems fine. Let's click. Let's click. I figure to tie this a bit more less tie this a bit more less. There's some tie tile tiling in here. Okay. This is a better tighter type to this. Let's increase the strength a bit more. I'll click Okay. Let's see what we get from this. Okay. Get close let me see if I can exclude this from affecting some parts. Though, for the most part, I think, this should work. Let's start by let's see if we can exclude this from the lips. So marks pen. So let me take down the bros size. Do that. For right now, it's kind of ignoring our subdivision level for right now. I just kind is still a preview actually because I've not really applied it to the mesh itself. So we're still on preview. But if I go to Lowe's subdivision level actually, can see the definition still holding itself in there. But I don't want that, so let me try and exclude. Let me see if this is actually working. Yeah, it's working. So let's exclude some part of the l Okay. Let's increase the subdivision level some more. Okay. Yeah, something like so should be fine. Let's go over. Let's see. Let's move this this way. Let's exclude let's go to lower solution level actually. Let's exclude some parts of the you have symmetry toned. I believe symmetry tonedwF this year, it is. So let's exclude some parts of the air. Okay. So it shouldn't be everywhere, so All right. I think this should be fine. It should be fine. So let me turn let me say this to zero. Smooth normal should be at zero. We have this on a on a layer, so let's go to the it subdivision level for this. We go to the die subdivision level. I think I would need to rename this also to noise Bz instead, okay? Then I'll go over to the surface noise where surface noise unless I apply yeah, I think we can apply to mesh. You don't need to mark by noise. You can actually mark by noise then and then kind of inflate that. We can do that. I think that would be a better one, that would be a better one to do except for the fact that we kind of created some manual marks in in here, so that's going to affect and create some sharp edge in between. So I think our best guess our best option would be to use just the applied to mesh. Let's apply it to mesh. Let's see what this gives us. So it's kind of floating up in here. Let's give this a moment to Is it done? Oh, it's done. Well, that was fast. Okay. This can actually work. It's actually work, why? Because we can still let's lay the marks first. We can still go to layers in here and turn this off for now. Then we can tune this down however we want. So we still have control over how intense we want that to be. We can actually can actually leave this like so No, she feels a bit she feels a bit too rough. Let's do 0.5 instead. Yeah, 0.5. 0.5 seems like a good one. Just kind of add that text shot surface detail over this. Which is actually kind of cool because we can always blend this down with the can blend this down with the order ski pole noise we're adding here. Okay. Yeah, this should be fine. So let's create a new layer in here. Then we can name this to Bz pause now. Okay. So now we can now go back in soup. Let's go back in the surface noise edits. Okay. You have a lot of things we can do in here. We can also do larger ones also, too, just to break the general surface detail of this if we need to, but I don't need that for now. So let's go to this noise pause two. Now let's use the setting in here. I don't really want any mix in here actually, so I'm going to take down the mix. Put that to zero. Let's use the setup. You have in here, this one should work just fine. Okay. Let's come in a bit closer. Let's decrease the strength of this. Okay, we have this at 0.03. Let's get that 0.03. What value do we have in here? So let's get this to 0.03. Yeah, roughly around there. Maybe you might make this a bit more intense later on. Let's create some tiling for this. Journalism is really do. Let's say this back. Let's say this to one. So it's Alpha tiling, but we need to adjust actually. Let's get this white tights, get some more intensity to it. It's the visual look that's most important. So let's tighten this even more. You know, I think we need to make this even we need to make this even tighter. Let's make this even tighter. So I will tighten this even more. Seem to be moving this way to my mouse instead so I can get something a bit more accuracy to it. No, still needs to be a bit tighter than this. It's almost like it's kind of disappearing, sort of. Let's intensify this a bit more. Let's see where we get. Okay. This is looking This is looking just about rights. Yeah, This looks just about rights. Let's click Okay to apply this. Et's go back in there actually. Let's take down this strength by Mark. Take this down to roughly the center parts. Doesn't do much actually, but let's just leave that as it is. Okay. Click Okay. Let's compare and see if this is good enough for us to work with. Okay. From a close up shot, I think this would actually work just fine. This will work just fine. So basically, what we need to do now will be to start maxing out some parts. Let's go to a lower suburation level to begin with. And let me take down the bro side. I need to max out the lip. I don't want this affecting the lip, so let's clean that out. I'm not entirely sure why this is not cleaning out, though. Cleaning out. Doesn't seem to be cleaning out. Yeah, does not seem to be cleaning out. Let's carry on. Let' carry on first. Let's see. Let's see. Blood out. Undo that first. Let's go over to the eye. Let's add the mark first. Once you done with the marks, then we can apply this to it and let's see if that would actually work. I'm going to do a light stroke in here. You let stroke in here. Same in here. I'll do it more stronger I'll do more stronger marks for the ears. Let's see if we can make this work. Okay. Look for the back side of the ear also. Symmetry is done that's completely fine. Don't do that. Getting a bit close. Okay. Okay, something like this should be fine. Okay, let's blow the marks a bit more. That should be fine. Let's go to the highest subdivision level. Okay. Let's apply this in a apply to mesh. Let's see if this is going to exclude going to exclude the part kind of maxed out. If not, we find another I'll find a way around this by using the max by noise. Yes, it actually respected it at try to respect it. Let me undo this. Let's go back in there. So now on the higher subduction level now, let's go on subi subison level lower rather, the same mark in two, there is the more stronger marks in here. Okay? There is the most stronger marks for the year. This is just me I can't really see my marks properly without being material. Okay. All right. Take down your browse size. Okay. Go to the lower subdivision level, increase the subdivision level a bit more. Go down. Let me make this visible so you guys can see. I want to blow this out a bit more. Undo one of the blow. Okay. Then let's go back to surface and apply to mesh. This was going to dw down also? Let's just Okay, is it done already? I believe it's done. Let's clear the mask. Let's clear the marks in here. Let's let's see where it gets. Okay. I think we can actually work. Since this we can actually work with Oh, undo that mistake. Made a mistake. Made a mistake. This is supposed to be the IS abribtion level first before applying the max. Let's make sure on the I subribtion level so you can get as much detail from this skin point instead. So I would like to clean out I would like to clean out some of the save out. Come on. I basically I like to clean out some of the details on the marking on the eye. Maybe just lighten it up a bit more. Maybe actually leave it as it is. Let's hold down control and Ot think undo that. Control O unless let me clean this part out a bit more. I wanted to be a bit visible in the right. That should be fine. Let's apply the i solution level fine. Let's apply to mesh. Let's see what we get out of this. Okay. Clear the marks. I think this should work just fine. Yeah, this would actually work. This would actually work. So we're coming here, let's say we increase the noise base mesh. Let's see what we get. Let me increase this a bit more, maybe all the way up to the eyes. Is there any major difference in there I cannot really tell, off and on. Yeah, there's a difference in there. I can see I cannot break up the skin. So let's say we tune down this base skin pole also. Let's get a blend between these two. Okay. Let me try. Let's try value of 0.6 instead for the best compose. Okay? Getting a closer view. This is actually quite fine. Getting some texture breakup in there. Okay. I think you kind of take down take down this noise base. Let me take this down to 0.8 instead. Let's see. Done that often to find a good balance for it. This guy trying to find a proper balance for it. Okay. I would like to increase my skin pause, base pause instead, 0.7 instead. Not much difference, but I think this will be just fine. So I can live with this. So I'm going to save this and then we'll continue on the next lesson. Bye for now. 11. 10 XYZ Skin Pores In Zbrush: Okay, welcome back, guys. So in the previous lesson we kind of worked on creating the base pose for a character in here. So in this tutorial, I'm going to be using tection XYZ one round and 75 Alpha to start creating more precise directional skin pose for this character in here. Okay? So let's jump right into it. I'll need to create a new layer for this, also. Let me put this to the side. Let's bring this out. Put this up here. This we're going to be needing. Okay. Most especially this diagram in here that comes with the 175 skin pause Alpha because it does numbers for specific region. So let's go back to ZBrush and then we're going to open up layers this on the highest subdivision level, that's fine, preciely what we want. I'll click on the plus sign. Let's name this to XYZ pose. Right, perfect, so just before I start recording let's don't know the recording for now. Unless I the bass compose, unless I the noise bass pause. Okay. That should be fine. So we just need this completely plain completely plain surface in here to work with. So I'll go to stand out, tell it to standout brush. Then I'll go over, have you seen here already. So for f 175 XYZ, 175 skin, that is fine. That's what we're going to be using. So double click conduct. I'm going to be using the I can use any of the youngest. An of the youngest should be fine. So we have twentyesOnine, 20 or one. Let's use the 20s on nine instead. So double click conduct. So I always prefer to kind of start from the middle point. So the middle point is number four. Middle point is four for this, so I'm going to Go and double click on four to double click on that is applied in now. Tihul be on drug, Rec. Alpha Oder modify. I'm going to say this mid value to 45 radio five to ten. I'll turn off symmetry for now. Then I'll go back and then record this on the X Y Z pose. So let's start from the center. Since this is like a center alpha for this, let me zoom out a bit small, let's see. So it should be roughly around this region, so you need to increase this a bit more. I'm still going to find the right balance for the intensity, though. Let's start with 32 for now. And drag out. Let's get the closer view. I think this is actually way too intense, and it feels a lot. It feels quite too noisy in the center points. Center point feels too noisy. Let's strike the second Alpha in Alpha park, which is female phase 21. Let's use the same number four. Radio fit to ten mid value mid value 45. So I want to use something that is not too noisy, so let's try this in here. Bottler is not too noisy. But we need to take down the intensity down a bit more maybe around 25. And think symmetry for this. Let's see what we get to symmetry turned on. I want to make sure you are flowing the same directionality. So the direction for this is more or less more or less, so let's compare. Let's see. It's kind of flowing. Direction for this is kind of flowing downward. I'm not sure I got this right, so the direction is kind of flowing in this direction. Skin codes are flowing in this direction, whereas mine is just straight down. I need to undo that. Let's do that. I think it should be, something more something more, let's like so. But looking at this now, I feel, let's do this again. Actually, let's come a bit closer. Okay. Try to avoid joining them way too much to take note. It doesn't look too disjointed in the center part. So something around here should be fine. Yeah, this should work just fine. And I want to eat X on the keyboard got of symmetry. I'll create another one also in here. Let's see what we get. Okay, this direction for that is slightly different. That looks slightly different. That's slightly different. So let's draw this out again, so it feels more like something in this direction, but something a bit tighter than this too big. So yeah, I just need to do this with a bit more precision in here. Okay? Yeah, I think should This should work. Okay? Yes, we can certainly we can certainly work with to go in the let's see what we get. This is fine. So now moving on. So let's try, or let's use number three now. So still on the same pack. Double click on three. Let's go to Alpha. S this again, 45, ten so zoom out. Let's check the directionality of this. It's more or less like flowing downwards instead. I need to undo that don't know symmetry for this. Let's see I guess something like this should work fine. Turn of symmetry. Fill up let's fill up this gap in here. Like so should be fine. Let's get close up. Let's see directionality for that. Yes, I can definitely think I can definitely use this on repeats. Let's reuse the same thing also when you do that. Let's don't know symmetry. Flow the same directional flow for it. So you pet the same thing also in her. More or less like that should be fine. Okay. Let's continue the same up around. Okay. Similarly, also in a ton of symmetry and just do one is center. Sin getting close of Okay I did that correctly, so that should be fine. Now let's go and then use so now. Let's see. This one is actually flowing downwards instead. I think we can still use this three. Can we use the same three? Okay, better. Let's use the two. Let's use the two instead. So double click on two. Make sure it shows in here. Then we go back to Alpha mid value, 45, radio f ten. Okay. So it should be somewhere around here. You can see how smooth this direction is flowing downwards. So let's get a better angular this tunnel symmetry for this. No, it should be Let's see something more or less like so. Yes, this should work just fine. I should work just fine. I think I'm going to, we can continue on with this and continue on with this. Let's connect this up around. No, that feels a bit too noisy actually. So let's go back and use three. So I'm just going to select three in here. This three has more too soft, not too noisy transitions around it, so this will work just fine. We can just continue with this three around here also. Okay. Continue this on let's see the scale of darts. If the scale of darts, it's good enough. You can work with this. Okay? Let's see what else. We can come in close and then repeat the same thing also in here. Story seems to be a really good one. That we can just repeat all over the place because it's giving us good good result around this which you can keep. All right, do the same in here, fill this spot up. Feel the part up also. Okay. This we can work with. All right. And I'm going to be using the oh four for this under part of the eye instead. So let's go in and then look for four oh four in here. So I can see directionality for the eye, so it's more or less, something like so Okay. Around here also. We can repeat that here also. No, no, I'm not sure I'm getting a direction for that properly. Okay, I did. I did. That's fine. Rotate this a bit more. No, no. Let's turn up symmetry for that. No, that will not work. I think more preferable one is to use the same three in a All right, this is fine. I'll repeat the same 03. Tonal symmetry for this repeat the same 03 on the nose in here. This should work just fine. Let's get in a bit closer and do that. Okay. Like so. Let's do one year also. All right. You can repeat that also around here just to fill up these parts. Okay, Let's come up a bit closer around here also. Yeah, this should be just fine. Let's come underneath the nose. Directionality is extremely important. Make sure you're flowing the same directional flow for it. Alright. Let's see, I think this should work. It's like a young character, so we want to be as soft as we possibly can. Let's move on now. Let's find something else. Okay. S one. Let's do 09 instead. Let's do on nine instead. Oh nine oh nine, double click conducts. Do the same repetition setting for this 45. I think I need to save this five. Let's save this five first before moving on. So save now, let's come in to the side. Let's see what we have in here. So it should be somewhere around okay. That doesn't seem right. I'm not sure if we did the setting properly in here. I figured mid value 45. Let's check the directional flow for this. Pull this out. Yeah, pretty much like this should be fine. Continue this on. Okay. I think we can repeat this around here also. Let's see if there's something unique in there. No, I think I'll just repeat this around. Just repeat this. I want to believe how symmetry turned on here, symmetry is turned on. Okay. This but needs some directionality to it, actually. Let's see, direction should be flowing more or less like. Get this flowing this way. You should be flowing this way also. Flowing in this direction like so. Similarly, also around here. All right. I think we can calm down a bit more. Might not need to kind of do all the way down because those part are going to be covered by going to be covered by gluten on it. So let's just get something all the way down here. I already have these skimples that should kind of fill up those lower part also. Okay. I think I can continue this on on these parts, you should be flowing downwards in this direction. Okay. So miss even if you miss some parts, that's completely fine because we still have her skin parts that should fill up for any parts that we have missed. So should be flowing in this direction, so here also similarly here. I want to tackle the eye in a moment. So let's just try and fill this part up some more. Now for this part, check the direction for this. Let's getting a bit closer, this should be fine. Like so. Like so also. Let's check the directionality for those. It's kind of flowing upward, do the last one we did. Okay? Maybe this one should stretch out a little bit more. Continue this on. Okay. Let's get in a bit closer, right? I think I can qui Phyton of symmetry, let's do underneath here. This part we did not pay attention to. We can feel that part up. Okay. Let me give you a moment to save. Okay? So carrying on. Let's turn off symmetry in these parts. Let me get a bit closer. I think that should that should work. One last turn around here. Okay, that should be fine. So now, let's tackle the I. Let's tackle the I in here. I think I need to fill this part up. Okay, so let's go tack with the. Let's go look for something for the I. It can be any of these too. So let's try seven. Can one of these sides. Let's try seven. Leaf seven gives us this weird seven has this kind of weird issue around here. Let's see if this one actually has that. Click on that. And then I come in a radio feed, say this to 1045. Let's drag this out. Let's see what we get. This I need to make a little more a little more intense. Let's see if this spot has the issue in here. I don't up the issue, do that. So intensity is way too much. Let's take this down. So now you just need to kind of map this out a bit more accurately and do that. I need to max out. Let's hide this getting a bit close. I need to max out. This part needs to be maxed out. Need to max out these parts. So it doesn't get affected by it. Let's go to lower subdivision level. Now blow this out some more. Let's go back to the highest subdivision level. Then we can draw this out again, zoom out. Okay. Symmetry was turned off for this. That's fine. Let's create the max and also in here zoom in some more Okay. Right. Okay. I think let's go to the lower subdivision level. Blood this out a little bit more. The blood should also affect this other part too. So let's paint that a bit more. All right. Blood just once. Let's go to the highest subdivision level now. Don't know symmetry for this. Okay. And let's drag this out again. Now, this should work just fine. Okay. It's kind of affecting the inward parts though. Let me undo that kind of paints out these inner parts. Then drag this out again. I believe I drafted dragging this out from here, rotate this. I think we still need to undo that marks this part out completely. This part should not be affected and draw this out again. Okay. Yeah, this will work just fine. Okay. This we can work with lay the max, bring everything back out. No, I think I need to undo that. It feels way too aggressive in there. So let me take down the intensity and do this again. Okay. Yes, it is a perfect one in here. So clear the max. So now let's blend this with the others. Let's blend this with the others. Let's turn the others on now. So we can see all of this as one single piece. So B pause, and then the noise pause in here. So in its totality, this is what we have all of this mixed together. Okay? Yeah, this will work just fine, but I think I need to reduce my base pose. Let me due my base pose to 0.5 instead. Okay. Let's see, I think we capture the very essence of this as accurately as we possibly can. Yes, this will work just fine. So this is our kind of critics can pose for this. I'll see you guys in next lesson where we start or where we would begin to reiterate some of the wrinkle detail on top of this. So I'm going to do that on asymmetry and also reenact that a bit more. And I'm going to work on the lips. I'll see you guys in next lesson. Bye for now. I 12. 11 Lip Details In Zbrush: Bad guys. In the previous lesson we kind of finalized on the skin pause for this character in here by adding texture y se skin pause to this. And this is where we get, which is cool. So now I want to go back to the asymmetry in here, and we need to we call it sculpt the wrinkle detail on top of this with them standard brush. The standard brush. I'm going to turn off symmetry for this. Then I'm going to zoom in. Let's see if we can manage to see a trace of what we already had before. In the I don't think we can find that anymore. By said we kind of tone this off. We should be able to see a trace of that in there, like so. So let's get them a bit more intense. Go back and record this. Let's get them back in. Okay. Okay. Let's see if we will get them back in once we bring this back out. In the bots, I think it's way too I think it's way too sharp, I guess. Let me undo that. Let's do that. Turn this off again. Let's bring. Let's do on top of that instead. Let's do on top of it, so we can at least see this a bit properly. So back to asymmetry. Let's do this on top of the skimp so we can actually see what you are getting in there. Okay. Let me zoom out now. Now, this is way too aggressive. I don't want this to be too aggressive. I want something in there. Something quite so. Let me reduce my blow size a bit more. Okay. Let's do this from this distance instead. Okay? I think this we can work with. This we can work with in here. Let's do for the other side. Okay. I think too on the other side should be just fine. Let's actually compare this to a realistic reference with. Let's let's see how much of this we need to get in there. I think we can I think we can actually live with this because adding substance, SSS SSS is eventually going to soften all of that out. I have a strong feeling to put this on a separate layer, so we can actually dial this down. I have a really strong feeling to do that. But at the same time. We can actually leave this like this and actually tune this down if you need to 0.8 and put this around here. 0.8 seems like, I think 0.8 seems like a perfect one to use. Let's turn this off and let's see if we get any major difference in the this is 0.9. Yeah, I think this shouldn't be that bad. It can't be that bad, so I think I'm going to leave this as it is actually. Okay, so now we can work on the lip so let's create a new layer. And I'm going to rename this layer to lips. Okay? So this, this tera, I'm going to use another Alpha for the lip. I have an Alpha for lip. So let's go into Flip normusP so flip normal skin. I believe there's a lip Alpha in here. Here we have the lip top and lip bottom. It's another lap out in here. There isn't so. Let's start with the lip bottom. I'm going to double click on that. Basically, it's going to repeat the same mid value 45. Then Okay. Then I think, yes, we can just do this on top of this. So we would get I think I would like to mark this lower. Obvious, we have a max in there. We actually have a max in there. So Cro click on this. That's a mess. Let's go to lower subdivision level instead. Bring back you gives more control click on this. Okay. Blow the marks. Let's go to the highest subdivision level. Okay. Back to the highest sorbion level. Now, I'm not entirely sure if we can do this with symmetry tndom. Let's see. Let's see, because I don't want something that's too symmetrical if you have something symmetrical, we can always break symmetry in here though. I do that. I think you can do it symmetrically. So let's turn on symmetric for this, increase the intensity of the brush. Okay? We can map this along this side, so then maybe invert this the opposite direction and get this up around here. No, no, it looks too symmetrical. I totally looks too symmetrical. Let's get close up. This part should not be left out. Let's add something in the Let me turn off symmetry for now. Can do that. Maybe even old out instead to get an inverse. The inverse looks terrible. Okay, actually, actually have a leap out we can use in here though. So let's see if we can still make this work somehow. Okay. You do that. Let's take down the intensity for this instead. Ton of symmetry. Okay. Let's see what we get. Yeah, this we can actually work with. This we can actually work with. Se needs to make some changes by going over to the inflate I N, I believe that should be inflates, getting a bit close, getting even closer. Then inflates some of this. Let's create some inflate variation in there just to get some variation in terms of heights information in. Let's rotate it this way. So that should break up the surface even more. All right. So let's go back to standard brush. Let's do for the upper lip lip upper lip stop. Double click on that. Okay? I pretty much using the same the same setup in here. So I'm going to invert the max. There's no asymmetry for this. The intensity is already high. You get this around here. Is quite a noisy one. It's quite a noisy one if you ask me. No undo that. Let's do this from the under parts instead. Or should be in reverse instead. Okay. Take this down. All right. I believe I can repeat this lip bottom for these parts. Yeah, ton of symmetry. I think you can feel this part up like so. Yeah, this will definitely work except for the fact that we need to I'm going to reduce the overall intensity for it, so you can come in here and Dow this down. Let's see. Let's Dow all of these down. No, not the inverse. Let's use the value in the let's do a value of 0.8 instead. Okay? Yeah, this just like it to work. Yeah, this will definitely work. We can use this. That's how we created lips detail in here, using the texture using the flip normal park in here. I gonna save this. I think we're most likely done with this. This will work just fine. I'll see you guys in the next lesson, where we just kind of start creating let's create the hearts in the next lesson. I'll see you guys the biphon now right. 13. 12 Miniscus In Zbrush: Welcome bad guys. Previous lesson, I think we worked on the lips, we kind of analyze that. So one thing I like to do in here would be to work on the minuscle some work on the minus A, looking at this part of the eye in here, I feel like I should make that feel like I should make that smaller than it is right now. So let's go to the layers in here. Let's turn off everything that's do with the pulse, then go back into let's do this inside of the primary shape instead. Let's do in primary shape. So let's record the primary shape. Oh I'll go to the lowest abbreon level for this with the move brush, to know symmetry for this. I'll move this back in slightly. So it should be just fine. So yes, one other thing I'd like to do to adjust the minuscus for this. Let's adjust the minuscus for this. So it kind of fits in here. So, do I have the reference in here? Yes, I believe I do. Not basically. I want to kind of show you guys what diminiscus actually is in here. I think I have some references that should help. I where are those? I found them, so I think let's look for a good one in here is a good one. You can see this watery line watery line just beneath the just before the lower eyelid. It's this t dot line around this, actually the minuscule. I'm going to try to create that already have a bees to work with which is this we just need to get them where they need to be. Incoming close app so you can actually see them a bit properly in there. They're still on the move brush. Still on the move brush. Let's mark out the top part first. Marks lasso. Let's marks out the top part first. So we don't move that. If symmetry is actually turned off, let's turn off symmetry for this. Okay. Coming close. Let's blow the mark some more. Then we can use more brush. Let me use the brush size a bit more and get this out here. This I need to pull out instead. I think can pulling that out, but currently see anything happening in this. Let's use the transparency instead. Oh. It's in the far out. Let's bring this closer Okay, so let's go out of transparency now. Let's see, can I bring that out? Come in a bit close. Let's first kind of get this to look right first. Get this to look right. I've usually brought size a bit more. Okay. Out here. All right. I think this should work. Maybe push it down some more so it's not too obvious in there. Something pretty much like so it should be fine. Okay. Let's invert the max. No, no, invert the max again. I think let me slow this out actually. I would need to pull or push this outward instead bring this out. So you can actually see it because I need to see it actually because this is going to add another extra layer of wetness on top of that. So it needs to come out a bit more. I think I might be breaking symmetry on this soon. So let's invert the max. Get this out. It's much less so it should be fine. I'll undo that rather than, let's talk of symmetry for now. Let's work asymmetrically in a invert max. Let me focus on this side first. Then I'm going to move to the other side. Let me just get this out. Okay. This back in, in a bit close up and push back in some more inverting max. T I need to get out. Let's look for a better angle for this instead. Get a better angular. But shouldn't be coming out way too much like so. Okay? Should be kind of in there. Around there, she'd be fine. Let's moving on to the other side. Let's get the other side accurately as we possibly can. Getting a bit close up. All right. Invert the max. I need to get the closer view in the first. I need to pull this out this way. Like, so should be fine. Okay. I think this should be pretty much there without the max. I pretty much there so shift F. Yes, this is fine. I should work just fine. This feels just about right. I'm going to save this. So that's pretty much it for this lesson. And in the next lesson, we're going to work on creating the art. You need to create the art in a 14. 13 Hat Base Mesh In Zbrush: Okay, welcome back, guys. So previous lesson, we worked on the minuscules. So lesson, let's work on decorating here. There are a few ways to do this, though. So let's start by using, use one of the method though. There are a lot of methods to do this inside of Maya instead and then and then bring this into Zbrush and work on them or you can create them in Zbrush in here. So I think I'm going to be using the method of creating them entirely in Zbrush. So let's get to it. So I'm going to go over to let's go over to append appena in here, put and select that sphere. Go to gizmo, shring this down. Shing this down so we can't even see. Yes, you see a bit you see in a bit because I want to use I want to use an IMM brush in here, so I can't do this on my main model because main model has subdivision levels in there. So we need to do this on something that does now have subdivision levels in there. Okay? So B I I am primitive. Let's use the Um, yes, let's use the police in here. I go to the top of her head. I'm not going to drag this out. A down shifts. Like so should be fine. Then go back to move. Pole circle. Let's just leave this sere. And I'm going to go over to my sub two under splits. Let's do split on max points. Basically, what that will do is any point that is not maxed out, is going to be splitted out. So I'm going to split this out now. So if you go to our sub two, you should be able to see two spheres in here. This is the police sphere we just created. This is the original sphere we kind of appended. So we need to police fare instead. So this is the police fare have to see this Fantastic. This is what we need. I'm going to, I think I'm going to I'm going to make a duplicate of this to begin with. Let's make a duplicate of this police fair. Let's add the bottom one. Let's work with the one on top, select that. Let's isolate this out first. Then I'm going to come over and do a max around the ControlW. That should give the lower part a poly group, which is precisely what we want. And I'm going to go in and then squash do that. Let's go down, go back to our Gizmo control, click on this poly group. The center is back. Again, to symmetry to up symmetry for now. Turn off symmetry for now. Then I'm going to squash this down this way. Okay? So I need to kind of average out in between. In between the spacing for the squad in here. I'll do that. But for now, let's leave this as it is. Square this down a bit more. So it should be just fine. Layer the moth, Control ship click on this, Controlh click again. Scroll down under display properties, S on Dub side. Now I'm going to do delete Eden. I'll do delete Eden in here. Let's go over geometry, modified topology, delete Eden. Fine. That's fine. Okay, so I'd like to do this to add ano cut in between there. We can do this in several ways, but let's do this in a more more professional propyl. So we can kind of get each quads working correctly without any issues when we smooth them out. So this is a Z modular bro B Z M. I think I'm ready on. Let's go to the edge space bar insert. That's fine. Let's just add one in here. I just basically average in between quad spacing in between them, so the smallest equals. One of subdivide these they should kind of a equal spacing in between them or equal faces in between them. Okay, so moving on, I'll go back to my move brush this way, I'm going to let's go to the move brush. I'm going to max out This part also Control W to get a separate poly group, that is fine. Go in and then select this or go to gizmo, then we confront up on this polygroup. Skin center this again. Basically, I'm trying to create this stop path now. Trying to make the stop part a bit needs to be a bit flatter. Something somewhat like so should be fine. This we can definitely work with. Doesn't need to be completely flat. Something like so should be just fine. Something like should be just fine. So I F again, let's go too Zimlar B, M. Let's add ano. Loop across this, so just to maintain that to maintain that equal codes around this. So now if we should subdivide this, let's say we subdivide let go to move brush first. Let's say we subdivide this now. We should be getting something good enough to work with. So for a base, this will work just fine. Will work just fine for a bass, so I won't do that. Then let's go out of solo more. Let's position this on her head, position on her head a bit more accurately. Rotate it this way. I feel it's way too long. So let's swing this down some more. I think, like, should be fine. Think we can scale this out a bit more. No, that's way too much. Just a little bit more so rotate this way. Okay? Yes. Let's try and get this sizing up on our head a bit more. So this time around, we're going to be using the move brush. Don't know symmetry for this let's manually move things in place. Let's just move things in place. So it feels like exactly sitting on our head. Let's look at this from this angle and try to get a closer approximation as to if this is sitting well or not. I think we can move this in here. So we get something that actually fits in more around those parts. I think, so it should be fine. This should should more or less work just fine for what we need it for. Okay. Yes, this would work. So now, what else do we need to do now, we gonna create this let's create this flap around it or chemical strap around it. How do we go about creating that? We can easily easily even use this actually to create that already have even out topology around this already to work with. We can do a duplicate for this. I'm going to duplicate this. And I'm going to let's get this up from now. Do that instead. Let's solo this. Get this down instead. I'm going to Control click on this control click on this again. I'm going to do a delete Eden now. Let's do a delete ding. I believe delete Eden, then we can squash this down this way or snap. That's not looking accurate enough, do that. Let's bring everything back out first. Yeah, it gets a bit tricky in here. So I would like to let's see what we can get in here. Basically, I need something a bit flat. I need something flat to work within here. Let's look for a more preferable way to do this. I think I know a preferable way to do this to be. We can max out. Let me look for a better angle for this. C max out the parts. Inverting max nod that. Blow the mark, do that. Let me squash this down this no, do that, or do that again. Supposed to scale this. Come on, invert the max. I need to blow this out, blow out. Blow this out again. I would like to scale this out this way. A bit more invert the marks. Get something down this way. Yes, perfect. Get something down this way, blow the marks again, get something down this way. Yeah, yeah, this is pretty much it. Close enough. Clear the marks. Then I'm going to just squat all of these down. Perfect. So you can see how it kind of get of capture the essence of that maybe bit more properly by just making fear adjustment to this. So yeah, this would work just fine. You can scale this out this way. Scale out this way, a bit more, should be fine. So click on this, click on this again. All right. Then we can do delete now. One that I'd like to do would be to go over to deformations on our polish group. So just to get this word face is kind of spread out and a bit more evened out also too. Okay, so this should work. I think I went to verbal because I'm going to have an issue correcting this. Let me go back and do this a bit more. This a bit more. I think, something like this should be just fine instead. Let me leave this do that again. Let me leave this up some more because we're going to kind of leave this up even more just to get this part a bit higher. So instead of deleting that completely, let's just get this to look somewhat close to what we need it for. Pretty much close to what we need it for. So to make the work a whole lot easier for us. I just to make the work a whole lot easier for us, something like sled marks, let's polish by group, a bit more. Just get something clean around here, like so this is just fine. I will scale it out more. Then we don't need the middle part anymore, so control shift click on that. So you just want to kind of make sure you kind of make things a bit faster by thinking about the process and kind of putting in consideration also to the shape, so you can do things a bit faster. I went to repeat step that you would have skipped if you just talk about the process just a little bit more. So this is obviously way way too big. Let me of symmetry for now. Let's scale this back down. Okay, can see how we're getting something similar to close to what we need. Scale this down a bit more. Out. I think this is actually close enough. Is actually close enough for what's needed for. Let's make sure double side is turned on for this double side display properties, double side is turned on, that's completely fine. Now we just need to make some modifications to it by just pushing this needs to sit inside. It needs to sit inside. Let's make sure it's sitting inside. Okay? You should just sit inside of this. All right, select this instead. Let's get this out. Should be covering it. Okay. All right. So let's see compare the t again. I think the t let me put this down instead so we can bring this down this way. Okay. Yes, this should work just fine. I think at this point, we can just control doubly to give this one single polygroup. One single polygroup should be fine. I think we need to also merge these two as one single piece, then continue working on them. Let's see. Let's merge the two as one single piece. So we can do merge down. Merge down, click okay. Then we can slow this out so we can work on them as an individual piece as a single piece rather as one single piece. So let's subdivide this. Let's subdivide this. Yes. Let's subdivide this. Okay. Let's say it's kind of shrinking kind of subdivide. We don't necessarily want that to do that. So let's go over we can be M. Let's add tighter edge loop around here. Let's go underneath this. Add another tighter edge loop around here also too. Go back to the move brush. Then we can subdivide this so that should hold. Okay. So you can delete. No, no, before we delete lower, let's de duplicate of this. Let's have a backup for this, so let's delete lower now. So this will be our main base. So Control click on this to isolate that. S is maxed out rather. Then we can use the move brush and do that. Begin to move things even it properly in here. Just make sure it's kind of closing. I kind of try I'm trying to close those gaps, kind of. We're still going to articknes to this let's try and close those gaps for now, as much as we can. I think they should be fine. So now let's try to capture the essence of this wavy shape around it. So we're still on symmetricty thunderm which is fine. Let's look at this from underneath like so. You can bend this down. Get an angle like so, get this in frame. Want to be sure if I'm doing that correctly to do this correctly. So a better angle, get this down, get this down, get this down, do that. Come a bit closer, get this down. Okay. Then we can compensate for it also around Yeah. Let's make sure we kind of mark this marks out the inner lid. So I don't move that way too much. Blow the marks a bit more. You can come in and then push this in some more, push this in some more, reduce the bro size, push this in some more. Same also in here as well. I think we should be good. Okay. Make sure we're back on the front view, clear this out. Yes, it should be fine. You should be fine. I think at this point, cantiness to this now. Shift F. I think there's a understood dynamic. I think we can add kina thickness in here. So thickness. Let's take this down, take the smooth abjuration level down. Let's try and add some thickness to this. Do a bit more. Do a bit more also, that's way too much. Since around some around should be fine. Let's see what we get. Then we need one segment in between that. So let's include let's subdivide this. Let's see what we get when we subdivide this. Now, take this down. Subdivide this again. No. I think I actually need this. Let's increase segments, one more time. Let's add whoa whoa. I think it should be fine. Let's apply this doesn't applied now. Then let's sub div it doesn't look good. Let's don't do that. Let's subdivide this now. Let's see what we get. I think we need do that. I think we need a bit more thickness to this and do that again. Let's add some more thickness to this. Okay, apply, subdivide. Let's see what it gets. I believe this should be sitting roughly where we need it to be. This is for the thickness, though. Let's bring everything back out. Yeah, we can definitely work with this. This we can definitely work with. Let's take this down. Okay. Yeah, we can definitely work with this. So we just need to kind of make some more corrections and adjustments to it. Let's see what we have in a I have different poly groups now. Control Shift click, Control Shift click, Control Shift click again. We also have another piece inside. That's the piece we're looking for. Control Shift click undo that. Control Shift click in there also. Okay? Max this. Go down Control and tap out to max this, bring everything back out, Shift F, so we can use the move brush now and then more carefully move this in place where we want it to be, so we can get these to sit tightly on top of this. I think we need to get this out. Push this down. This down also. Okay? Yes. This is it. But this. I feel like I should kind of scale this out some more. Like I should scale this out a bit more. I just use the more brush instead, you know. I need to I need to add some more mark in here. Okay? Blow the max. Go to a Gizmo. Turn off symmetry, get dissenterd scale this out a bit more, put this down. Okay. Let this out. Yeah, I think this should work fine. Fine work fine now. Okay. So this part goes out way too much. Let's get that in place, get that in place do that, to a symmetry for this. This one feels a bit too extreme. I think I went to extreme in there let's average that back out. Let's look at this from the top. Maybe push this in, get this in a bit more. Maybe a little in a bit more around here also. I believe this we can work with as a base. This is actually a good base to work with. This is a good base to work with in a let's look at this, let's see what we get. Taking this from the side. Taking this from this same frontal view. Maybe just maybe we need to push this down some more. Push this down some more. De some more. Okay. Trying to kind of capture the essence of this as closely as possible. Okay, I think we can work with this. So if we should read the subdivision level some more, let's subdivide this even more. Let's see what we get something smoother. Yes, this will work just fine. This we can definitely work with as a Bs, right? So let me save this. So in the next lesson, we're going to go on and then start doing some sculpted details on top of that to get this to look a lot more believable also and more realistic, too. So I will see you guys in the next lesson. Bye for now. 15. 14 Hat Sculpt Details In Zbrush: Welcome back, guys. So in the previous lesson, we kind of created the best mesh for this art. So we're going to rather than this tutorial, we're going to start working on it and then getting it to look a bit more accurate. Let's jump right into it. I'm going to subdivide it a bit more. Maybe one more. So 7 million should be fine because I'm going to be using six Alpha in here actually. Some detail in there. I think I can use some Alpha. I capture the essence of that a bit more. So let's create a layer for this. Okay. So I'm going to name this to base details. Base details. Okay. So let's go to lower subdivision level for this. What now I like to do is to reduce the overall height of the carping so we will reduce the overall height of the capsule. Let's max out these parts. The mark, blow this out a bit more. Let's get this centered. Ton of symmetry for this center, rotate it this way. That should be fine. Set this down here and I'm going to bring this down some more. Yeah, that seems fine. Then I'll go in and I need to scale, squash this in Okay. Maybe nobody ask way too much. Blow out the marks. So I think I'm not doing this correctly enough, so I'll need's the tiny bit around here. The marks, blow this out a bit more like so. Then we can scale this down. Maybe I went overboard. Like should be fine. Okay. Then we can start blocking things in. So let's go on subttion level higher. I'll go to my standard brooch. I think standard brush would be better one. So the standard broach now, I can start breaking things up a bit small. Okay. No. Let's do the inverse instead. Like soap. Let's come from the top, do something like soap. All right. Like, that should be fine. So I'm just basically trying to create variations inside of this. You can pull some out also, too. More or less almost gritting foods in there sort of some sort of foods in there. Okay. Can undo that. Let's break this a bit more. Okay. Let's create a deeper one around the smooth that down. From a distance now, I should be able to see some breakups around those parts. I reduce the bro size. Let's do auto grouping here. So fully group auto group. Control Shift click, Max that invert the mark, invert the mark again. Shift F. I need to elevate the lower parts. Lower parts should be elevated a bit more. Okay. Continue this on all the way to the other side. Continue that on around here, here, so here, so. Okay. Let's go on subdivision level higher again. Then I want to oats and then dig that in. Don't do that accurately enough. Okay. Dig this in. Dig this in also. We can go one last round across this, like so it should be fine. Okay. Take down the smooth intensity and then smooth that down. You don't need to go all the way around this can kind of do this randomly and smooth this randomly. Like so it should be fine. Okay. Let's see if there are no gap here a gap in here. You need to use the move brush and then bring this down. Close that gap. So now I think I'm going to add some more sharper foods around this now. It's a bit more obvious, like that. That should be fine. Dig this in a bit more. That's way too much. Elevate this. Okay. Dig this in, get something like so. Smood down. Let's get this food in. Dig this in, smooth down, smooon down. Yeah, I think this should be fine. This should work just fine. I don't think I need to go to extreme in her set, go to lower subdivision level in here. I think I can use this dam standard brush now. Let's use the dam standard brush. Carve a depth in the you can do one depth in your all soap. Let's go to higher subdivision level. Okay? I think smooth that down. Yes, fine. Much better in Let's max this invert the max. Use the standard brush. Elevate this out a bit more. Smooth that down. Okay. Now let's do that invert the max. Now let's go to surrounding strap around this, increase the subdivision level for this. Standard brush is there already. Maybe just accentuate this a bit more, create create some variation, breakup in there. Okay? All right. Yeah, this should be fine. Okay. I'm going to go to the subdivision level for this. You can see Let me kind of show you guys in here. I can see an edge in between here, so we need to kind of block in that edge. That edge. We need to block in Okay. Let me try. Let me try. Let me see if I can actually create this shape in here. There are various ways to do that, too. You can use Acid dams can use the standard brochure to do this. Let's test this out, so we can see how we kind of creating it in there. Maybe we shouldn't plug in an Alpha in the I think she beats alpha, and let's see what that gives us. It is a good one, actually. Maybe increase the bro size a bit more. But better still to make better sense to put that on a separate layer. But let's create it on a separate layer, so create a new layer in here. But let me kind of put this center coat first. Let's create a center coat first. Let me lame this to edge depth. For this, let's try the dam standard brush. Let's go to lower subution level first. Let's isolate this. Slow this out. Let me get it this way. Let's add a deep cat now. Let's see Nope. We need to reduce the brush size a bit more. Yeah, something like it should work, but no need we need to increase lazy mouth radios instead, so we can do this with a bit more accuracy. Okay. Let's go on subduction level higher on subduction level higher again. Alright. This will definitely work. It can get confusing, but just make sure you stick to that edge. I'm also liking that it's kind of creating some like some tension India also. She's creating some tension in India. She's quite nice. Don't do that. That wasn't accurate enough. Et's continue on. Go across this. I think I'm strolling off. It needs to be directly on the center. It needs to be directly on the center. Continuing on. I think if we get a closer view, should that should help us avoid making mistakes. So we're just going a straight line across this not a straight line though, but just maintaining that flow in the center. Let's do this again. That doesn't look right. Okay? Continue on. Okay, do that. I think I need to go from the opposite direction now because I feel like I feel like I've exhausted my mental capacity kind of flow in that original direction. So let's do it from the opposite direction instead. Whichever direction you feel is fine for you, though. Okay. All right. Okay. Maybe just depends on your camera angle for this. If you're doing this on a good camera angle, then it shouldn't be too much of an issue. I think for this camera undo that. I think for this camera angle, I'm doing just fine. I'm doing just fine for this camera angle this original one is one of so let's finalize this in perfect. So that work just fine. Let's bring everything back out. Let's the front view, get this front view. Yes. Yes. I think we reduced a lot of precision. So this will work just fine. Let me see if my entire file. Okay. Awesome. So let's create these inflated parts. Let's create these inflated parts. I was thinking of using, like, or kind of maxing it out on them inflat symbol. I don't know. I don't know. I don't know, actually. So let's just do this by and let's see how arde you can get that Because try to do this inside of sotansPint I don't want to work both. We're going to missing out on the going to miss out on the actual detailing of that that it information, we actually need that item information and just kind of sell out the image a bit more so. Um let's isolate this. Or, before we isolate this, let's create a new layer. Top M&M stop inflates. Since this is going to be a close up shot, these kind of scopes, most of the detail will buy on actually because it kind of needs to kind of pop out of the background or kind of pop out as an interesting detail in there because it's going to be a close up render. There are a few ways of doing this let's start with using the standard common. Ssing the standard brush and see if we come on. See if we can nail this I think there's a preferable angle for this. Increase the bro size a bit more. Let's see. Yeah, I think let's increase the brow size a bit more. I think that's the act we need. Do we have I think we need to take down the laser mouse, increase the laser mouse radius a bit more. Whoa. That's weird. Let's is free and instead Nope. Getting some weird results out of that. I don't know why even worse Okay? Yeah, I think this should be a better one. Maybe we should also increase laser mouse radios a bit more. Okay, that should be fine. Let's increase intensity. Let's look for a good number for this. Let's increase a bit more. We can always dial down the layer later on. Increase the brow size. So more I think this is a good one. We can start with this. So let's go for the edge. Let's start with the edge. Okay? Yes, it's actually in there. There's still going to be a lot of work to be done in there, though. But for the most part, I think we are getting it. Let's come in this direction instead. Okay. So you want to be as careful as you can be so you can kind of capture this little bit more accuracy to it. Okay. Okay. We're kind of nail down the first one. First one, graciously executed. Let's add layer in there. Let's move on to the next one. Okay. Get a good angular this. Let me smooth that down. Okay. All right. Come in close. All right. Continue on. Now, you can always stop when you feel like you're about to strill off. It's completely fine if you stop you feel like you're about to strill off. Just come around the egg, continue this on. Okay. All right. Okay, then this kind of save out. I'm sure there are faster ways of doing this. But I want to do it this way instead. If you need a faster way of doing this, that's completely fine. You can just use that just fine. Let me just do this old fashioned way instead. Next third one. Okay. So I don't want to still off. All right. Moving on. Let's get this at the other angle. All right. Okay. Almost at the end, or at the starting points, connect that. That's fine. Looking at this now for a distance, you can see we're kind of capturing the essence of that. I said, maybe my letter need to go in and then use them standard brooch to add a bit more depth to it. For the most part, this is working just fine. I would say give or take, we have four more to go. So let's undo that. Undo that. Let's do the next layer. I think I kind of strayed off the little. That's fine. Okay. Go to a better camera and go for this. So can do this is a bit more precision. Alright. Okay. I think I strayed off on that part. Let's find a better camera and go to continue on. Okay. Can close that in there and quickly pick up on the next one. Okay. Get a better angle in there. Okay. All right. Go into that part of the better camera angle. All right. That was a closed one. We almost nailed that except. We didn't do that. It's a bit more accuracy in there. Perfect. Let's nail the next one. Probably on the last one, I believe, should be last one. But this one sits directly on the Where those two pieces are kind of fitted or stitched together. All right, there's still some gap in here, though. As we didn't do this as accurately as I hoped we would, but that's fine. We can always compensate. I think I lost I think I lost that okay. Still in there. You can always compensate for it actually. Let's say everything together as one single piece. Oh, I think we are fine there because this kind of shape kind of meets it. So I think we should be fine in there. Let's use the dam standard. Can you strt using the dam standard, bruh. Let's use not the same br. I think the dam standard brush should be just fine. Let's see. No, let's way too intense. Let's take down the intensity. Okay. I believe this should work just fine. So basically, you just need to repeat this across across the entire model. Create that create that depth in the trying to create the depth in there is very important. More or less the stitches are going to be going into those parts. Okay? All right. You want to be careful though, because sometimes it kind of gets confusing, like it feels like kind of spiral, maze confuse kind of maze do that kind of maze trying to figure out if you're on the right line or not. Do that. Okay. I think that should work. Let's go to the next one. Basically just using using the dam standard brush to add more depth because certainly needs a bit more depth to it. So the dam standard brush is a perfect one to add to add additional depth to this. It's also adding some kind of edginess to it, which is kind of nice. Creating some level of create some level of imperfection in there, which we also need to kind of sell this off as being realistic. It's a lot of work but necessary work to kind of get this right at least as close enough as possible. So I see from this angon I can see some depth in there and making it look a lot more realistic. So that is why we're kind of using the deem standard to add that extra level of extra level of depth in there to make it look a lot more realistic. And we going solo this instead. So there are no confusions. Okay. So stops. Okay. Moving on. Let's continue on here all week. Yeah, it's looking like, what is this guy doing? But you add once you add textures to this, once you add textures to this, he begins to undo that. Didn't do that correctly enough. Once you add texture to this, you begin to get some realistically believable results. So it's just the additional layer of artwork. You need to add to this to sell it off. Okay. How many roles do we have to go? I would say, one, two, three. So three more rows. Okay. Continue on. Okay. Moving on. Let me do this from the other direction and connect. Whichever direction works for you to help you connect this a bit more that is completely fine. Do that connect. Okay. Connect this. You can see the connection in here now. All the way. That's fine. Let's go to the next one. Right. Continue this on, rotate the camera, move this on. It is probably even a good exercise to actually get more stable hand movements on your scopes. To my extremely stable, though. But this imperfection also actually helps to create a more believable simulation to this. I think that's the end. Let's do one last one for the top parts. Okay, continue this around the air. Getting a bit closer. All right. Get this around here, connect dots. Go across this way, connect dots. I sometimes painter, we can use this depth in here kind kind of add stitches to it. Let me do that. I'm not sure I do that accurately enough, so Repeat ds. Yeah, I think we should be fine now. It should be fine. We can use, we can use. We now I'd like to add will be some breakup on this part of the art. So let me slow this out actually. Let's go to lower subdivision level. Lower again, standard brush. Undo that. We need to come back and take this down, reduce the brush size. So I'm just going to add cli tension. Let's add some tension across this reduce the intensity of the brush. So basically just reintroducing some level of tension across this. It won't really doesn't feel like adding mold but. This little additional detail kind of adds another extra level of adding another extra level of pass to make this a lot more realistic. Okay. All right. Let me rotate this. Just extra level of tension. Okay. Let's bring everything back out. If at this stance, should be able to see some variation in there, which is actually fine. Gonna sell this out some more. Oh, yeah, one more tin also, too. You need to create another SIM just at the top. So I think the dam standard brush should be a good one. Maybe maybe, let's use an actual SIM Alpha for this or SIM brush. So I think under brush, we can use a SIM brush for this. Think I have a SIM brush. Brush is SIM. Let's look for a good one around here. Well, I'm guessing how she used this instead. Let me try this on. Increase intensity a bit more. Make sure you on the ISO absibution level for this. Let me put this actually. Let me record this on the edge depth instead. You should be in here instead. Whoa, whoa, that's way too intense, reduce intensity. Yeah, this work. So we just do something across this weight. No, this is just a bit more intentional accuracy to it. Okay? I think I can actually use this also to just create this for the edge for the edge you worked on. Let me do this with a bit more. No, a bit more depth to it. Okay. Then we can close the gap, close the gap in here. Yeah, something pretty much like so it should be fine. Let's see if we can actually use this create some thread next here. Let's see if that will give us a good look Let's getting a bit closer. Let's see if we have a good look to that. Not really. Let's look for something preferable. Let's see if you can find. Okay, just one stitching in there, so one stitching in there should be fine. Let's try this one stitching in here. Nah, I need something that push out even more. This one pushes out even more. Yes. It's a good one. So we can also use kind of finalize on this instead. Let's solo this out. Re bro size a little bit more. No. Let's do a bit more a bit more accurate. Let's just Notoria instead. That would make better sense. 16. 15 Hat Stitches Details In Zbrush: Hello, welcome back, guys. So in the previous lesson, we're working on the details of this hat. I want to carry on. So we stopped using some seam threading of add some treading seams to this. So let's continue that in here try as much as possible to be inside that depth we created the deem standard brush. I see doing this from this angle makes better sense for me. Maybe I'm not on the correct camera angle. Anyways, long the result is there, so let me do this from this direction instead. So this depth will be our guide. This depth will be our guide. So do this with a bit more precision to it Nope. Yes, connect that. We have quite a lot of layers to go for this. But that's fine. It's worth every minute detail we had in here. Because since we're going for a more realistic a more realistic model, so this detail should also help greatly. Okay. I'm trying not to kind of skip any part of this process because this is not a really long tutorial. It's not a seven 2 hours tutorial, so I believe you guys can be you guys can just be a few minutes doing this, but I believe I should be done with this within 20 minutes, though. I should be done with this within 20 minutes. Because I'm not really doing anything more. I'm just basically trying to line some stitches in there, so it shouldn't be something that should be taking us. No. I didn't know that correctly enough. It shouldn't be something that I should be taking us hours to complete. Ba the processing here is quite it's quite straightforward, so, come on. Saving my undo history. I don't want this to save my undue history, so undo history. Please skip loading that. Okay, moving on. Aligning this de no No. No, I think I lost track in there so. Let's do this from the opposite direction instead. Okay. Like so. That should be fine. Let's go across this also. At this point, no, do that. Going in there. At this point, so it should be quite fun for you guys, I believe, because most especially for the beginner, senior, watching this tutorial and then try to replicate the process. At this point, you're trying at this point, you're kind of getting some good feeling out of this because you kind of see your work come to life even though you have no textures yet, but a very little detail, adding to this and layering up those details. Is starting and beginning to come to life. So I'm sure beginners are excited in here except except for the expert watching this right and they'll be like, Come on, dude, speed this up. Yeah, I know, right? It just feels like usually feels like some kind of boring process kind of go through. But I guess I'm guessing people are different, also. Perhaps for some expert they might find this quite enjoyable. I'm sure some of you might be asking or wondering, What about me? What do I think of this process? Bring Yeah, honestly, it can be quite a boring process because you basically just repeating the same thing. Basically repeating the same sp. It's still, I don't see if there's the necessary work needed to kind of make sure this looks and do that. Just the necessary work, this needs to make it feel a lot believable, most especially when most especially when you want to kind of do you want to kind of do some close up, render. And for this, our character in here, it's quite certain that we're going to be doing and do that. It's quite certain that we're going to be doing some close up render. So we need our viewers to be able to kind of capture if possible, they can actually see that though, actually see or kind of capture the extra level of work we added in here, I kind of add stitches in here. Okay. So for the most part, for the most part, at least for me, basically, once I'm texturing or rendering this, I begin to I begin to actually appreciate the hard work I kind of put into those little tiny details. I kind of put into these do dots that I put into this kind of make it look a lot realistic personally, I always like realistic work. Though for some people, they're they're not too glad to kind of do realistic design because I feel like it's so much, it's so much work to do. I feel like it's so much work to do. And for quite a long time, that was different. The realistic work, especially for actually for intermediate level artists. Well, I'm not calling myself an expert, though, but I'll call myself maybe an intermediate character design artist, I guess. This particular, this particular rather creating realistic design. Those stressful bots, kind of, enjoy the process because I always ask myself, why not do something more difficult? I always like to do stuff that kind of punishes me to try or kind of challenges me to do something a bit more difficult for my outside of my comfort zone. Maybe probably why I kind of prefer realistic designs over stylized design. I can do stylized design, too, but maybe not at an expert level for those guys at Disney that do expert level, that are at expert level, stylized design character artist. But at the very least, I can at least I'm descent enough to create some decent stylized characters but I always find myself wanting to create realistic characters instead because they're quite challenging, quite challenging and always always like a good challenge if you ask me. I always like a good challenge. And doing the same thing overtime kind of create some certain level of some certain level of expertise that though challenging, you kind of know you know how to kind of find your way around stuff and then do do stuff a bit quicker. That just the don't do that. That's just like the end go for this learning those difficult aspects of the process and then being very good at it that even though you kind of doing that again, it doesn't feel it won't feel as difficult as it was initially when you kind of started on the path of being a realistic character artist. I still have a lot to learn, though, like, a lot, like, quite a lot because I see some see some great artists, some really great artists like Soufik. Ibrahim, they look like realistic character design likeness, and I'm like, Wow, impressive. I really need to I really need to I really need to up my game up my game. Because the amount of time you kind of spend mastering your skills, actually, what's at the end because once you when you eventually get to that level, you kind of hoped to achieve your day. It's quite satisfying to know that, yes, you can count yourself as an artist that actually that's able to actually accomplish kind of finish an actual character, and then people it able to kind of tell the quality of work in the let's bring everything back out now. All right. If we go in here, we can see this wonderful detail, add it in here. Let's say we go back to our main character in here. Let's go to the IS subdivision label for our character and then we bring back the skimpos and then we can do a light render to see what we have in there. Let's turn all of this back on. Let's turn this on. Let's see what we get. Okay, Let's get this around the egg. Let's shift out to do a quick rounder for this. Let's see. Let's see what we have in here All right. So a lot of shrouding lot of shrouding happening in there, but that's fine. Just trying to see if we can capture the essence of this quite well, which we did captured the essence of this quite well in there. Yeah. So next lesson is going to be about creating some air around this. So going to create some blockout around just to just to get a few let's get a good feel of the caraintuy on the right track. Okay? So we'll do that in the next lesson. So I'll see you guys. Let me see if there's something else in here. Kind of looking at your nose now seeing some extra level of detailing for the nose. Let's just block that in. So like I said, once you go and come back and look at this again, there's always something to do. There's always something to kind of block out in there. So let's turn of this skin pause because we don't want to affect that record this on the asymmetry. Record this on asymmetry. Let's go to lower subdivision level. Not going subluton level higher in here. I'm going to use them standard brush. And I'll do something like soap. Okay. Let's go on Sublution level higher. All right. Let's go on subution level lower. Let's use the pinch brush, BPI, tighten that. No, no, that feels way too tightened out. Let's do something gent in there. Let's go to higher subdution level. Here, go to lower subdution level, use the clay buildup brush. Undo that undo that. Go out of symmetry, do this asymmetrically smooth this down. I know the issue having in here. Let's go and turn this off. Okay. Astra moda down. Okay. Right, we can flesh this out, smooth this down. That's a great variation in there. Yes, I think we can work with this. It should be fine to go back to the subdivision level. Right, so the next lesson, we can go in and comfortably start creating as in there start creating some blockout structure in there that we can work with. Depends is in there, so that's fine. We can always go back in here and to this off. Okay. So let's you want to do a screenshot for this. Let's do a quick screenshot for this. All right, shift get this this way instead. Yeah, that's fine, then we can do a screenshot of this, so we can go and, I don't get to show you guys this now. I didn't show you guys this, so I'll show you guys next lesson. Bye for now. 17. 16 Base Hair In Zbrush: Okay. Hello, welcome, bad guys. Uh, curious lesson, we kind of finalized on the heart Bies. So in this twot we're going to be working on writing some Bs mesh A for a character in here. So let's get right to it. So I'm going to start with the shall we call it eyebrow instead? Test out the eyebrow instead. So I'm going to use or rather select this police fare. Police fare is actually inside, so that's fine. I just need to use that kind of create or use my IMM brushing. So BI does do IMM YouTube should be just fine. So let's turn on symmetry for this. I'll drag this around there, so then go back to the move brush. And I would just split under split. Let's do split to mark points. Select this. Okay. Let's see if we can oringe this this way. The other one is kind of no longer in place. That's fine. We're just going to do an auto group and then delete the other side. We can always mirror this to the other side when we are done. There are firstter ways of doing this, though, but I think I don't start having issues when it starts loading off for too long, especially when I'm trying to extract a mesh from the main mesh itself. It's just gonna take a little while just to extract proper something fees, okay? Okay, that's fine. That's fine. Okay. So I'm trying to avoid loading loading time instead of extracting this from the mesh itself. So let me load this out. Let's do under Auto group auto group, auto group. Auto group in here. Control chip do that. Okay. Then let's do delete ding. Under modified topology, delete ding. Let's get enclose in here and put the software. Let's center this squash this this way, this way. Do that center this ton of symmetry. Extend this out this way. Let's bring everything back out. I think we can go back to our sub too and temporarily hide the heart for now. In I've not even named this so. Let's rename this heart so we know what it is. Okay. And I'm going to shoot this up, so I'm going to go down shape and I'll shoot this on top. Let's find there, select this. Okay. So let's out for now. Come in, close up. Let's move this in place. F, let's subdivide this a few times. Okay. Then we can use the move brush now to move things in place. I'm going to try and merge this as closely as possible. Okay. Smooth this down, increase the moon intensity, smooth down. Just try merge this as closely as we possibly can. Okay. This should move up closer around the air. This should sit on the surface or more, get this down, extend this out a bit more. Okay. Smooth this down, right. Okay. Think this should work. Let's not sit in. Let's go to lower subdivision level instead so we can move things a bit quickly in here, increase the subdivision level. Okay. All right. I feel more or less like this, let's slim this out a bit more. Undo that. Get this up a bit higher. All right. Okay. Move this down this way. Get this up, smooon this down some more. Hey, I think this should be fine. I should be just fine. So now let's think we can go in here, increase this, let's increase that or maybe not. This should be just fine. Slow. Ah. Yeah, we cannot use this do let's just do delete or betastic Can we do mirror and weld? W. Let's freeze subdivision level and then let's do mirror and weld. So freeze subdivision. I didn't work out quite nicely as I hope we should clear this out, delete lower mirror and weld. Okay? This is fine. Okay. This we can work with tonal symmetry reconstruct subdivision level. Alright. Yeah, this we can work with. So moving on, let's delete AR for this instead. So with this still selected, let's start. Let's start creating for the side. Let's create some blockout for the side. So there's a butler brush I would like to use. I think there's a butler brush I have in here. Yes. You can use for I think I have one of my encrypted myself. I have one encrypted myself. That should work. Okay, so let's use this, you can obviously just do I just use this instead. Gas sterilize mesh. So I think it doesn't feel like it's having all the brush supposed to have in there, though. I feel like it's something else that's in there. Okay. Just trying to check. Okay. Okay, I have them in there already. This is actually mine, though. This one I created for myself. I think I'm going to use this extra three instead. Can drag. No. I don't want to drag this out as a curve. I don't need this to be a curve. So let's go over to stroke, Cove, turn that off. Okay, that's fine. So I can just push this out now like so. Okay? I think it's in the wrong place. Let's get a proper angle for this. Let's do this all the way back here instead. All right. I think we can do mark point, split on mark points, go to a move brush, undo that. Think we're in the wrong place, select this instead. Okay. I can move this down here. Let me scale this out. It's supposed to be in reverse. Let's do an auto group in here also. Auto group in here, ton of symmetry, Control Shift click Control Shift click. Let's do delete Eden. Let's just work on one side, then we can flip this to the other side. Is just image. Let's blockout though. I'm not going to be extremely precise in here actually. I'm not going to be extremely precise. Not to be too extremely precise in here, so I just need to get something roughly in there as a blocker. I should have used I can actually use this fair instead and then just block something in bore. I would like to get something slightly slightly more interesting instead. Get something slightly more interesting. Okay. Go down control, drag this out, rotate, get this in. Okay. Get this down. I think we need to most likely inflate all of this to make it a bit ticker later on. But for now, let's let's just get something around here, like so. Okay. Move Rush and move this back in here, hold down control. Let's make it duplicate of another one in here rotate it this way. Let me swing this down. Get this in. Yeah, rotate back a bit more. Okay. Go down control, make another duplicate of that. I'm going to use the move brush and move this in. Okay. Move this out. Let the max. Let's go back in and then let's do auto group also in here. Go down control, select this. Pull this out. Okay. Get this in. Let's do another one, extend this out. This should be in here, rotate this out some more. Okay? I think I would like to extend this out a bit more. Let's drag another one out that comes down some more. Okay. Yeah, so and pull this back. Bring another one forward. Get this roughly in the right forward some more. Okay? We can clear this. I think we can reuse this now. I'll just grab all of this and rotate it this way. Pull out, rotate this way. Pull out. Let's get this in here and I'll use the move brush and try to compensate for it. Okay, and bring this forward this way. I'm not trying to go for something extremely perfect in here. Not actually. I just need something that will just sit around those parts. Just to create some kind of a structure in there. So I'll go over to it be on the keyboard. Let's go to move topology. So move topology allows just kind of move individual individual machine here. So this would actually help us greatly. So let's kind of create variation in there. Okay? Just get them separated out a bit more. Okay. Okay. I think I need to undo that invert the max. Let's move some of this out a bit more. Let's move brush instead, so we can move some of this out some more. Clear this out. Move this in. So more. Stand this out. Clear the mark and let's mirror this to the other side. Let's mirror this to the other side. Let's do a mirror. Okay. So on the other side now, we just need to use the move topological brush instead now, move topological and just create some variation in here. So it doesn't feel too similar in there, basically. It doesn't look too the same. So we just need to break some of this up some more. Okay? I've noticed this is kind of pushing out out a bit more. All right. I think we can work with this. Okay. Yeah, we need to fill up the center path. Let's shift F. Let's go do an auto group also in auto group. So let's do a select view and then just extend those out, create some level of variation in there, bring this out. Okay. I would like to inflate this now so we can do inflate. So let's do in Let's see how this works with the art on. Let's see this with the art on. Yeah, this is fine. This will work just fine with the art on. Except we need to create a few more in the center here, so we need a few more in the center. So you need a few more. Let me still this instead, down Control, click on this. No, control, click on this instead, hold down Control. Do that hold control instead and get this up forward. Hold control in Another one around here, rotate this, rotate this this way, just to get some variation in. Okay. Hold down control. Do another one in front. Shring this down, get this up. Okay. Let's kind of get a different directionality to this. Okay? All right. We can do an auto group also in here. There is an auto group, auto group auto group. No, no, we can just use the move topological brooch. Move topological broach should work just fine. So you can select individual ones and then get them how we want them to be. Okay? Okay. Yeah, that should be fine. I'd like to mirror this to the side, but let's make sure we have to speed things up, let's do auto group again. ****. Control Shift click. Control Shift click, click, click, click. Okay. Let's do a split ding now that's up to split ding, select this. Let's do a mirror. Let's move this to the other side. Geometry, modify topology, mirror and weld up to the other side now. Then we can make some adjustments to this. It doesn't feel to the same. Physically, so it doesn't feel the same. Okay? **** F. Okay. Yeah, this should be fine. So let's go in and then merge of this back down, measure the two back down. Le select this. Let's merge down, merge down. Lo. Let's down inflate. So just to get some fleshiness to this. So under deformation, let's down inflate. Okay, Let's do port by future. I made it. I think we made it just too thick. Let's deflate out a little bit more. I think this should be fine. We can subdivide this now just to get smooth out transitions around this. Maybe shrink this down a bit more with inflate. Mm, do that. I think, let's leave this like so instead. This should be fine. I don't want to kind of multiply this across because that would be too much geometry to work with. I think should this will be just fine for what we need it for. It should be just fine. Getting a closer approximation. What's a close closer approximation? What's it going to use next gen A for this eventually so? We just need to get a closer approximation. If we have in here, how it look like in there. Okay? So let me subdivide this one more. Let's get something smoother around there. Save my file. I think this should be fine for now. Okay? So let's do a quick render for this. Let's just see what we have render missing this is the mark cup green. Think we have some paint brush in here somewhere. Okay. Let's select the head. Let's do a quick render. Let's see. I'm missing the mark cup green. Let's see if I'm not too sure if it's going to come some shadowing in here though Let's see. Blink material is always a better. It comes some shadowing in there, fair enough. But the blink material is always a better one. Always a better one. So let's see. Okay. All right. Right, so in the next lesson, we're going to work on or rather go to Marvelos Design and then get some kind of create or use some templates of a shirt material in there. If you can find something in here to use. All right. I'll see you guys in next lesson. Bye for now. 18. 17 Shirt In Marvelous Designer: Welcome back, guys. So this is we are in Marvelos designer now. So I'm going to be using Marvelo designer. It's going to create or rather, yes create a shirt model in here. So let's get right to it. So first of all, let's bring in some Avatar in here. So I'm just going to double click on this Avatar. Let's use female. So we have just one. It should be another one in here. Should be another one in here. Okay. So the arms are spread out. This one is arms are just in a single pose. None of that are found interesting. That's interesting. Let's see if there's something else we can find in here. Go back. Let's go to kid. Pose. Not also in here that's sad. Let's just let's just stylize one in here. You can't use this stylize. This is just too small. Let's just use this female instead. Th should work just fine for what we need it for. We can use this. All we need to do is just to scale this down later rombot. This would work just fine for now. Let's go into garments, the clic on garment. Let's see if we can find something close enough. Think I can use this, and I believe this is mine. I believe I created this. There's also another one. This one. This one comes from Marvelo designer itself. Let's use something that comes with the fault in Marvelo designer, which is let's double click on this. Try and get this in here Okay. So I don't need the trousers, the shots, so I don't need the shots in here, I'm going to delete that. Select all these shots, and I'll delete that. Okay. Then let me save this project. Let's save this where we can remember this. So let's put a new folder MD. Name this MD. Let's name these two shirts. Maybe Polo. Should we have polo in there. I'm not sure I know I'm not sure I'm using the right temnologynaming convention for this, Ways now, we have it in here so we can work with this now. Is this more like a round neck? Is it a round neck. Okay? I think there's some kind of auto fitting in here. I haven't tried this before though. Let's see what that does. Let's just maintain graphic size. Let's just click okay. Let's see. I told you it works for a simulated garments. Okay. So basically, I'm just experimenting in here actually. I've not tried this before, so let's see past GPU instead to simulate this. Okay. Get this out. Let's do the auto fit in now. It doesn't seem to be working. Let's select this. Let's try this again if this would work. Nah. Probably I'm probably I'm not doing this correctly. Probably not doing this correctly. Well, anyway, let's carry on. Probably not doing this correctly. Let's carry on in here. So I'm going to select let's see what kind of select in here. Let's select all of this. Coming a ton of simulation in. Let's move this backwards or more. Let's select these garments. This garment or rather the arm rather and then let's readjust that. Let's simulate. Let's see what we get, simulate this. Let me just push this in. Let's see if we can get this inward. Instead, just push this in Okay, we're basically fighting with that now, let's do something better. I'm going to select this. I would option and click in Let's use Reset three D arrangements instead. Select the Reset to three D arrangements. Okay? Then let's run the simulation for this, that should fit quite nicely in here now. Just precisely what we want. This is like a big shed for us, so bigger for this should be just fine. Let's run Let's run this simulation again. Let's push and pull this. Stop the simulation. Get this up here. Set this around here. Okay. I'm not sure I need this in shape in the let's delete that instead. On do that. I think I delete something else. Delete this instead. I don't need that. So Theile on both side is precisely what we want. I'm going to I think we can merge these two together. Let's do a merge. I'm going to go to my sewing too. Segment sewing, select these segments. Option, click on that. Come on. Not showing me what I need for this. Edit sewing instead, right lick on that. Do a merge. Come in here. Let's do the same thing also in here. Let's do a merge right. And let's convert this into a round neck instead. I think I need to merge this also. Let's merge. Come on, there's no merging. Seems like there are more than one shape in the merge. It doesn't seem to be working accurately as I would need it too. I need those two kind of merge together as one single piece. The strike, delete sowing first. Segment, so let's stich these two together. Go back to edit sin, select this to merge. Here's better now. Run the simulation again. Okay. You're getting something in here, so let's come to the VNC shape in here. And then let's go back to Edit sin, select these two, merge. Okay. I'll go into Edit pattern. Let's select Let's select this vat and then convert to curve points. That seems a bit messed up. We don't want that in there. Select these two, get this up this way, run the simulation again. I think I'm going to delete this point, can I delete these points? Point together lines and points close together, please move 0.2 A, delete that. I can't delete that. Selet this point, let's convert to cuff points, precisely what I need. Okay. Can we do the same in here convert to curve points. Convert to curve points. Yes, this will work just fine. Let's move this up some more. Select this. Undo that. Select that rightly conduct. Let's go over to delete cf points. This is where we get. But that's way too extreme. So instead let's edit the curve instead. So under Edit curvature, let's go to Edit curvature and then move this up some more Okay. Let's go over, select this, move this up. Let's start with discover what you're in here also. Move this up. Let's from this simulation, let's see what we gets. Okay. We're almost there. Almost there. So we just need to kind of tighten this up. We do that inside of. We can do that inside of Zebra robots. I would like to do that in here instead. So let me shrink. Let me select this two, actually. No, come on. Let me see my file. I need to select those two and then shrink them in a little bit more. Just leave them up some more Okay. And I'm going to select. Let's go to Edit points, select these points. Move this closer. Select, move this closer. We can do the same for the back. Move these two closer to delete this. I don't need that anymore. Select, delete this also. No, no, of deleting that. Let's convert that to a cuff point. Then it curvature. We can move this up a bit more. I think something is missing in there. I think I'm missing something in the Edit curve points instead. I need to delete this. Let me do that. Let me do that. Edit pat and rather delete this. Then we can go over to Edits Cv chure. Let's get this down some more. Let's run our simulation a bit more, okay? It should be fine. I think I would like to scale this down a bit more. Okay? From the simulation again, All right. I think this is a good place this we can work with. Except, I need to make this bit somewhat longer. Run this again. As for the back, let's do for the front. I think for this, I can just easily do Edit curvature and leave this curvature up a bit more. That's way too much. A little bit more like so run this. Okay. Let me select. No, I'm not doing that accurately enough. At this pattern instead. I think I mistakenly move something in there. Undo that. Select this, move this, no. Select just this. Move this forward a bit more, select this, move this forward a bit more. Run the simulation again. I think I might have gone overboard, that's fine. We can compensate for it in these parts. Get up close, move this forward some more the simulation, actually tighten things up in there. Yes, this work just fine. Run the simulation again. I'd rather save this. Then the next thing I'm going to do would be to just to make sure. Just to make sure from this simulation again, I'm going to increase the poly count for the entire machine here. To do that already a part distance at ten, which is fine. P distance for this is ten. Fair enough. Let's change our simulation to normal. So simulation normal now, is going to be using our CPU, so it's going to create a bit more food for us to work within here. So I think something like this should be just about right for what we need it for. Let's stop the simulation. I'll save this. Okay? All right, that's fine. Let me see if I can. Let's see. I think there are some pose here. Let's see if we can just get a new trap pose. W pose only maintain our size. Okay. Let's see. Yeah, that's fine. Okay. This is precisely what we want. I guess, we can actually use this let's use this instead. Let's click okay. So this should be a bit closer. So this one actually fits what we need it for in here, so this should be just fine. Let's run our simulation again. You can call out this library. So we're on the simulation again, let's see, just to get everything looking as accurate as they possibly can stop this. I'm not going to see the kind of fabric we have on here. See the fabric material we have on here. Or maybe we won't create a new one. Let's create a new one. Property that custom for now. We open this up. Okay. Let's select grab all of this pattern and drop the fourth fab we just created around the simulation again, way better way better. And there's something that's a bit more freer. It's a bit more relaxed. Something more relaxed like this should work perfectly fine for what's needed for. Okay, so let's stop the simulation. Let's save this. Alright, so I think this is fine. So the next lesson, I'm going to show you guys how to do how to do tpology inside of, how to do topology inside of Marvelo designer, and then we can export this out, right? So I'll see you guys next lesson. Bye for now. 19. 18 Retopo In Marvelous Designer: Okay, welcome baa, guys. So in previous lesson, we kind of created this shirts or pool or whatever it is actually called. So now let's make topology for this because now the topology we have in here is not good enough. Oh, one more thing I need to do. I need to convert all of these to kind of quadrangulate them instead. If I come in here to the surface, it's kind of loading up. The kind of loading up down here now, so it's going to get everything up to looking like quarqsoperfe, though but at the very least squares in there so f I should show you guys in a mesh. Now we get quars in there, which is what I want. Let's go back to surface. And let's run this simulation one more time. So this new quars in here now simulates properly with the quars we just converted this to. Before it was on triangles, last fine stop the simulation. So moving on, let me set this do that. Move this this way. Okay? So I need to kind of create words for this and to do that, I would need to go where is it now sit in here. I need to go to my create topology in here, so select that and then click Concrete topology. Then I'm going to use the parch topology. Yeah, I'm going to use ten. This is the value of ten instead, okay? So ten should be just fine. And I'm going in and then I just tap in here, come, tap, tap, come, tap. Then, undo that. I didn't do that correctly enough, tap, tap, tap. I can close this up, overlapping. No, no, no, let me do that. I didn't do that correctly enough. Let's do this again. So one, two, three, I see where the issue is now. For if you create this now, I'm not sure it's going to create. It's not going to create, so I see where the issue is now. So you need to do this. It's supposed to be on four side, four sides instead instead. So I think it should work now, go all the way to the starting point. No, undo that. I'm noting that correctly enough. Okay, starting point, that sits in here now, create. Now, do the same thing also in here. Can we use this go all the way, it's not working accurately. See if we can get this here, overlapping. That will not work. Let's get something close enough first. Something close enough. Overlapping also, do that. Click again. Overlapping geometry part cannot be created. Strange. It's already in there now, so why is the same part go be created? Okay, so it's going to fill up this gap. So let's go up in here. I think I can bring this out. Let's do create topology. Click in here, click, click, click in here, click to this. This in here also. This in here also. I'm just trying to kind of fill that empty space up. There's so much COVID here, so I think that's the issue we're having. Undo that. Didn't do that correctly enough. All right, that should be fine. So I've completed for one piece. Let's go to the other side. Let's do the patch also. It's supposed to be on four sides, so one, two, three, four. Okay, let's see if we can make this work one. One. It's kind of find it out kind of go around this. Anyway, let's just repeat the same process we did on the previous one. Great. Why we getting overlapping in here do that. Seems to be getting weird overlapping. Let's do this again. Okay, perfect creates. Let's do from here. Okay. I think this should work now. So I've done one, two, three. Oh, I see where the issue is now. Is not going to work. So we need one, two, three. Come on. Why are we having this issue in here? Creates. So let's go pretpology. Let's close all of this. Let's close all of this. Let's get this to work. Okay. Almost done. Okay. Yeah, I mean just one more. Alright, that should be fine. Let's go out. Let's do for this piece. So trying to see if I can get this all the way. Let's just do half instead. Let's do this half instead. Create. Then we'll do another half in her creates, then we can go in create topology and then just lose this part up. So basically you need to undo that. You need to do this directly on those points. Should be directly on those points. So we don't create another extra piece of geometry there that we don't need. All right, that's fine. This is fine. This is working symmetrically. Let's go to your other side. Let's do one. This is going to be tricky, going to be a tricky one. Let's see if we can best capture this. So I'm doing four sides instead. No, I think I lost the mark. Oh, no, no, no, no, so be on parch instead. Let's do patch instead. Let's do patch instead. So I'm going to do one, two, two, three, I mean a wide now. We have one, two, three. This is going to be, we can do this instead. T eight. Yes, this we can do. Let's do the same for the other side. So we start from Let's start from down here instead. Something close enough, one, two, three, Let's go all the way here. This is fine. Create. Now I want to do is to first of all, try and close this up. Let's try and close this up create. Let's close this up. Let's close this up first. Close this up, then the other side that is kind of empty, we can easily we can just easily fix that. Basically, the idea for this part just kind of create some kind of four sided kind of square shape, sort of kind of rectangular shape, depending on the surface of the mesh. So with this indiana, we can use the di topology. G topology, I'm going to move this all the way up here. Move this here. Yeah. Just going to kind of close those gaps in between. I was thinking to add another extrate Lando path, I believe. But let's kind of close this off first. Close this up. So anything any that you need to add, we can easily add that in between. Okay. I think this can go in around there. Then this here. All right. I think that was way too close. Let's put this up here. So you need to do the same for the other side. Let me get this all here. Okay? For this butler one, I need to add more I need to add more edges around this actually. Okay, so I would need to go over to create topology. I believe down control and shift. Let's add up here, also, to hold that Okay. So this should hold the shape a bit more accurately. Let's Let's add one edge loop around here. Add another edge loop around here. Yeah, yeah, that's fine. So we can move on to the next shape now. Let's do this stairs. Let's do the patch. Okay. I think somewhere here should be fine. Con close this up, create. Let's do the same for the other side. Don't do that something that is quite close. Something quite close, should be fine. Okay. Create. Now let's fill up the center part. Create topology. Let's close this. Then we can start tapping in between those arts. Just close the center part hub. Okay. Yes, that is fine. Almost there. Almost there. Yes, that's fine. Then we can go over to topology. Then we can start moving all these vats in place. Right. Just get them all the way to the edge because they need to be at the edge. This we can snap in move this up. I up as well. I should be in basically basically repeating what we did for the other side. So let's just graciously put all of this in place. I think it should be fine instead. And it should be one that should close that up. Almost done on this top side. Then we can come down fix this in fill up that gap. Okay. I Yeah, that should be fine. So now let's go in close. Let's do great topology control shift, add an edge loop here, or an edge looper here also. You can say fixes fixes the edge for us a bit more. Edge looper. Add, try and add them directly on the center as closely as we possibly can. Yeah, that's fine. So now one that we need to do in here would be think I right click, not this know this. I'd like to subdivide everything. Yes. This is it. Add all division, click that. So that's going to add a sub division label for the entire piece, just to create something tighter around there to hold the entire folds around the loting itself. So we can right lick again, then we can do remesh all duplicates instead to give you a moment loading up down here, then we can just lift this up. Once it's done load, we can lift it up where we need it to be. Shouldn't take too long now. Two continuous points are crossed. Continuous points across. So there's an issue. Continuous points are cross please remove a points. I need to fix an issue in here. Now issue union, I just to figure out where the issue is coming from. Still looking up though. Let's see. So I will need to undo first. So undo let's go back to the previous one we had before moving on. I think that's where the issue is. I'm not entirely sure now. Is where it a bit gets a bit tricky because I'm trying to figure out where the issue is. Trying to figure out where the issues, which can be which can be quite a difficult one. Quite difficult. I'm going to come back and go through this and then figure out where the issue is. I think I found where the issue is. I think I see an issue around here and this collap think I see an issue around here. So under di topology, let's see. Let's see what we have in here. T I up so we won't delete the entire out. Let's delete let's delete this need to delete all of this actually. Let's delete all of this. Didn't come out great. We did not come up with. I think that's where the major issue is from. So let's do this again. So the path two. Let's do this again. Maybe instead, let's take this down all the way to five. Let's do five instead. So we have fewer points to work with. Come on. A few points to work with. Back patch. Let's do get two, four can we close this in here? Yes, we can create? So you can see how tight. This pattern of tightens up a bit more. This where we need to actually kind of fix Editpology. Let's get this line down a bit more. Let's get them down. So there's no conflict in the I think that's where the major issue was from initially. So once you space them out like this, it should become easier to kind of correct any issue we have in here. Okay? That should be fine. So let's go back to patch. Let's do another one in her. Great. I don't know why I can do just one step, but that to undo the entire out sin. Okay, so we can go dittpology. Let's move this down. Let's move this down down also. Just to create gaps in between them. Then we can do great topology. We can fix this up now. I Okay. All right, so we can do crea topology, we can add one here, then ditpology we can move this down. Then in here, we can manually start fixing things in. Let me get some space in here a bit more. Okay. Let's do this from this side instead. Great topology. Let's start adding some more codes to this. Two. Just to even things out. Okay. Can move this down. Right. S we need to subdivide. We need to subdivide the entire outing though. Let's see here, we have quite a lot in here, so I think we need to add some codes in between topology in between one to the four. Let's do one more around here. I think this should be clean enough. Yeah, I believe it should be clean enough. Ed topologs right on this d or division. Okay. Let's zoom out right again. Let's match all duplicates. Hopefully, we should not be having any issue on this anymore. Sincerely hope so. Let me just give you some moments kind of load up. Almost done. Wow. Wow. Two continuous points across, please remove points pattern ten points ten points just to hard to figure out where this is actually. To figure out where this is. Let's try something else instead do. Let's undo this Okay. I on do it again. Let's some do all of this we just added. Coming here, let's see. I kind of going around to check, and I can't find any of those points. So I'm going to start deleting. No, undo that. This is quite annoying to work with. No. I reduced kind of reduced. Let me go back. Reduce the counts we have in here. Let me move this back in place. Let's try this one more time. Let's just try this one more time. I really can't find where the issue is in here. Let's do four. Let's do this again. Let's math again one more time. Let's see. I Uh Fantastic. We're having the same issue also in here. Please remove a point pattern ten point pattern ten points. No, most nip, how do we figure out which butler pattern it is seriously, how do we figure out which pattern it is right now? How do we just figure out which pattern it is right now? So maybe we need to kind of check this why this is already subdivided. Let's see. Honestly, I really cannot find where the issue is for this, honestly. I feel like I'm just completely lost as to where that issue is kind of coming from. Okay. I see an issue in here. I see one issue in here actually. There's one issue in here. Well, let's see how we can move this okay. I move that out. Getting a bit close. Move this out around the air. Okay. Let's find if we can see something similar also somewhere else. Think certainly there's one issue to kind of fix. Get this down. Get this down also. Get this down down. So sometimes can do everything right except when you just kind of add divisions to this and then get messed up. So you just kind of figure out where dish is coming from. So what kind of fixed one or fixed one in this. Let's see if we can find the same similar issue on this column. My best guess is that dish is from the color. So we see another one also in here. So let's start by moving the edge instead. Let's get in a bit close. Okay. That should work. Move this in. Come on. Let's move this way first. Let's see if we can move this out this way. I just crap. It's a serious pain kind of doing. I think I'm at my limit at this zooming in. I think we can't leave it there, though. We can leave that there. I can't get closer than we need to. We can't get this as close as we need to. So I think can see another one in here. You are quite all over the place. Let's move this out a little bit more. Spit guard in the common. Coming quite difficult to work with. Let's see if we can find another one somewhere else. S one down here. But I think this one is in a good place. That one is in a good place. So it's not intercepting with another point. Let's check. I think that should be fine. Let's try this again one more time. I think I'm just going to lose it if this doesn't work. I just lose it if it doesn't work. So rems duplicates. My best guess is that that's where the issue is from. We didn't notice that on C when we add divisions to this. The issue was from the division. Let's just hope this works. Moment of truth coming in. Almost there. It's doing one more. Seems like this is going to work now. Still loading up. Finally, I think that's where the issue was. I think we can safely sees the issue was, let's go to edit path. So the issue was around that part, and then good thing we fix that. So in case you having issues, you just need to kind of go around and then check. Oh, finally. So let me see if this now. Then the next two, I'm going to show you guys how to show you guys how to export this out and then get this into get this into Maya. Let's go in and select this instead. So if you select the topologize version, use the topologized version now. Let's hide this one down first. Let's id this main one down. Let's add this add the pattern. The one we have in here now is the topologize version. The topologize version actually looks good. Is holding the folds quite well, right? So this is fine. I'll see you guys in the next lesson, bye for now. A 20. 19 Shirt Prep In Maya: Okay, welcome back, guys. So in the previous lesson, it was more or less like a struggle just to get the topology right. Due to some issues with two points merging together inside of Marvelous design. And then the issue was when we kind of subdivided that. But anyways, we got past that, so let's move on Let's export out the topologize version now. So select it. I'll go over to File Export BJ selected Okay. So under MD in here, I'm going to just name these two shirts. We shirt flolow. Okay. Select this delete the PNG at the end, sieve. So you're spotting out on the lower parts of the left side of the screen. Okay? So yes, want to spot a single object that is fine. Definitely not. Let's use T instead. Weird no welded instead. Okay, Unified UV coordinate that's fine. Scale should be on CM centimeter at their studio. Scale hundred percent is fine. I think we are good in New Year. So let's click okay. Yeah, I think the export or is it done? Oh, okay, exporting now. Okay, hold on exporting, so let's go back to the original file. I'm going to kind of use this. Why is this moving a bit slowly in here? Oh, my bad supposed to be on the perspective view. So perspective view. Let's import shirt in here and then try to get this same scale to you too. It's less than one Ms fine. Yes, definitely going to be off because we did not export out a base body for this. We use the default base body, but the scale is roughly where we need it to be, so I'm going to select it unless examine this a bit properly. Let's see if everything's working out correctly as we need it to. For the most part, this is fine. This will work just fine. Yeah, this is working just fine. It seems quite close to themselves. Muting we definitely need to make some correctionals inside inside of Zibo, but for the most part, this would work just fine. If I don't Autosmoot for this. So this is not Auto smooth. It's one again on the keyboard. So we don't necessarily need to kind of do any with topology instead of Maya anymore. So we have good topology out of Marvel designer, so I'm going to go over to UV editing. There's the UVs in here. I think It will need to delete the UVs actually. A I might even need to delete UVs maybe or maybe just maybe not. You see? So let's turn of the distortion, select all of this, UV shells, select all of this. Go to range, click on Layer. Okay. So that's fine. I'm going to do it duplicate. Before I do duplicate, let's kind of roughly get this close to our model little bit more. Center vote on that. We need to add thickness to this collapse for now. Why am I always in the wrong view? Why is ways snapping to the wrong view? I don't know why. Perspective instead front view. Okay. Select this again. I want to scale this down. Then bring out a main reference so we can use this as a close approximation for this. Okay, roughly around there should be fine with this. Okay. Let me see if I can scale this out this way a little bit more. Let's bring this closer. Yeah, yeah, this should work. This should work. Yes, definitely, you need to make some more adjustments inside of Zbrush bots. For the most part, this should be just fine. I'm going to select this now. I'm going to de duplicate of this. Why is my duplicate not taking up the name yet? Okay? Let's just rename this as doop. Let's add this doop. Let's work with the original. So there's one of two things I need to do first thing is to add sickness to it. Or before adding sickness, you need to kind of, let's see, let's isolate this this edge, there's edging the edging here, the edge loop around there is fine as should hold. But the loops around there won't hold, so you need to introduce some more edge loops. This is why I'm introducing edge loops because if I do an to smooth for this, you can see how this kind of spreads out, splitting the gaping. I don't there to be any gaping there. So you need to use more tyco to add tighter edge loops around the spots. So tighter edge loop here and here. So if you don't know too smooth now, you should sort of hold a little bit more. Okay. Yeah, I'm going to leave that at cities. Let's add one edge loop here to that edge. I'll do the same around here. Do one around here. Okay, I'm seeing multiple eggs around these sides. No entirely sure. Let's try and figure that out. There are quite multiple edges in here which I wouldn't want to keep. Let's see if we can delete. Let's delete this control delete. Let's see if that makes any major Oh, no, actually I actually need those. I actually need those. That's supposed to hold that edge a bit tightly. Okay. So this one is already in here where it should be. I think you need to add EG on the keyboard, add an edge loop around here. Okay. Do we have that on this other side? We don't necessarily do. So let me create one year. Create one year also quite close enough around that part. Now for this, I can move this closer. Let's use the constraint for this control shift click. Let's do edge slide. Slide this edge a bit closer around. There should be fine. Do the same for this. Let's get closer edge around those parts. I think they should be fine now. Maybe just a little bit more here. Let's pushed some gaps in between. Let's do the same for the other side. I think we need to in that case, we need to let me leave that let me leave that select this, move this out out a bit more out a bit more. Okay. I think I'm missing a mark in a goes all the way here actually. So you should move that in accordance. Okay. Move this out. Okay. Move this out, right? I should be fine. Let's see. I think we have the same issue also around here. So I think we can use the vertex instead to just move those in place. No. No. Let's go back to the constraint. Let's do surface constraint. All right. Move this this way. Okay. Just trying to make this a bit cleaner as much as I can in here. Save this now. Let's add some thickness to it. Probably duplicate this again. Copy this. Hide this. Let's work with the original. Let's get some thickness to this. No. Back to object, select this. Then let's go over to extrude. I think we should be extruding this outward instead. But I'm going to be using the causiEtrude instead. So down control, extrude this out a little bit more like so try to get a good idea for the thickness of this. Let's add one division in the middle. I believe this should work just fine. Now, we need to kind of test that out to know if it works just fine by doing to smooth. Don't act again. Let's see if we have the right amount of thickness for this. Okay. Yeah, this is actually fine around here but this on the color it one. I think this on the color, I need to I'm not going to delete this edge. I added in here on the color. So delete this also Control delete, delete Control delete rather should delete the body edges and any vertex in that should be fine. That should be fine. I can see an issue at the back in here, so it's an issue in here. So Maya cannot just do things without having one minor issue to kind of fix. Anyways, it's not really big. It's not really a big deal, though. So we have the same thing also in here, let's just get them in place. I think now if I should auto smont again, that edge should look just fine. Not entirely dear yet. Entirely dear yet. So going to delete some edge, click on this edge. Do click on this edge, Control, delete Auto smont again. Need something that's a bit flattened, not dist I think this should work actually because in Zibos you can always get a small smooth edge to it, just like the same way we have. Same we have for this engineer, same way we have for this engineer. We can do that in Zebros. But for the most part, I think this should be working it's working just fine. Let me save this, okay? Now let's go to the UVs. I'm sure you should be having some mess in the UVs now, I believe. Yeah, so I'm messing the UVs. So we need to completely delete this UVs. But let's see if we unfold and let's see what that gives us actually. Let's unfold. Unfold. Nah, not working accurately enough. So let's completely delete that. We're going to come back and then redo UVs for them. Control one to bring everything back out. These things kind of scale this down some modo. But I think we can do that inside of Zbrush. But let's just get this roughly close to what we need it for as closely as possible. Okay. Save. At the breast, we need to smooth that. We definitely smooth that out. So it shouldn't be having breasts popping out at this age, so that we need to fix later in Zbrush. Let me select this now delete this. So we can export this out now and get this into ZBrush. So exports selection Let's go and import this where it needs to be Z imports. Copy this Okay. There's the five path in here. Okay. It's there now, so not LBXoviously. So let's use OBJ for this OBJXport shirt flow Allright. Okay, so the next thing would be to open up Zebo. Let me save this again. Think I can close this now, save this again. Okay. Then we can close this post seven. So I think now we can open up, let me close this first. I can open up Zbrush, and then we will put a mesh in there. Come on. No. That's not the one yet. This is the 14 gig ready. Con zebras properly first then we're going to use Skip we're going to use Skip loading undo history. Okay, so this is in here now. Let's go to preferences. Undo history, keep loading. Okay, that's something else. Quick save Skip history also to on the Quick save. But that's just going to kind of occupy some more space that we don't actually need. Maybe want to work with your try in the doble. I don't in there. Let's go back to the folder and then open that up. Let's give you a moment kind of load up. I'll come back when this is done. Okay, so this is done now. So let's input garments in here, so I'm just going to, let's just append spare instead. Pull out and click on the fare you selected, then we can go into Import. Imports SMD Z imports with what? I think I exported my fight wrong directory. So export selection. Wrong directory, obviously. Okay. I'm supposed to be inputting this in here instead, put that in the wrong directory. Okay. Export now. I think it should be in the correct directory now so we can import this again. Let me set up my workspace. Okay, making sure this space is selected imports. The inputs in the now so don't click on that. Alright, well, right off the bat, we get something. So we say perfect enough to work with? Yes, except the shoulders are way too wide, for a younger female character or character, shoulder shouldn't be this wide. So let's start making some adjustments to this by shrinking in the shoulders a bit more Um, maybe I went overboard. Let's look at our referencing here to get a good idea. I think I think I went overboard. So let's give out just a little bit more, so I think this should be, this should be more reasonable one. So symmetry is done done, let's use the move brush. And get this down a little bit more so. Let's get close up. Yes, perfect one. This is I work just fine. So we just need to kind of make some adjustments to this. Let's see what we get. I think for the most part, this should be working just fine. Basically just checking around this just to be sure. For the bug, the bag sits quite nicely in here. Let's turn off the mesh in here. So this is the mesh. Let's rename this to mesh. So we know what it is, and let's shoot it up, shift, shoot that up, then temporarily hide that for now. Hold up and select the garments. Let's see in here, get this out a little bit more. Check this on the side, extend this out a little bit more ton of symmetry for this. Okay. Go do that this here. Okay. Then I think we should be just fine in here. So in next lesson, we're going to go into the sheds a bit more proper and then do some more work on it. Not too much work though, but at least some work on it. I'll see you guys in the next lesson, bye for now. 21. 20 Shirt Sculpt In Zbrush: Okay, welcome bad guys. So let's carry on with this. So supposed to work on the shirts in here. So there are a few things get in place first. So let me isolate select the garment. Le select there selected already. So shoot this up also, isolate it. So you can see some gaps in between. So that gap we need to fix, shift F. Let's go over to um, yes, lost my train of thought right now. So poly groups autogroup then bring out Gizmo, pull down control tap on this. So first thing would be to shift to bring this closer it's kind of fill up those gap. Closing this gap is more or less like the first nerves do. The next thing is to figure out which part should be top, which part should be under. Okay, it should be on top instead. So that's fine. Let's leave this this way. Invite the max. I'll bring this down. I should be down instead. Get this down, push that in, push this in, that should be fine. Okay? Select this. Let's fix this in a down. We use the browse size, get this in, take this down. See what we have in here should actually be on top. I should be on top instead. So let's see, inverts no, I think we need to let me do that again. Clear this out. Put down control tap on this because, need to do this on the other side also too before moving on to the next piece. So bring this forward. All of this should be forward. Okay. But also invite the mark, then we need to bring this down. It should be down. Okay, coming close down, so down, all Alright. That should be fine. Invite the max. I think we need to fix this also on this side, on the arm. See large gap in here, soy close that up. Okay. Let's do this. We don't have anything for the back side. I think that should be fine. So we can come in select this now. So this should it's already down. It's down already. That's fine. Okay? Select this. This should go down instead. Should be down. Get this down in down down also. Okay. Close this gap up, close that gap up, put this down, kind of merge them together. We need some more subdivision to do this properly, but let's get this as closely as possible on this base subdivision first. Okay. If I went a bit overboard, let's get this out a little bit more. Reuse my brow size. Okay, push this down. Okay. I think I'll need to do that. I think I didn't do that properly. Invert this. I'd like to bring this closer instead. Closer like so. Okay? Tap on this instead. Let's make some corrections to this. Get some rotation in here. No, I think I didn't do this properly enough. Let's go back in there. Should be down. Need to get this to look right. Okay. Select this instead. Should be down. Get this down down down down also down. Come on, increase the bros size a bit more. Zoom this out. Let's get in from another angle. Okay? Let me take down the smooth intensity for this. Because we need to smooth this part out, get a smaller brush size, smooth in here. This should be a bit smoother. All right. So slow the move brush, pull this down. Okay. I think this should be fine. Get this on the other side. We need a good angle for this, so let's get this from this angle instead. Okay? Pull this down. Get in a bit close. Pull this down, getting a bit closer, move this down. No, no. Down instead. Since something pretty much like this should be fine. Let's select this one more time. I see some little gap in there I need to compensate for. Bring this way. I'm not sure this is touching properly, so let's bring this closer. Okay. You can see some that wide gap in let's bring this closer instead. Okay. Let's see if for the side if we need to do the same thing in here. I think this part is closed up quite nicely, and it's not even going to be visible on our camera, so at the very least, at the very least, let's make sure. Let's make sure we get it right. This in push that in. Okay. Bring this closer closer. Do this check for the other side. Bring this closer closer, no doubt. Okay, let's clear this out. I think this we can work with in here. Okay. But one thing I need to do would be to select I would like to scar this out first. Control Shift click Control Shift click, invert this. I would need to his neck, this around there is way too thick. It's just too thick. But on that. Let me see if we can grab the max lasso, grab the edge. Hmm. La No lego spins on the edge instead. Let's spent on the edge instead. Okay? Paint on the edge. I think pretty moot like so it should be fine. Blow this out a bit more. Then we'll go over to deformation. I think we can use the polish future in here. Just get something rounded. Something rounded, so it should be fine. So you can see it we need to fix, that's fine. Select this. Let's compensate for it in there. I'm moving that back in place, okay? Okay. Do the same for the other side, I believe. Without this instead let's reduce the opposite direction. Okay. Yeah, that's much. That feels a lot more better. Bring everything back out. Yeah, so now we can subdivide this now however we want and create layers for it, so we can add some especially detail around these parts. This part needs to be a bit thicker. I think I think that is going to be like basically there's nothing else we need to do again because it falls were ing it actually okay. So let's go in and then subdivide this. Get something quite smooth. The 3 million should be just fine for this. So at 3 million now you can see some issues pop out. That's completely fine. So now we can kind of we know where to fix now, so let's add a layer in there to lower subdivision level now. Select this. With the move brush, we can start fixing some things a bit small now, we have better resolution to work with. This should be higher instead, okay? Yeah, that should work. Get in a bit close, usb size. Okay, let's do for the other side. There something else you need to fix in here. I believe there is. So let's bring this closer. Bring this closer, increase the subdivision level again, bring this even closer. Okay, let's go to the other side and get this fitted accurately as it needs to be. Just making sure I didn't move anything accidentally. Go one subltion level lower so we can do this a bit tighter in here. Okay? Yeah, that should be fine. This we can work with. I think it should be fine. Let's kind of do that a bigger brow size, so we can move a bigger chunk of that. Okay? Yes, increase the subdivision level a bit more, one step higher. I think I should make the subdivision levels visible before you guys at least see which subdivision level I'm on. Select this instead now. Let's get this right. Bring this closer. Okay? Leave this up some more, go on subdivision level lower in there. Okay? We can move. Let's move a bigger chunk of this here down here. So more. Not going to be visible, let's just get that in so we get something clean enough to work within here. Okay? Select this instead. Do that getting a bit closer. Okay. I believe we can make this work. Select this instead, bring this closer. Okay. Okay. Let's select this. This we need to bring closer. Is it close enough. Pull this closer. Look for the other side also. Here, we say, Oh, I didn't even fix this for the other side. So let's let this instead. Bring closes, this up. Okay. Yes, this should be fine. This we can certainly work with. Go to the lower subdivision level, leave this part up so more right. Get something good enough in here. Just try to march this up. Okay, this would be fine. This should be fine. So let's go now to the highest highest subdivision level now. Then I'll go in and concrete under layer. For this, we do. So let me just name this to SMO rather B. Come on. These details. Alright, so now let's create a new layer. I'm just going to name this to Color Sims. Name this to color SIMs. I don't think I'm spelling that sem correctly. Okay, so basically, I'm trying to recreate this. Basically trying to create this thickness around here. I think I can use the elastics. I think I can use the elastic. I think I have an elastic brush I can actually use for this. Okay, I think I have an elastic brush. Let's go in. Let me check my brush pack. Some elastic band brushes in here that we can use. Elastic bond brushes. Or is it an Alpha? Maybe it an alpha. No entirely sure. Someone need so many brush pack in it. Okay, I found it elastic band, so. Um we need something that pushes out. Yes, this is like this is a close one. Just a close one. It's a tough decision, though. Let's use this instead. So basically, we need just this. Need just this in here. So let's try this on. Let's see. Okay. I mean, creating some thickness there, though, but then buns, buns There's some buns in there. I think a better option will be just use something that kind of elevates that part so not necessarily adding some band detail in there, actually. So I can use the inflate brush, though but I think there should be some kind of brush that can actually help me create some better elevation. I think the Du Gu brush is in here. Um, so, let's try. Let's try this instead. Let's do one around the LLC. Now once I'm starting Indianize that were we need some more subdivision level to actually hold this even properly. So I'm going to move this. Let's subdivide this one more. I'm not sure if we can use that layer anymore, though. Let's see if we can record in there, we can't anymore because I've increased the subdivision level. Let's just copy the name. Then we can delete this because I'm not going to done anything in there yet. Delete this, create a new one, create a new one. Phase the previous stem in there. That should be fine. Increase the brows size. Undo that. But now, this is not going to work. I need something a bit round. Let's use the standard brush. So it's just the dilemma you might face trying to get something that actually works perfectly for it. I think this is a good one. The standard brush is actually better option to actually use for this lema to save. Okay? So we can do let's use use Lazy mouse kind of help us in a let's do this on the lower solution level, actually. To me shapes is high enough. It's great in that elevation we need do that. Need a bit more intensity for that. Need a bit more intensity. Yes, is a better intensity for this. I should work just fine. Let's also and drag this around here. Okay. All should be fine. Yeah, that should be fine. I just needs that elevation in there. Let me go over this one more time. Go over this one more time just to accentuate it a little bit more. Is it's kind of popping out some more, you should add some extra level of detail into this. Let's go back to this dam standard brush. I think we can be on the keyboard. Now, let's use that same geo brush, Jo GiGi soft. I think we can use this now to add some increased ablbtion level actually for this increased abslbution level again. I think if you go in, like, so now we can capture the essence of that on the edge. Yes, we can even use some sitios Bros ins there. I think it would be best to use Situs brr instead. Let's do for the ba. Let's do for the ba also standard, standard standard, standard, standard. Come on, standard brush right now. Okay. Let's do for the back. But this needs to be on both sides. So the front and for the back also, too. Yes. So let's get that elevation in the Okay. Continue on. No, missing the flow for that. Missing the flow again. Let me start on the other side instead. Yes. So I'm going to continue on kind of create some more depth in there right. Let's do one more across this. Yeah, that should be fine. So right now, I think we can also use the tithes brush that kind of complete that. Let's do. Let's do something here also. Let's do the same year also. So we kind of nail this little bit more accuracy to it. All right. I'll do for the other side also. It just needs to be on one side, actually, so it doesn't need to be at the back. Let's go over one more time. All right, that should be fine. I think now we can use the stitches brush for this. So let's go over to my stitches brush. Come on, I have to use the mouse for this. So this should be all the way at the end. Brush yes, let's use one of these thread in one that pops out. Yes, this one pops out. Lo click on that, getting a bit close. Okay. This will work just fine. Zoom out. Let's do this from the opposite side. All right. We can work with that. Let's do the same around here. All the way down, that should be fine. Let's fix this part also. I think we should kind of go all the way to the end, then this will come across get some space. Yeah, it should be just fine. I should be just fine. We can close this up in here. This work just fine. So clear the marks. I think, oh, yes, completely forgot, completely forgot. This breast region, we need to fix that. So we can't use the base anymore. Unfortunately, we can't use that base anymore. I don't want to add this in here, so it's with a new layer. Okay. Yes. I think I would go out of recording for this select this phase Basy. I think I can measure this down can measure this down with the color sims. Let's do a measure down, measure down, meas down. No. That's duplicates. It's supposed to be like a meas down somewhere. Am I missing something? It's supposed to be like a meadown in here Split lay Mase down found it, so mese down. I'm going to rename this Lego pieces we copied before. Okay? So this new one down here now, we're going to record in there. Let's just record. Let's just record. Adjustment in here. Just Mint. Let's go to lowest subdivision level for this because we obviously going to do this on lowest subdivision level, we can select just this front piece. This is the only piece we need. We move brush. We're not recording yet, so let's turn on that recording in there. Go highest subdivision level and then we can turn on the recording now. Record that. You can go to lowest subdivision level now. Okay. Increase my smooth intensity. Come on. Let's start with the move brush first and do that. Let's turn on symmetry for this. Okay. Then smooth that down. Go to lower subdivision level. What is the lower subdivision level already text it down to smooth intensity instead. Smooth that down. Okay. Let's make sure we get this down. Grease the brush side down some more. Just elevate this up a little bit more smooth down. I think we should be fine with this now. Yeah, it should be just fine. Okay. Maybe use the dem standard brush and then tono symmetry, we can just fill this part up, smooth the top so get the proper blend in the smoothest down. Yeah, this should be fine. So let's go back to the highest subdivision level now. Getting up close. Yes, this is fine. So let's bring back the other piece got of solo. Okay. Let's turn back on the hair. Yeah, it should be fine. This is fine. This is actually fine. Select the face instead. So if you kind of want to kind of capture the essence of this based on the camera shot for reference, it's more or less like something around this angle, like so. Okay, so this is fine, so all this is working just fine. I'll see you guys in next lesson. Bye for now. 22. 21 Prepping Uv Unwrapping In maya: I work on Burgis. So I think the previous lesson we kind of finalized on the garments. So now let's start working on UVs for this and then we'll start baking out necessary maps for all of this, okay? So let's do that. Tracking this just to be sure everything working correctly. This is fine. Let's make sure everything we need is on top. Okay. This is the eye lashes. I need to merge the eye lashes also to the a mesh. So let's send that up. Mh this down, mesh down, mesh down. Okay. Mess that down already. Should name that mesh again. Come on. Ash. Okay. That should be fine. Then something else you need to lessen up this fair now. So I'm going to start by exporting now the low pool of our hearts in here to substance crap. To Maya and then we would work on the UVs for that. So many software just keep in mind. Okay, so select the heart now. No, no, better let's start with the main head itself. Slow this out. This is everything is exactly where we need it to be. So let's go to the lower subdivision level. Subdivision level, we need to export out for rendering. So I would like to export out subdivision level two instead. Well, let's increase this again. Now, this is just way too much, so I think 49 k should be just fine. So go over to preferences, imports and exports, under exports. T off group, T on smooth normals. That's fine. Yeah, that should be fine. So go over to exports. I'm going to create a new folder here. I'm going to rename this folder to Z exports. Okay? That should be fine. Um, I think I can enjoy, this is fine. It should be fine. So save this. Let's fine, then, let's export out the garments. Let's just flow the Iraq in here. So we need to export this at the lower subdivision level. So I go to a lower subluton level instead. 14 k, let's go higher 59 k. 59 k is actually too much though. I think 14 should let's just do 59 k instead. Since we're not exporting a lot of subtos or a lot of meshes in there. So let's export this at this level. Should be exported to Z export. Save this. Okay. The s is a lower version. Can we get to the lower version. Yes, let's reconstruct the lower version. Yeah, that should be fine. I'm going to export this sh, Z exports, sieve, go down also to the hearts. Frame this. I did let's go to lower sublution level for this. Sublution level should be at 27 k should be fine. I don't want to go lower than this would be way too much, so 27 K should be fine. Can't fold all the details a bit propelling. Export this out also. Hurts. Okay. That is fine. What else are we exporting? We need to export out the miniscs also. Export this out. You know, cancel this wrong folder. That's fine. Outer eye. The outer eye, we need to make some adjustment for the NI also for this. So export this out first. Okay. The exports. I think that should be everything we need. Go out of solo, close this. Okay. I think we can hide all of it doesn't put all of this in a group. So this should be meshy instead. I'll hide all of this. Let's break everything we have exported. Right. So under Z exports, select all the OBG drag and drop this in. Okay. I believe everything is in here now. Okay. Let's go love this for now. All right. Okay. Okay. Maybe I should just make a little correction on the s instead. Let's do solo again. Select the mesh. Let's go on subdivision level higher. Let me break symmetry on this actually so. Let's break symmetry on this Delete higher control shift click. Let's split this first, sub two, spliting On this, I will subdivide this, delete lower. Then we can merge this down again, merge down. So now we can export this out again. Exports. Ash, go back to Maya. We can delete this. Let's import the new one in sh. Okay. Funny out this T entering in. I see why now need to manually move them out. Move them out a bit more. Okay. So export this out again. Z export. Should definitely save this Okay. So back to Maya delete these inputs, the mesh one more time. Come on. Close this off. Input this in again. Okay, I think we should be fine now. Yeah, it should be fine now. I'll select all of this. Let's give this one blind material, Blind material and play by type history on that. Make this darker darker a bit more O B for the background. Camera set top, make sure this is fine and this is fine. Alright. So now let's jump in and start creating UVs for this one. Let's first of all, delete this weird name in at the edge. Okay. Delete the Z brush. Weird naming coming in here so one more thing we need to fix would definitely be the inner eye or the iris rather, just open this Bs mesh. Yes, the Iris open this car Iris shifts or rather control D, make a duplicative B to send this down. So we need to properly position this in the Ilesus wire frame. Let's do wire frame in here. No, no, not yet. Let's go to the side views. Let's go side view instead. We bring these back out, let's see what we have and bring this back out. We can see differences in here exactly exactly in the right position. So I think we should do this in here from the front view instead. So pace, select the entire phase for this wireframe shaded, undo that. Select all of that again. Do that. Okay, I know why control shifts, ton of transform constraint. Move this to the side, get bit close of you in here. Make sure it's directly on the center. Let's select these two and isolate them so we can get better precision in here. Undo that. Undo that. Select the two again. Isolate control on to isolate much better now. So this needs to properly merge the center face mode, select this. Okay. Try to march them center to center, kind of, like, so Same also, double click on this. Let's mal them center to center. Okay. Yeah, then now we can move them backward now. C move them back where they need need to be in there should be fine. Save this, that should be just fine. Alright, so that's good enough. Good enough. So yes, we can select all of this now collars this group. Put this group, name these two main character. Okay. Enter on that. So now, let's start let's start with the UVs for the arts. Maybe we can do that in the next tutorial instead, so we can just keep things a bit more simplified for each tutorial actually. So next tutorial, we're going to work on UVs for the arts. I'll see you guys in next lesson, bye for now. 23. 22 Pt 1 Uv Unwrapping Hat And Polo In maya: Okay, welcome back, guys. So now let's start working on the UVs. I think I need to arrange this in a way that becomes easier. Do that. T that drag this just below. Okay? Is as UV is already. The miniscule is as UV is already, I believe. Yes, it does. Got a lot of broken up UVs in here, Dogt. It sure don't matter out so much, though, except if I just do the Us instead of Zbrush instead. Let's do the U instead of Zbrush instead. To get something clean enough to work with. So the minuscs in here, let's solo this. Okay. Then let's go over to Ziplogin not transpose UV Master. Let's do an auto group first. Then zip login to symmetry, polygroups. Yes, I think they should be fine. Symmetry, yes. Okay. Then unwrap this. Whoa. I see a lot of coats in yet. Okay. Okay. Yeah, that was fast. Guess let's export this out again. We can just replace what we have there already. Okay. So back to Maya. It's not going to be a major UY because we're going to be using the glass material for this UV two kits instead. So let me add this for now. Let's bring in the new one. We just exported Minsk. Is in here now. Come on. Okay. This is what we get. Yeah, that will work just fine. It doesn't need to be extra special in here. It doesn't need to be extra special. Okay, moving on, so let's drag this in here instead, delete the old one. Okay. So polo art, the rest have UVs, scsUVsOer eye, AUVs, H no UVs in there. Oh, yes, UVs for this MH because I want to export this into Subtanspencer. So let's go back to Zbrush. This gets s for the Ash. So poly Zi plug in ton of symmetry, poly groups is fine. Okay? Let us run this. I shouldn't take too long. Ready loading up. Let us give the same moments. Okay. Visa won't be too complicated for us to work with so. We can just get right to it. Yes, this is fine. Export this out. Z export already. Let's replace what we had before. Okay, so we can delete this and import the new one in ash. Tradition should have you with India now. Okay. Yes, this should be fine. This should be just fine. We don't need to do so much in there because just a place order, drag this into the mix. So MHR UVs minuscusRUV, IRUVs, Iris R UVs also. Everything is working accurately as it should. So just to make fantastic. So there are some UVs with the art from ZBrush, which we don't need. So let's go back to ZBrush and then select the art again. Then we want to delete any UVs we have in there, so we don't have issues. So delete UV. Export this out again. Replace this. We don't want son there if you have us on there, import that back into Zbrush. Begin to have some weird issues with trying to bake, so I don't want to have any issues, so deleting that. Let's import the new one in the new one without any Uhurts. Come on. Definitely close this completely. All right, drag and drop this in here Okay. This should be fine. No using precisely what we want. Let's apply existing material in the blink. Select everything again, apply the blink material, existing material, blind. Okay. Save this. So MUVs's delete this naming weird naming that comes with Zbrush. Just put this right on top of the shared plow. You need to make UVs for the art and then the shirt polo. Select the art now. If you don't know how to go to your UV workspace, just go to Workspace in here and then select UV. And then we are good. So select this now Control one to isolate this. Select that. Let's go in here and open up transform. Open up creates, open up calls, open up for fd is already opened up. That is pretty much what we need. So now we going to be a bit more strategic as to where to kind of add our same lines. Compartment towards Sim line on would be simply let's start with the top. Let's select this force of the faces for this. Let's do camera Bz. You should have something in here now. Let's set this up. I would like to click on this entire face and isolate that again. Why? Because std of grab an edge for this edge mode. Let's grab this edge around here, This geho be fine. Grab Dlicon that edge. Click on cords, select these two, pull them out, unfold. Okay, select this, bring this down. Select the two. And let's do layout Let me few you guys my layout setting. I think that should be important. So un modify setting here. Basically, I have this on fold, packing resolution four K, all the way to the end, texture map two k. Then for the shell padding ten pixels for the type padding ten pixels, and then that should be fine. And for the shell pre scaling, I think the default should be fine. That should be fine. Then we don't rotate this so this she also don't rotate that so just translate alone. Close that slide setting, I'm using for this. So let's go out of this, select this, isolate this. We can set our codes in here. So we're basically trying to add our seam lines, clicking click on codes right. Coming UV select this to unfold. All right. This should be I believe this should be fine. Let's select all of these, let's do layout them. Let's get them in. And let's check UV wrapping for check on UV checker Pattern wrapping for this. Let's see what we get. So select this again, isolate UV wrapping. This top piece is okay. But not too good. Not too good. You need to add another coat in. So let's add another coat in here. Turn this off. I'll set my new coats around around here instead. Let's the coat. Basically trying to add my seam line. It's going to be visible around here. Gonna be visible around there. Let's do that coats. Let's go a bit closer. Let's do around here instead. Um, trying to look for the perfect place to lay this out. Um, I think it should be fine. It should be fine around. Let's try this again. Yeah, that should be just fine. That should be just fine. Let's do coats. Okay? Select this to unfold. Okay, so now it expands a bit more. There's a bit more room now to kind of capture more textile densities. Let's select all of this. Let's do orients. Let's do layout for this. Okay. So now let's check the UV distortion here. Let's see. Let's see if there's any distortions going on. 24. 22 Pt 2 Uv Unwrapping Hat And Polo In maya: I think this should be just fine. This would work. This should work just fine, except if you want to lighten things up in here, we can lighten things up some more just to avoid those redness in there we can go in around the yellows turn this off, can go directly in here and double click this inside of the art not going to be visible. We can put another seam line around there. So somewhere around the pots. Okay, select this, select these two actually unfold. Okay, Oriens, select all of this. All right. Let's check the UV distortion in there. Oh, no, no, no, no. We have this affecting the top part here. I don't want that. I want just a single plain edge around that. That should not be having any edge. Feel like try this edge instead. Is it affecting this top? It's not affecting the inner parts. Let's make sure we're doing this correctly. Select this. Okay. All right, let's solo that out. Okay. Turn this off. Okay, though I know for certain, for the most part, this shouldn't be a major issue, though. So Martin necessarily need to even call this, this might not be a major it's not really a major issue. It's not a major issue, so we can leave this as it is. This will still work just fine for what needed for. So now we have better tying our cross this now. This is This will work just fine. Okay. Definitely leave with this except otherwise. So now, let me leave this as it is. A, so now let's go in and then turn this off. Save this again. Let's do UVs for the garments instead. So I isolate this. Okay. So I'm going to go to phase move, select all this phase. Let's do a camera biz. Right, so now we need to start separating this out as individual pis. Let's select this isolate, isolate again. Let's set our UVs in here. Let's set where we need our same line to be. Okay. For this, I think clicking set my SIM line around there. So the idea is to basically hide where your sim line should be. I just general idea for this. I think we can select this. Or do we should be fine. Do the same for the other side. Select this. Double click down here, find that, that's fine. But we cut. Let's go in and unfold that lets see what we get, bring this out fold. Perfect. That will work just fine. And our UVs are kind of eating properly where they need to be, that's fine. Let's go and select something else. Okay. Isolate that. Let's go undernea all the way to the back instead. Okay. Let's do this instead, or click on that edge. Okay. Can double click on this edge. I believe to stop around there, that's fine. Let's go and do the same also around. Come on. Double click in here. Okay. Do it cuts. Select the UV unfold. Perfect. That should work. Go out. Let's go to the next piece. Let's do this instead, isolate that. I want to go to the inward part, interior parts. Then our UV should be around here. You should go across the entire, it's not going to cross entire me. That's fine. We can double click on that, come down here, find the ending edge, do that. Double clicking here, go to the other side, go to your side, find a good angle for it. Okay. I'm looking at this now, no, no, that's not usually a good place. So let's do in here instead. I don't want stretching on the part. I think this would be a better place to set this. Is a better place. Do a cut Okay. Let's do the back UVs, select this UV shell, isolate that. Ed mode. All right. Double clicking Cat Okay. Is that code already coat already? Let's do for the arms, UVsll can select these two, isolate. Okay. We can do something a bit inward. I think I found the right one. Codes All right. Coming here also, select the codes right. So actually inward. That is fine, precisely what we want. Go out of isolation, save this. UVs select all of this unfold. Right. I think you should be finalizing this. Almost done. Okay. Orient. Select all of this. Let's do layout. We simply arrange to manually and then do another layer. Just like this, for example, we need to rotate. Just rotate it this way. This we need to rotate this way also. The rest should be just fine. Orientation is fine for all of this now select all of this. Don't lay more accurately in here. Mo Okay. That should be fine. So let's check UV distortion. Not too much redness in there. That's fine. Check a pattern. Awesome, just to work just fine. The radios UVs, no worries about that. No worries about that. Okay? We select the UVs. V for this seems absolutely fine. We shouldn't have any issue in here. So we select all of this now. Okay. Select all of this. We can see the UVs for all of this now. I think this is flowing quite nicely. T should work just fine. All right. Save this. I'm going to see you guys next lesson where we start exporting the mesh, especially the arts and then the garments back to Zbrush to kind of start baking out normal maps and displacement maps for those. I'll see you guys in next lesson by for now. 25. 23 Baking Maps In Zbrush: Okay, welcome, bad guys. So curious lesson, we kind of created instead of mire for the garment and for the hats for the shirts for the arts. But looking at my model now, I feel like there's something I need to do in here. So let me slows parts here is just too symmetrical, so I need to break that up. Let's go to the iS division level. Then I'm going to go to one of those layers and then make some corrections to that. First of all, let's turn off of every skin pull layer in here. Let's turn that off. That's off off. Okay. Let's record this on the primary forms. Okay. Okay, so let's go to the lowest absorbtion level for this. All right. I'll ton of symmetry for this. I'm going to smooth brush already. I'm just going to smooth this out a bit more. Same also in here. Move this in some more. Sically Bo brush eliminates a few of that smooth that down. Let's go to a higher subdivition level. Let's see what we get. Okay. Break this up some more by smoothing things out. Going to a lower sublution level to do this. Just kind of break that up a bit more. Okay? I'm going back to the highest sbution level now. So now we can turn on the others. Let's turn on the other layers in here skin code details. I'm going to go again to the lower subdivition level and export this out again at 49 k pulse, which is a sublution level two. Let's export this out again since you have made corrections on them. Exports should be under Z exports. Replace Okay. I need to just before I save this let's go back in. I think we can delete this, then input a new one in right Cara Bis mesh. I delete this name in issue in then I'm going to replace this with blink same blink material. So this checker pattern in the Okay, I'll save this. Now, let's export out the hearts and these polution and you replace them with what we already had before from the ZportFolder. Let's export this out. The art itself is at 27 k polygons. Z exports. Let's just replace the art because now we have vivis on this now. Do the same for the poll has 59 k polygons in there. So let's replace this Z export already replace this. Let's go back to Zbrush let's ton of solo select the heartpies. Let's make sure the heart piece has 27 k, we exported this out. So you need to export this back when you say subdivision level, we exported it out from. Very important. So as the imports. So Z export, that's fine. So this is the art model. Click on that. So that has been added in. If you should check our UV map now, you see UV there. So that's why we consider UVI there because UVNa now. Put out, select the Polo 59 k. That's the same one wet this out. Z exports, input that in. Yeah, we're good in here. So let me see this now. So we can start can start exporting out or biking out M maps in here. A let's start by exporting or picking out maps from the main head itself. So I seleg the head, so this getting a bit closer. So we want to bag this from the sobutionlay, we exported this out, very important. Let's go over to let's start with the normal map first. But before that, go to UV map, set this UV map to FokiRsolution, because we're going to be out forkiRsolution. On that displacement map, Smooth UV, flip UV, yes, all of this should be fine. Leave the rest are default. I should work just fine. Okay. So back to normal map. Let's see tangents, smooth UV, smooth normal yes, exact settings we need for this. Now going to click on Create Normalmp. Let's give this a moment to kind of Bk. So it's kind of big you can see this at the top and I'll come back when this is done. So that's done. Let's see that. Let's clone this go over to texture Phil V. Let's export this out. I always like to export this out as a PNG format of PNG. So under Z export, let's create a new folder, and let's name this to Z maps. Let's use all caps instead Z maps. Open that up, and I'm just going to rename this to Cara normal. Okay, I'll save this. That should be done. I would like to go in and then check like to check the map to see if it's biked out correctly. I'm going to open this up. Maximize this. So one thing I always like to check is the eye itself, just underneath the eye. This is perfect. Picked out, picked out perfectly. So so should work just fine for what's needed for. Yeah, this looks good. There's an issue in here, though. Not really a major issue, though but I think this should work just fine. Okay. Yeah, this should work fine. Now, let's go and then make our displacement map for this. So displacement map already has fly vinear, so we should be good. So this silicon creates displacement map. So you need to put this displacement map in Z maps folder also. Let's delete this. Let's say this name this to this PL. TF steam beats. Awesome. That's completely fine. If that's completely fine. You can use PSD, but I think I prefer to use TIF instead, so that saves up on pi compression. Sieve. So it's kind of baking out now. You can see it at the top baking out. It shouldn't take too long. Zach as if we want to export at our Bs mash. No, I don't want to export at my Bz mash. I've already exported that out already, so no need to export that again. So yeah, that's fine. So let's move on to the next piece. Let's big for the arts. Let's big displacement. No. We don't need I don't think we need to big displacement for the arts though. Let's just big big regardless. Let's be regardless. So I'll selecting that now. We're on the same sublti level. We spot this out. That's fine. So go to UV map. Sad this to Fok. We're picking up a map at Fok resolution. Awesome. So moving on to normal map. Let's bag out normal map for this first, click on create normal map. I shouldn't take too long. Okay, all done. Click on Clone normal map, go over to texture, flip V Exports, Arts normal. Then we also to check this to be sure if there's any issues in there. So let's go in and then confirm click on that, open that up. Yes, issue. There's an issue in here. You can see this weird weird stretching piece in here. Yes. This is why I was in to check. And I think this came from importing this back into zebra. So issue like this can also rail up not entirely your fault, just a bug. I think probably a bug. So it kind of create some kind of stretching on the UVs. One way I usually use to kind of fix that. Hopefully, that works would be to go back in there Go to UV map. Then click on delete UV. Start by deleting UV in there. Then we're going to import the RT again. Import the RT again. Okay. Imported now, then we go back all the way to normal map and create normal map again. So that's fk you already. Include the normal map again. Let's see if they'll fix it. Usually, it usually fixes it. If it doesn't fix it, then we have to be our maps and Mom set two back instead. So clone texture, flip exports, Okay, Let's go in and put in normal DP engine in front. Then go and then set this to two. Then I'll save this. Then we need to kind of go in and then check that again. Give you a moment to kind of load. Okay. So now let's double click on this. Let's check. Yes, perfect. It's working now. So you can see how it's working now. There's no stretching in there. If you kind of compare this, let's compare this to the other one. This the other piece can see stretching in here and some other parts are not biking out accurately enough. So first of all, the UVs and then bring that back in and then just quickly be. That usually fixes the issue for me and then actually did fix the issue in here, so you can see how we get all of this detail in here now. Okay. So yeah, that's fine. That's fine. So I'm going to delete this now. Don't need that anymore. Then I can rename this. Okay. That should be the original one now. So let's big displacement map for this. So smooth UV, flip V, that's fine. Then click on Big might not be entirely necessary to. Maybe you might actually use that actually. Let's just big displacement for this. Okay. I want to save this. And I also need to kind of check also. No, I don't want to export out the Base mesh. So let's go in and then check. For this, make sure everything's working accurately as it should. It is. There are no weird stretching around it, so this will work just fine. Close this, minimize this. Select the garments in here now. Okay. So let's say this to fork resolution. Then normal map. Read normal map. Shouldn't take too long. Almost done. Let's just give it 3 seconds, one, two, three, four at most. It's done, so let's clone this now. Hopefully, we don't have any issues in here textures rather, flip V, exports hat normal. Save this. Then let's go in and then check. Hopefully, we don't have any stretching in here. Oh, great. Stretching in here, I can see this stretching around this also too. We're stretching around this fantastic. So let's just delete this. And then we're just going to go into UV, delete UV, then import this back in again to import follow, follow the plicond then put that back in. Then we can quickly bake out normal map for this. So creates creating a new normal map for this. Give the moment. Hopefully this works. It doesn't work all the time, but at least 70% of the time, it's usually work. This technique usually works. Clone texture, flippy exports. Okay. Put this normal again. Right, saved. Let's go in and then check. Yeah, perfect. So that works. So we can see no weird stretching in there anymore. Kind of capture we have seen something a snap, no, no, no, there are overlapping. For moments, my eye will kind of seeing this like in an inverted way. I kind of flip this so that's fine. This is fine. Everything is working just fine. So let me close this. Let's create displacement for this. Where you have this at fork resolutions. Let's create displacement for this displacement map. Moves UV, flip V, then create open this up. All right. Save this. This also shouldn't take too long. So we are done, close this. Let's go in and check. Right. I can see from the tubino actually that there are no issues on here. So this is working just fine. No issues on here. Close this. Yeah, that's fine. So let's save this out now. So we're done with the bits. So the next step would be to prep our mesh for exporting into substance penal. I'll see you guys next lesson by for now. 26. 24 Baking Maps In Substance Painter: Okay, open bag, guys, so let's kind of prep this for export into substance spina. So I'm going to start with the art. I'm going to give this the different lambat material. So favorite lamb bats. Okay? That is fine. Let's go to the attribute editor for this. By type t I'm going to rename this torts mats. I'm going to go over take down the diffuse and set this to let's start from the back instead. I'll hide that for now. Let's do for the polo, the write material Lambert is by type t on that. Shed then pull mats. Okay, down diffuse. Let's use the dark blue white dots. Mesh Let's use another Lambat material in here. Let me just name this to hair math dtsndo that bass type history the eye darts. Set the main head. Do we have something from main head we can use? Let's just this amber also in here, take down the refuse. Let's use this color instead. Now I just name this to cra Matt or high darts. Lo the miniscus. I think we can use the existing one in a meniscus, should be fine high darts. This is the outer I, we can use the previous one imported in out I dart Iris existing material iris. Okay. Maybe we should change the color instead use the yellow instead for this. You need to bring this car head inside this folder. Then let's bring everything back out. So this as your own individual material in there, it's going to be a material ID for material texture set inside of Sopcan spnter. Let's open up Subtan spnter in here. Okay? Opening that up, and I'm going to select all of this, and I'm going to export this out. Spot selection. I'd like to export this outside the entire file. So I'm going to expo this as an O FBX export. I'll just rename this to her character. Okay. Maybe character maybe main cara instead. Limit whatever name is convenient for you. So I'll save this. Sot spent is opened up in years. Let's go into New select this. Then let's select mesh. Is this main carrier sect that. WusingDMs, let's turn off, use UV tie wor clothes turn that off. Then under the import big maps, let's add. Let's import in the maps for this. So let's go in and import all this map. Let's see one more map I need to import. That will be for the eye, the eye texture. For the eye texture, I'm going to import I think I can import all of this actually. Let's import all of this because we need all of this or maybe except except for because for the eiswdo Let's import everything actually. I'm going to make it this available for you guys to use. So let's import all of this. Click Okay. Then give this moment to kind of load up in here All right, so we're in. So one thing we need to kind of fix and here is the camera setup. So let's go over to display set and scroll down to camera. Then this focal length we set to 85 to use the 85 in here. That should directly match what we're kind of using inside of Zbrush and then Mayo also you can see how the camera is a lot better now. I'll close this. Then let's go the texture set. Textual set list in here. So let's go to car. Let's go to what's it called? Textual set sets in year. So you need to input the normal MPR cara input that in. So getting close now, we can see the details in here except for this minor issue we have on the lip. This minor issue we have on the lip. But it's going to be major issue, though. If it is, we can always fix that. No problem. You can always fix that, no problem. But the issue is definitely coming from. Let's open this up. Maybe we can just do a quick fix inside of maximize this inside of Photoshop instead. I think you can do a quick fix instead of Photoshop. Let's do that instead. So we're going to drag and drop this in normal let's drag and drop this in. Let's zoom in s this. Let's zoom into the lip Let's unlock this. Yes, then we can find a solution for this. Another way that might be able to use fix this could be taking down the intensity of the layer inside of Zbrush. That's another way of fixing it actually, then we can bet. But let's think we can just do a quick fix in here actually. We can use I believe the clones stamping. I'm going to hold out of card log. Use my bro size. Let's go in and grab this part in and just use and paint across. Let's get close, grab, grab these parts. You just just clean that up, move this this way. Grab these parts eyes not looking good enough. Let's grab this part, no. The directionality in the opposite direction. Let's let's grab this instead. Okay. Grab this don't fill that part up. Grab this. Grab this in a Okay. Let's grab this. Hope this is not going to be a major issue though. I think if this doesn't work, then we can just go always go back into zebush and try to take down the intensity for the layer and then bring that back in. Let's save this. Let's put in front, I'll save this Okay. Maybe just for the sake of experiments, we can actually try the other option too for one from Zeb let's see which one gives us a better results. I very close z browhing here, so let's open up the file again. Supnoa Zbrush file. Okay, so let's try the other second option instead for this. So let's go to the highest subdivision level first. The highest subvision level. Okay. Then we'll go over to layers. Let's zoom in now this again. Let's solo this that's getting close up on the leap. Yeah, I can definitely see some issues around there. So generally just take down the intensity of the leap detail in here. So let's take this down a few more. Maybe something light, so it should be just fine. Let's do a round figure of 0.7 instead. Okay. And then let's bake out a normal map again for this. Let's see. Let's compare. So bake no no, let's go down to subdivision level two. Yes, that's one. Then we would bake a normal map again. So normal map. Let's make sure biking out for the resolution. Let's bake normal map again, and then I'm going to compare, see if there's any issue also on the lip for this. Then we'll just use the more better one for it. It's baked out alone. I think on that preference is also do history. Skip loading that. Leave skip history also. Let's go over to texture PV exports. Export that the same folder. Let's just rename these 23 instead. Let's put three in front. All right. Then let's go and then compare that. Let's see which one is actually better for this. So let's start with cara tree that we just bid out. We can still see, you can still see the issue in there, Bona is not as intense as it was previously. So in that case, I think it will better for us to actually work with this map instead of Photoshop instead. So let's go over to Photoshop or hide this let's drag in here so we can do it a bit more precise. Corson can be a bit more precise in here. Okay. Zoom out a bit more. Now with the Clone stamp in, I think I can grab let's grab this part instead. Then I can use it over the first. We can use that clean that up. Grab grab these parts, tap, tap, fix, grab these parts. Fix that in the. I think this is way better. Let's save this Control Shift S. Is kind of saving down first. Con. Then we can just replace this prat instead. Lo let you save up. Basically just looking for the best option, cannot use for this. So close this. I think I can close this also you want to save? Yes. Yes. Okay. Yeah, that should be fine. So let's go back to SubtansPaina. So this is what we have in here already. We would just replace this. So before we replace that, let's go back in and then drag this new one in here. So this should be set as. So this should be set as texture project on title Imports. Okay, so let's replace this now up here, let's drag and drop this in here that should be the replacement. You can see replacement in here. I think this is much better in here now. So I'm going to close this. Let's go back to a mat. There's no normal map for this A MAT, so I'm going to leave that. So let's go to the arts mats. Then let's bring in the normal map for the arts so normal heart. Yeah, it's in there now. That's fine. Is Iris normal. Okay. I think I actually need to actually isolate this. Let's see. Yeah, it's pretty much the same. That's fine. Muscles not outer eye, definitely. I think we have a normal for the outer eye, outer eye. Okay. That should be fine. Flow. Let's import for this also. Just flow input this in. Shouldn't be so much of a difference in there. But this is fine. Let me save this file. I want to save it Xp cara. Rights even down here. Let me close, minimize this for now. Okay, so it saved. Let's bring everything back out. Show all. So now let's big the entire tin instead of substance pens can get some other maps also too that we need for the texturing process. So let's go over, select the big mesh maps. Click on that. Coming year, we need to big for car exclude the hair maps. Let's turn that off also on the preview. Okay. Then Turn off meniscus also. There are no maps for that. Okay, I think the y should be fine. So I'll say legs cara now. Turn off normal the arts, turn off normale the Iris turn off normal, outer eye, turn off normal, shirt, follow mouth, turn off normal. Go back to cara. Let's go over to ambient glution as same name. I always prefer using this. It gives me better bit for the ambient delion without having to have interceptions and some dark edges around it. You can use whatever you want to do so long it comes out fine. So let's go over to Co Covert to generate my coverture from the normal map. Let's check this for the art map. Similar instruction in the IR simular instruction. Okay, it should be fine. Yeah, these are all fine. So now we can start biting in Let's bit. You can see it in years. You don't have any tm map in limiton.com. So yes, so I'm just going to come in here and select big selected. What's selected in years, the caramt, art mat, ey ris, out, eye, shirts, and polo mass. So let's big textures for that. So I'm going to give you a moment and I'll come back when this is done. Okay, so that is done now. Good. So now let's invert this stay with invert, invert, invert, invert. Ar texture sets. Done. So I want to turn on normal for this for the cotual Cvrture I'm going to set this to generate for mesh. Okay? Shouldn't too much difference though. I baking this for objects that didn't come with the on normal map that I would not normal maps for. Okay, so let's bake selected also for this. This shouldn't take too long. Okay. Almost done. Right. Almost done. Just running through and doing his ten done now. So I'm going to save this legen. Save legen jump back right into pence mode and then see what we can in there. Okay, so all done, so let's return to painting mode. So not pency mode now. On this kind of check. To properly check around just to be sure if everything's working correctly. Very important to kind of go around and then check this. I think this is working just fine. All of this is working just fine. We have really good skin texture in here. Okay. Let's check for the arts. A good in here. This will work just fine. A also let's move our light around. Let's see. This is fine. A good in here also. Check in on the years. Let's see, that is fine, also. Alright, so we're good to go. So the next lesson, I'm going to start and move on to start texturing the skin texture for this. I'll see you guys in next lesson, by for now. 27. 25 White Skin Base Texturing In Substance Painter: Okay. Welcome back, guys. So in previous lesson, we kind of big out the necessary maps needed instead of Subtanspena. So now I'm going to start the full texturing process now. Alright, so let's jump right into it. So I'm going to be using this reference as a guide. Kind of capture most of the actual colos I need. But at the same time, I'm still going to move in between. I'm still going to move between using using this reference in here, actually. This one in here. Maybe you can use some of the skin tonel in here, but the idea is to capture something as realistic as possible in here. So looking at this now, I feel the skin texture is most likely something quite similar to this here. We have some redness, some measure of redness or warm colour coming from the lightos around this heating on the skin, making the skin feel a bit more warm in colo tone. Okay? So yeah, so let's jump right into that. So I'm going to pull this to the side for now. But I'm still going to make it slightly lighter in complexion, something. Maybe using the skeleton but get kind of capturing something like this, for the most part, okay? Alright, so let's do the let put this up here, set this around somewhere like, should be fine. Okay, put this around here. Now, what we're going to be focusing more is this reference in here coasters. Those variations we need to kind of capture the essence of the texture more and a bit more accurately also in here, so yes. So there keeping that in mind. Let's go over Let's go over and then textual sets. Cara moouth let's isolate the head. Okay, isolate in the head. Then I would like to go over to a textual sets. Let's say this to fk your resolution, so you can see these are the highest possible quality in here. So something like this should work just fine. Yeah, this would work just fine. All good. So now the light source, you need to use for this to be a neutral light because I don't want any yellow color warm colour kind of on. This is my model linear, so to avoid that, I'll go to my environmental light. Let's use a more neutral light environment. So tomaco studio seems to work very well for the most part, giving us a more neutral a more neutral light linear, right? So let's go to layers. I'm going to delete this for now. Okay, this is what we have. This work just fine. And now let's go over. I have a preset I usually use for my skin tone. I have a presets. Let me reduce this this way. So I have a preset to a base preset to actually use, so I'm going to use that. I'm going to use that. If you're watching this on my Skillshare or you doload this loading this from Flip normals. I of my online store, you should be should be getting that preset also, too. So let's use that. So let's go over and over to SMAT materials. I'm going to type in red. So it's named KC red skin based tone. So I'm just going to drag and drop this in here. So right off the bat, you're getting something like this, which for the most part is actually cool to work with why? Because we have a lot of variation in here coming from different redness of blood vessels surrounding the skin and also veins also. You can see some let me use on the keyboard, so you can see just the base color. You can see red veins, you can see purple veins. I think I also have green veins in here also. Yeah. There's some green veins also around here. The spots of dark red to India also, too. So all of this kind of helps make my character a bit more realistic. So you see wearing a bit. So now that we have this, I'm going to create a new layer on top of this, a few layer on top of this item on the keyboard. For this, I'll take down the take down the roughness. I like to keep my roughness roughly around here, like, so it should be fine. Still want to have some roughness contribution in here slightly. That's way too wet. Somewhere around here. Something like this should be fine. Maybe a little bit more just to get some little shininess in there Okay, that should be fine. Now for this now, I'm going to this is where we start thinking of the clottin kind of lay out on this because it's quite important to kind of know which glotun kind of lay out on this. So usually I like start from something darker and then work my way up. And for this, let's look for a more darker. It's not actually dark, though, but not the brighter tone of it, though. So I'm going to go and look for something something not too bright, even though it's a lighter skin tone in here, but not too bright. So let's find something that we can use. So I'm going to go to Malo pica, eyedropper. Let's pick. Briton is bright in here. So let's do somewhere around this like a brownish tone. Let's select this. Okay. Yes, this will work just fine. Since we're starting with a dark aton and then work our way up to a bright aton you can use this can also pick the Cloton also too if you want to can pick the Cloton. Also, too, in case maybe I wondering which lotonly use, can actually blend or find something from. Even though we know in this absence of shadow information on this albedo texture, we can always use this also to so I'm going to duplicate this. Let's add the bottom one. Let's select this. Let's get enclosed. You can also use this tone also, so we can also use something like this also, too, to work with. But it's going to be a bright aton on top of this dark Aton or darker tone linear. So the idea is just now we have two tonear so light more lighter tone than this darker shade of tone ine. So basically, my entire process will be to kind of work between this tone, then introduce some model mixed tone in between this also to kind of make the textures feel a lot more realistic. So let's hide this for now. Let me rename this to gold. Get good. Dark tone. You can give it whatever name you prefer to use, though. That's completely fine. I'm going to add a black marks on that. Okay? A black mark on that, and I'm going to go over to my paint brushes in here. Red paint brush already. So let's go to this filter search for brushes in here. And I'm going to use the death brush, Dad brush this dad brush worn in a. So this tends to give a much better results overall, so that should be fine. Now we can start painting over this. Let's do this with symmetry turn on. Let's turn on symmetry for this. Go back, take down the floor. Take down the opacity. Then we can start painting over this. Okay? You can see our painting over this now. I'm just going to lighting, kind of a this light tone on top. So I'm not really precise about it kind of making it more strong down the surface. I still want to kind of see my the redone underneath this quite more. So I'm not being too extreme in here. I still want to see the red tone. You see on the keyboard. I need to see the red tone underneath this. To be a bit more precise, we can also reduce the brow size if you want to. Use the brow size just to get something a bit tighter around those parts. Maybe you want to get a bit more tighter shape around those parts, increase the bro size. So you can always play the bro size variation in the Okay? So let's fill the parts. Oh, So you always want to kind of use a lower percentage value for the float and also for the opacity because you don't completely float feel this and then lose all those interesting unique detail underneath the skin based on using this base skin redness texture, I kind of created for myself. We don't completely lose all of that because we're kind of working in a more or less like a layout layout system. So I kind of layering things on top, kind of making sure we're not flooding float float, filling it completely. So we're laying this on kind of creates a bit a lot more unique unique texture on underneath the skin. So it makes your texture a whole lot unique. You can increase the brush size for this because this is going to be covered by hair, so we can completely hide that. You can do a bit more in here. It's not going to matter that much, because hairs are going to be generated in here and then we still have our hats that's going to be on top of our so too so. Yes, let me reduce the brush size a little bit more. Yeah, I think I kind of like what we get getting in here. I think I can leave this like so I hit M on the keyboard, Okay. Let's do a bit more around there. Let's turn off symmetry now. So it's not looking too symmetric on both side. You can break symmetry up a bit more, yes. I think we need to do a bit more around here. Yeah, most of these parts are going to be covered with skin, but that's fine. But I can see right of the bats, we can see now that our texture is already looking quite interesting. I'm looking also unique to an extent, looking quite interesting and unique also. So that's why it's important to have that. That's why I always kind of use this my redness base texture. It helps a lot to kind of create a more unique undertone for this. I use for every caucasian skin I'm kind of texturing, it gives it a more unique olivable look. Okay, now, that's fine. So now let's go on top and then create another pass of layer tone on top of this. Is another part of layer on top of this. But ideally, ideally, I always like to kind of before painting a more lighter tone. I always like to use a more goldish brown tone, more goldish brown. Goldish brown, we can find. Let's see if I can find something around. I think there's one other one around here I can actually use to illustrate. I can use this instead of ilustrt. One is like a golden a goldish brown tone. See if I can find that, yes. So it's more or less like from this dark skin texture, it seems more like a golden brown. This golden brown tone actually breaks up the surface even more, creating some dark brown, goldish brown tone around the face to make it more interesting. So I'm going to do that before I can of layer this whiten on top of it. So I'm going to duplicate this. I'm going to add a black marks and the black marks to that. I'm going to pick this color. Pick this sloton in here, find a more darker shade. Yes, that's fine. You can always use this code in here. In case you don't have the same reference, you can just use this code in here. Input that and then it should be good. I'll close that. So let me rename this to Golden Golden brown. Move this this way. Golden, brown tone. Okay? So having this senior now, the next thing is to kind of figure out where it needs to be. And also to very important, at least for me, though, I always like to kind of change my brush and make this kind of a smaller brush size, it's dot brush instead for it. So let's first figure out where they need to be. So let's go back to our reference here. So places where they need to be. You can see strong values around the forehead. You can see strong ones around the forehead. On the eye also too is one last part you need to be. Then on other parts of the face, also to just kind of break it up. We have a back reference for this, though, but can you can use the reference. So let's do that. Let me check this also in here. I can see that brownish, that Branton around here. You can see it around here also to around here. Okay. Around forehead also. Alright, so let's jump right into it and then begin to do that. So like I said, I always like to use a different brooch for this, so I think the dot brooch dot brush in here should be a good one. Okay. I'm going to take down the stroke opacity, take down the flow. Not too much. I still want to make it visible. And I'm going to take down the bro size. Let's turn on mirror for this. Es on the keyboard. And let's start spray painting this around here. You can see it's it's actually in there. It's in there, but it's not too obvious. Let's on the keyboard. India but not very obvious obvious, which is precisely what I want. Maybe increase the opacity a bit more. Okay? I'm just going to spray paint this around the forehead, a bit more. Just to break that texture so more. You should break the texture. A lot more paint around the eye. Yeah, looking at it feels like it's not even in there, but it's actually in there, okay? Yeah, I can see somewhere around these parts around there. Then around here also. I'm still going to blow this out. But let's just make sure we kind of bring them in there. Okay? Around here also. All right. Yes, we have quite a lot of them at the back here. Let's introduce a lot more at the back here. Same here also, it almost feels like I'm not doing anything bots. All these little tiny littil of textures actually actually makes it shine later on, so for me, I always like to kind of block them in because even though sometimes you might not actually see them quite much in the final rounds, it's always good to kind of have them in there. Okay? Can turn up symmetry for now and go in and do some manual breakup in there. There's a few more around there. Look for the other side. Okay. It's on the keyboard. It's actually in there, but not too obvious. If I turn this off and I can see the difference in there. Not too much, not too strong, but actually in there just break up the surface or more. Okay? So I'm going to blow this out. Let's see on the keyboards, go back in here. Let's blow this so it's not too sharp. So add a filter. Add filter, blow filter. Let's blowing that way too much. It's getting close so you can see them. Let's find a good value for this. I think somewhere around there should be just fine. So we turn this off and on again. We can see some little difference in there, not to mode, but still enough to kind of sell this character to be more rich in the Cola tone in here, so that's fine. So the next one, let's see what else we can get in here. A, let's introduce some dark Ashe now, especially especially for the eye. Especially for the eye. So I'm going to duplicate this at the black marks. Let's name this to dark dark tone. Dark tone. Let's find. Let's use ecopic then find a dark shade around the eye. And I'm going to darken this even a bit more. Like, so this should be fine. But I think for the most part, it's almost like almost like a kind of bluish tone, though. I don't matter that much as long it kind of darken or kind of lower intensity later on. So idea is that we still have control over this. So let's use the dirt brush for this. I think I can paint this in asymmetrical fashion anywhere. So let's just take down the throw capacity. Take down the floor, reduce my brush size. Then let's paint. Let's paint around the eye. Like, we use the brush size a little bit more. Okay, do the same thing on this other side. All right. Spray paints around your soap around your soap. Yeah, the other parts also, too, you need to spray paints. Let's look for other parts. This is darker shade in your. Maybe a little on the neck, but low opacity for this lower flow out soap. It's a much bigger brush size, so we can just spray around here like that to be fine. Okay. Let's see if there's other regions. We need to introduce this. Okay. Yeah, I need to introduce just a little bit, just a tiny tiny bit tiny bits around these parts like soak around the so to discolorate this skin a bit more. Make it slightly discoltd Okay. This is not too sharp, but still still enough just to see an undertone for that. Okay? We can come into the nose and paints for the nose. Paints in a darker shad for the nose. All right. I can see we can introduce a bit more of that around the edge of the lip. I use a bit more around the edge of the lip, Okay, let's do the same for the other side. Do the same for this other side. Let's increase opacity a bit more. Reduce the broad size so it can be a bit more precise in here. Okay. Like so should work. All right. So the next thing you need to do now will be to blow and then feed feed it out. So let's blow out the filter blow blow filter out to this. Then we go in and then reduce your opacity. So it's not too obvious, but still in there. Yeah, something like something like so should be fine. Okay. Something like that should be fine. So now, this is the most I think the most important part kind of. But this is where we kind of now fill the skin with the actual lotu want to be more visible. The actual colotu wants to be more visible in here now with what we kind of use to kind of fill this up some more. So it's now up to us to kind of decide now, which particular tone we want to use for this. So I can choose we can choose between any of these, but I think I'm going to go for this. So let me duplicate this. I'll add a black max. Okay. I'm going to let's take this up all the way up. I'm going to remove the marks. So moving the k and I'm going to come in and I'm going to select colo pica, let's select this bright stone in here. Since something that's way too bright. But that part is a bright spot on the face. So let's look for something a bit darker. Something, something like so should be fine. Maybe just tune this down a bit more. Yeah, somewhere around there should be just fine. You can use the X code, right, so that's fine. So in the next lesson, we're going to go in and then more or less like float feel this around the face. Okay? So I'll see you guys in next lesson. Bye for now. 28. 26 White Skin Top Tone Texturing In Substance Painter: Okay, welcome ba, guys. So now, one very common mistake I usually made when trying to take show skin was not trying to keep accounts of the light setup in my sine, so you won't kind of think future in the aspect of if I use partler colo ton and I use more brighter light source in my lightens, how would it affect my skin tone. So that's one thing you just kind of keep in mind. And looking at this reference or rather this skin tone I'm using right now in here. I know for a certain that eventhough I picked the correct color for now, though, I'm going to have a major issue when I kind of start lighting up my sin because this lot is going to look blown out. So comparing this to the fast I'm actually created. So these two. So just to kind of find a blend between these two actually. Okay? So let me probably use, actually we select this again. Let me duplicate this for now. I always keep duplicating just to have something to fall back to in case I need them later on. If we come in here now, let's say we're picking, let's look for the brightest spot for this face and let's pick the colo tone from there. So the brightest spot will be somewhere around the egg. What's the brightest skin tone in here. By the same time, this Best skin tone is actually way too dull. Actually way too dull. So let's say, let's use reference in here and let's pick the brightest tone in here. The brightest tone for Anna is actually around the cheek, maybe let's come down a little bit more somewhere around here. Yeah soak. This now we can use instead of the older one, but the difference in there is just basically reducing the tone some more. You can see variations of difference in here. This one actually looks close to the one on top also too. So I'm going to be settling for I'm going to be settling for something somewhat like so. Let me bring this down. I will come back to the two at the top. I'm going to let's name these two lights light skin tone. So this now, I'm going to add a black mark, and I'm going to use my death brush for this. I want to feel this a bit more. So double click No, I need to use the death one rather. The death one I need to use. So let's reduce the past a little bit more, take down the floor a little bit more. So I'm going to paint in this with symmetry to off and put it to the side. So I kind of know where to paint. So I need to let me reduce my brow size a bit more. Okay. So start pincing around around the EC on the keyboard, so I can actually see this a bit more. Pincus bro size, pins around the. Okay? Yeah, also around the ep, pincer as well. Pincer also as well. Come down, paint around the ebb. I its to paint leaf for now, that's fine. Let's paint around the spots. Fell the spots up. Kind of float filling this now. Okay. Let's don asymmetry for the head itself. So you can paint a bit faster around the e. Alright. Do a little bit more on the g. Okay? I think I can turn of symmetry now, paint around the egg. I'm going to reduce let me take this put it this way, put this up. Go to reduce my opacity now so more white more. Let's print on this part. Just get something light around the egg. Okay? I think this can work with increase some more paint around the. Okay, clean this up, reduce the bros stroke intensity. Let's get some light shed in here also. All right? Yeah, this should be fine. I'm on the keyboard. Okay. Clean this part out. There's some more float filling on some parts. Okay. Go over this a bit more the lower opacity. Alright. Yeah, they should work. So you always want kind of switch between these two, between not having shadow information in there and then shadow information in there, so you can actually print a bit properly in here. So basically just float filling this. Okay. Lower intensity, float filling. All right. Now for now, it looks a bit spinty but that's fine. We're going to break this up some more. Let's just get this in where we need it to be. Okay. So this is what kind of gives you that general top tone in here, of that gives you the feeling okay. This skin is actually is the actual or yeah, this is more like the general skin ton around the face. So that's why I'm kind of using this to kind of float feel some more Alright, this should be fine. This, this should be fine. Okay. So now what we need to do is to go in and then blow this out some more. Let's blow this out. Let's add a filter blow. Just to soften this out. Let's do a bit more. Okay. Let's see on the keyboard. Let's go in, let's see what we have. Okay. I think this we can work with I said we went to extreme on the cheek, so I'll take that take out the blow for now. It's on the keyboard, let's gently max out. It's way too bright skin tone on the cheeks, so let's lighten that out. Alright. Something like so should be fine. Go in painting a bit more around the. Okay, a bit more in here around a little bit. Okay. All right. This should work. Clean that up. Okay. Yeah, yeah, This is definitely coming out the way I want it to. Let this out a bit more around the egg. Add some more around the egg. Okay. We still need some redness on the skin, though. But I think let me go back to this. I need to raise most of this way to red in here. I need to raise this down, clean this off some more. Okay. All right. There's a bit more around here. Let me increase the opacity. The bit more around there. If you notice the player, I mean, when you go that to layer now, kind of filling this up. Fill up in here. Okay, I think we're getting a proper blend. Let's see on the keyboard. Let's see underneath this, that should be fine. I would now like to introduce also in here looking at this der reference in here. That's, it's important to have references you can kind of fall back to. You can see more dark out to more darkish bluish tone around this. Moles like fishy around there. Is not actually grow out yet, but you can see some gray tone around these parts. So I'd like to introduce that. Let's do I can just add that just above this, let's duplicate this at a black max. It M on the keyboard. Let me make sure this is a bit more visible. Let me increase this more. Just make sure it's a bit more visible in there. Okay. Let's say this to black. Take this down. Change the color tone for this. Around more or less get bluish tone. Somewhere around there should be fine. Okay. Then let's go over this. I can paint with the symmetry turned on. Let's pin symmetry turned on. So yes, the same death brush would be fine. Let's turn on symmetry. Because the brush size is a bit more. Easy on the keyboard. Let's introduce some more around these parts. Okay. So that should make this spot this spot a bit more discolted. Introduce something similar also too on the eye. Okay? Like soak. All right, M on the keyboard. I think that's way too much. It's X on the keyboard. Let's take out some of those. Okay. So now we need to introduce the blow filter for this filter blow right. Blow this out a bit more. Okay, something pretty much like so it should be fine. I'm going to go back to the da tone, take this down some more. We can take this down also. Maybe somewhere around there should be fine. Okay. I think we need to introduce a little bit more around these parts. Like, X instead around this part, like so, that should be fine. All right. Loud this stem loud. Let this save out. Okay. Yeah, that's fine. This two work just fine. Moving on, let me name this to darle dark blue instead. Dark blue. So we know which glotonize for that and let that's copy to at the end. Okay. Yeah, we can also try something in here by doing doing let's see. Okay, take this back on. Let me turn this off. Okay, I think my blow intensity is way too much. Let's go back to the blow intensity and then take this down. This is a zero now. Let's see on the keyboard. Let's see. Let's see this quite soft. Okay. Mm. Blow this out a bit more. It's the only key but trying to find a very good balance for this, this should be fine. This should be just fine. Okay. Now one thing I'd like to do would be to stone in here. I would like to do let's see. Let's add a black marks to this. Increase your brush size, paint over it again. I'm not going to do general paints across the entire outing actually. The general paints especially on the face. Okay. Round there. Round, down k. Okay. I'm just basically trying to lighten up the skin some more. Just fill up some gaps on the skin. Okay. Alright. I think so should be fine. Let me name this to light Let me lighter feed. La feed tone. I'm going in and I'm going to add a filter blow filter to this. Blow this out some more. What I'm going to do is to take down the opacity. I just going to get a blend between this to blow it out some more. So it feels a bit more washed off, kind of, then take it down some more. Not in Azar is a zero now. So I'm going to use this kind of lighting up the skin a little bit more. Alright, so this is fine. So now I think now we can start walking. You can start walking on the lip, I believe. Yeah, let's start working on the lip. Save this. Before I start working on the lips, let's make sure we finalize on this Frackle de telenea. There's some fracle detail in there. I think this is better this is a better one in here. Is a better fracko detllenea. I'm gonna start by adding fracles to this using using some procedural textures in here, so it's more like a dark brown. Let's call a pick that Frackle de tilina. I'm going to duplicate this at the black marks. Let's find That's fine brownish tone. Here, is that one? Let's come close. Let's come in close and actually pick something that is quite close to it. Yeah, something like so, maybe darken it a little bit small, like so. I'm going to increase this all the way up. I'm going to add, area have a black marks in there, so I'm going to add a few layer. Add a few layer to this. I'm going to use let me complete the little of this. Let's do spots. There's a spot in here. This one looks cool. So also looks cool. You just need to find the one that is best suited for this. I look stretched out. Now also looks interesting. I think the best one so far should be this. Okay, so let's go in the Make sure we're doing this trapna mapping. Okay? Increase the balance, increase the contrast to see this is a bit sharper in here for now, let's get something like soap. And I'm kind of realizing that the colo ton I'm using for this is not its is not its Most since somewhere around there should be fine. Okay. Now, let's go back in. Let's take down the contrast, take down the contrast for this. We don't want this all over the place, obviously. Okay. So, let's see. Let's see. Okay. Let's go to noise. Let's create some disorder in there just to break this up some more. Okay. I increase this all over the place. Let's just find a good value for this. Find a good value for this. All right. Maybe take this down so you get a bigger scale. What actually need two for this though. So that's a bigger scale, something that doesn't really have a bigger scale to it, so let's increase some more. I'm going to add a paint layer to this. So I'm going to remove this from where I don't be everywhere actually, so let's even use a white max. Oh, great. Undo that undo that. Do that. So I'm going to paint this off. Pin this off. A slide depends. Let's increase this some more, increase the flow some more. I don't want this to be all over. I better way to do this would be better way to do this would be to put this in a group and do that. Control G to put this in a group and add a black mark to that group. Then I can specify where I want this to be use the bros size. Okay. Should be around here. Use a bre size, ton of symmetry for this. Allright? You can see some fracle details on the forehead also. So I'm just going to sparingly just introduce some of them back in. You can see some for the nose like soap. All right, we can reduce the slow opacity for this, take down the floor. I just introduce a bit more on some parts. All right. X on the keyboard can also remove a few of these.This not too obvious can remove a few. Okay. Like soap, so should be fine. Let's do X on the keyboard, introduce a few more around here. A few more around here also. Yeah, I think this should be fine. Let's check this some more. Okay. This we can definitely work with. Yes, this we can work with in here. So while we are in here, I'm going to let me name these two spots 01. I'm going to duplicate this group. This is going to be my spot too. Okay. So this spot two, let's just hide this for now. This spot two a different color. I think a more darker brownish tone, more darker brownish tone. Let's see. This week Okay. Since something like so, add before I add a black mark. Let's go and increase the scale for this scale for this will be a bit bigger. So let's reduce the tylene Okay, something like so. I'm going to add a black max. So let's introduce some of this back in. Introduce some of this back in. Like so. Alright. Undo that. Shouldn't on these parts, undo that. You just need just very few. Just very few. Okay. Maybe a little around the neck. Okay. All right. Since something more or less so should be fine. I think I need to reduce the size is way too big, so let's increase the tile in a little bit more. Like, so let's turn this spot back on. You should get variation in now. Okay. But now, I'm going to reduce it a little bit more so it's not too obvious, sort of. Okay, that's fine. This should work. So now I'm just going to introduce some more redness to the skin. Think we can do this just above the senior. Going to duplicate this. Let me save this first. Okay, so add the black mark to this. Let's bring in some redness to it. Let's bring some redness to this. Okay. Somewhere around there should be fine. Well, let me name this to red skin. And for this, I'm going to be using I think the three looks like a good one. Oh, let's try the three. So let's go back in here, let's introduce some redness. Yeah, this needs some redness. That's fine. Reduce that reduce the bro size some more. So you need some redness around the nose. Introduce some redness around the nose. Let's just introduce some redness on the lips actually. Just give it a base purse for that for now. It's gonna be like a base purse. Okay? Um Yes, around the cheek. Let me try this death brush instead. Or dot brush instead. Nah. Redness is way too spread out. Let's see the twill good one. Use it brush size. Double click on this dirt trick. Come on. Okay. Let's just use the that's one for this. You're not supposed to be this sharp. I don't want to have sharp edge in there. Still wants to be a bit freed out. So take this down, take this down, down some more. Itrodu some redness around us. That's bit too much. If you use some redness, Okay, redness around here all so you should make the skin lot softer. Redness in here I think that's bit too much eggs. Let's take this down some more degrease some of that. Okay. Add a little bit more a little bit more Let's. Let's look for another reference in here that can give us a clearer idea where we need to add this redness in Okay. I think So redness also for the eye. Let's take this down. Maybe that's way too intense. Let's take down the stroke opacity. Take down the flope you'll use some redness on the eye. So redness around here also. Okay. Now, this we need to kind of make a bit reddish, actually. This should be a bit more reddish. Let's just add that in the same for the other side. Okay? So raw redness. That so should be fine. I think I need to take down the stroke capacity even more, way more. Take down the flow, increase the brush size. Let's introduce Come on. Let's introduce some more redness on the forehead. So this should be quite light, but still in the two for the soar. Yeah, this should work. This should work just fine. We'll introduce a bit more around around a little bit more around the neck, just to break this up. Alright. We're still going to dow this down, though. So let's get in close. You need to add some more on the egg. Okay. All right. So if we can do, lighting and kind of lighting this up some more, but still enough to kind of make sure it kind of pops out. I'm not going to be blowing this type because this kind of helps break up the skin some more. Alright, so that's fine. Next lesson, we're going to focus on the focus more on the lip. Okay? So I'll see you guys in next lesson. Bye for now. 29. 27 Pink Lip Tone Texturing In Substance Painter: Okay, welcome, but, guys. Let's do some texture pencing for the lips. L to see, similar to what we have in here. So the reference for the same reference, actually. So I'm just going to use this to texture the lips. Let's go over texture sets, or solo solo just one alone, then go back to my studio. Turn off shadow. All right, so about layers, and let's start painting some leaps in here. So I think I'll paint this from the top. Let's just duplicate this, bring this all the way up, set this all the way up at the black marks. Then let's select let's select the darkest shade first. Let's start with the darker shade. So we can start with this Okay. So I'm using the death brush for this dead brush just something doesn't feel right in here. Remove this for now. Let's see. Dob click on this. I supposed I can't see my gray white to black in here. I don't know why. Can we reset this that do anything? Yes, something doesn't feel right. Let's see, no one painting the internet though so something is wrong. Let's do default. Let's do defaulting basic card. Something doesn't feel right. Something's off here. Is to reset all of this. Let's see there's a way to reset all of this set of defaults. Then reset to defaults here. Well, that's strange. Let's see. So I just needed to restart subtans painter. And we're good now. So Grace is showing here now, if I paint, she'd be showing now, that's fine. So let's go to brushes. Let's do that brush. Okay? Reduce this and then starts being seen in a Okay. Cantonal symmetry for this. Take down the stroke opacity, get this back out and put this down here, take down the floor. Then let's Zi pensin at all. Let's increase your expensing. But it's not aggressive enough the black marks in the Okay. Do we have anything on top? We don't so there's not really painting with an aggressive stroke in there. Okay. Let's just carry on. Reduce the bros size. Not so much at the top. Reduce the intensity for painting at the top. Okay. Let's start with this as a base. Right. Then I'm going to duplicate this. When we do duplicate for this at the black marks. This is a more registon for it. Cool pal, let's pick this. Okay. We can go back in here, something doesn't feel right. Something just doesn't feel right. If I paint this around here still light under. Okay, let's increase the opacity. So more. Okay, much better. Don't do that. Okay? Use the bros size. I right. Okay? We can can paint the same reuse the stroke on the floor. Let's paint the same around the air. Okay? Yeah, something like this. Who's going to blow this out too, but I think for now, should be fine. Then let's go over duplicate this a black marks. Then let's pick this lighter shade. For this, let's add a few layer to this. So you need to use the core virtual for it now. So let's use the co virtual generated co vrual for the head, Di ilittle of this core virtual. So use the coverture the head, texture for the covature for the head. Let's see the mark for it. This is the max. Okay. I'm going to add a levels adjustment to that unless adjust this levels adjustment a bit more. Okay. Maybe something like this. Let's do an inverts. Okay. I think something more or less like, so Okay. I think we should work it on the keyboard. I think we need a bit more. Let's see if we can get this spread out a bit more. L's wait too much. Spread out, like so should be fine. Now, it's all over the place. Don't wonder, so we are going to invert the effect of this. We're going to invert the effect of this. Let's get some more out. Get some more out of this. Okay. So I'm going to put this in a group and add a black max to that group. Then I just spin this where I need this to be actually. So just go over this increase opacity, crazy flow. I'm going to go over and paint where I need them to be, like so. Same also around here. Same also around here, like so. Okay. I should work just fine. This should work just fine. Except I'll need to blow this redness almost out filter. Blow. Yeah, this blow should be just fine. Then for this yes, this is already on top. Let's Let's do lights lip. Let's use all caps in here. Lights, lip. Okay, that's fine. Then I need to duplicate. I need, no need something darker. Something darker. Let's I think I can duplicate this, get this on top. And I'm going to use a different color for this. Is in a more darker shade. Let's see if we can pick this darker shade close this. So we need kind specify what I need this to be. I need to be on the crevices. So let's go back to invert it. Is kind of eating into the craviss of this. That's precisely what I want. Let's see if we can get this on the crevice invert this actually. Something pretty much like. So something pretty mode like this. See if I can tighten it a bit more. Okay. Yeah, this should work. I should work. Let's put this also in a group. Let's do leap co virtual. All right. That should be fine. Let's add a black marks to this. Let's paint where I need them to be now. So I'll just paint where I need them to be. Should be around down here. Okay? Around here also. Yes, that is fine. Basically you just need to kind of blow this out. Let's add a blow filter. Okay? Yes, this should be fine. We can reduce let's reduce the visibility of this not too sharp. Just somewhere around there should be fine. All right. I think I still need to let me close this. I think I still need to paint over this some more ton of symmetry. Don't do that. That's way too much. Turn off the blow. Introduce a few more around here just to round up the lip some more, then turn on the blow. Okay. I as a bit much. X on the keyboard, let's erase some of this. All right. I think this should be fine. Sus we have kind of finalized on the lip. This should be just fine for the lip. Yeah, this we can definitely work with. Let me just see this. Okay? So the next lesson, we're going to work on creating textures for the eye. I think I can use I want to use an eye that's a bit more obvious to see Now, most of this is we don't really have a close up for this, but I think we can use something like, so we can IP the Colton and then reuse that right so so you guys in the next lesson, buy for now. 30. 28 Face Sweat Roughness In Substance Painter: Welcome back, guys. There's one I like to do before texturing the eye, and that will be to get our roughness in Let's get some reflective skin on. So let me slow out again, go the way to the top. Okay. I think we can let's see. Here's for the lip. Let me put all of this in the leap folder so I know what it is. Group this name this lip. Okay, it should be fine. A so let's create the roughness for the skin in here. So there are a few tips to keep in mind before painting this. So what you keep in mind is the te zone where we have more oily skin on the surface of our character. And so this part is going to be more oly. But the other parts of the face also going to have some reflectivity on it, but this region around the forehead, cheeks, the nose, and then the jaw and the lip is going to be more oily. So keeping that in mind, let's jump right into Softanpaa and then create some roughness map for her. So yes, to do that, I would need to since we're in here also, I think for the need a bit more redness for this part in here, get some more redness in the All right. I think that should be fine. Okay. Maybe go over to the lip, select this light fit tone, and then pen that okay, do that. Pen out a little more. You're just too dull, too dull out the color. Alright. So for the roughness, let's go over, create a new fill layer. This fill layer, turn off everything that apart from the roughness. Okay? So usually I like to start with let's start with a paler number in here, like something rough like 0.4. So it's quite rough, not entirely rough, but it's rough enough or maybe take this roughness up a little bit small. Okay. Trying to figure out if this is way too much or just the right amount we need. So I'm just moving this around just to see. Okay. Maybe roughen this a little bit more. Just looking for a good base to start with. Good base. Yeah, this is a good base. Can I use as a good base. Then I'm going to rename this to base roughness. Right, so then I'm going to duplicate this. Now for this, I'll need to add a bit more reflectivity to it. Maybe somewhere around here. I'm going to be driving this with curvature map. So let's go over to the black mark, and let's do a fill. Let's use the curvature in here. So I see on the keyboard, let's see the max. This is the mark that's driving this. I'm going to add us add Levis in here. Its M on the keyboard. The levels now should be controlling how reflective this should be. Let's go back to the shade and make this quite true. So you can actuals see what's actually happening in the to the levels adjustment now. You can see how using this kind of control how wet this surface is in here. Let's go in, but I don't want this. I want this to be the inverse. I want to I want an inverse of this instead. So white, oily. Then we'll take this down. This take this down. Take this down, so you feel like sweating in between the pos. Let me show you guys an example for that. Seeing ibas in here. So zooming let's look for more closer pose surface. Yes. So you can see in between the pose and I can see some reflectivity in there. So it's precisely what I'm trying to imitate in here. Okay. But I think we need to take this down a little bit more. Let's do something shiny, like so. Okay? Yeah, this should work for now. But though this is going to be on top of the entire outset, this is supposed to be on top of the entire outset. Also some issues in a few places, but that's fine. Let's just make sure this is in here for now, okay? So let's name this. Let's rename these two roughness call virtual right. This should be fine. We can also blow it out a little bit small let's at the filter at the blow filter. Let's say my blow intensity is way too much. Take it down a little bit more. I think somewhere around there should be fine. Okay, I'm going to temporarily hide that for now. I'm going to duplicate this. I'm going to name this to T zone. So the T zone for this isn't the reference we having here, just to block out where it needs to be a bit more reflective. Compared to the other parts, let's see, not this. So this is what I'm going to be using. So the ya are now kind of marked out. This is what we're going to use to painting on roughness map for this. So let's make this a bit more reflective at a black marks. So with the death brush, take this down and let's paint where we need this to be. Um, Okay, we can't use set properly in here, though. Leisure spins. We just the blow side still need to we're still going to blow it out. Leisure spent where we need the roughness to be around the nose down here also. For the cheeks, around. Same on the other side. Sara reflectivity in here. Maybe reduce the stroke opacity, reduce the flow. We need a film around the ir. He also reduce the opacity, do a bit more around the air. Yeah, we definitely some under the neck because the neck sweaty, so let's add some more around the neck. Let's see what we are doing in here like so. Around here also. So we need to reduce the broadside. I need to get some wetness just underneath the eye Underne DI need to get some wetness around the eye. So let's come in. Show you some wetness here. Let's top part also too. Show us some wetness. Same also in around. Okay. Similarly, also in here if you around here too. If you're around here also, get some wetness in here. Make this quite wet. Okay. Go around this also. Let's go to the top, add some wetness in here also. Okay. Yeah, this should be should be fine. As a bit more around the air. Should be quite wet. Okay. Yeah, this should be fine. Okay, as for the lips, the lip needs to be quite wet also. Doesn't increase so the way up, increase the flow. Get some wet lips on R. Rotate my camera, cans it properly make these sets. Okay? Opie also. Alright. Okay. Let's see what we get. Let's go in a bit more. In a bit more around here should be fine. Now, let's blow this out let's add a blow to this filter blow. Okay. Let's a bit more. Let's get this quite soft. I think something like that should be fine. Then we can go back and turn on this roughness curvature in here. Roughness covature is way too reflective. We can reduce that. Let's turn off this tea son for now. Let's come in here and reduce this a bit more. Okay. I think this is a good place. Let's turn on the tea son now. All right. In this season wetness, I feel like I should still reflect. Let me take it down a little bit more. Okay? Yeah, I think this should work just fine. I should work just fine, so yes. So this we're going to use for a final render, except proven otherwise, but this should be just fine, right? Okay, except we need to think for this COVtu I need to I need to remove this from. Let's use the paint paint brush, crease the brush size, X on the keyboard, I need to removes way too strong on the air, so let's move a bit of that from the air. It's a bit too strong on the air. Let's go to the other side. Okay. This should be fine. All right, save this. I'll see you guys in next lesson. We'll start texturing the eye model. By for now. 31. 29 Eye Glass Center In Substance Painter: Okay, welcome B guys, so I think the previous lesson we kind of finalize on the roughness of the skin. Okay? So yeah, this seems fine. So in this tutorial, we're going to be working on the I in. Let's work on the e. So I would go over to the Iris. Okay. Open up the iris in here. I need to import my textures. So I will primate texture. I need to import in here and I'm going to modify that. Let's add a few layer in here. Let's go over to textures, type in iris. Okay. So I have my base texture in here, let's drag and drop my base texture in. Then I go to roughen this up, it should be quite rough. Something like this should be fine. Okay? Yeah, this work just fine. So basically, you just need to work on just one part because you're both sharing the same you're both sharing the same UV tile. So let me create some more space in here. So you're basically saying the same sharing the same UV shell, so, moving on, I would need to go over. I kind of show you guys the reference I'm going to be using to texture this song. My reference is going to be this, but at the end of the day should be looking most likely like so. So maybe we can actually even use this instead. Let's use this instead. Alright, so let's go right in. Let's go right. Anyway, there's one other thing I would like to do just to check if everything's working correctly would be to go to the let's go to the outer eye. And I'm going to set a new shader for this. Set this to PBR metal of Tager blending. Select that. Then go to textual sets and then add opacity. To pass it to that, open that up. So I need to import the texture. I have some textures in here to import so Let's go and type in outer eye. Yeah, so let's drag the base color in. Yeah, already have nomuse in here already, so that should be fine. Maybe you should put the normus again in there. That's just going to make it a bit stronger. Then for the opacity, we have the outer eye opacity. I'm just going to drag and drop this in there. Okay? You should be getting something like this now where we have it cut out in here this way. Okay? Then let's make this quite reflective. It should be quite reflective. You need to add, don't need to add any metallic in there. So if you go back in and then turn on the iris, you should be able to see the iris through this you'll be seeing the Iris now in through this. Okay, let's bring everything back out. We might just need to make some corrections to this. Let me this for now. The only I feel like I need to kind of tilt. I feel like I need to tilt this a bit more. I need to tilt this, and it's going to move in this direction a bit more. But I think let's compare this to our main reference. Let's see what we have in here. Let's see. She has it's more wider. So we need small is like a bigger high around her. That's completely fine. You can always adjust the opacity for the outer eye. But when it's going to move, it's a little bit small. This will need to move some more. Let's open up the file. Let's open up the file. We need to open up that file. I need to open up the Maya file, make some adjustments to it so let's open the Maya file up. So we're in here now, so going back and then comparing this, I need to move this towards the right hand side. The Iris I need to move towards the right hand side a bit more. Same, for this, I'm going to move this towards the left hand side instead. So let's go in and then do that. Need to do this a lot of precision in there. So let me hide. Let make sure I bring out my outliner. Open this up. Okay? I think we can hide this for now. Okay. So this we're moving to the right, then this one moving to the left. So let's go over face mode. Double click on this. Let's move this compare this again towards the right side. So move this this will lead to. Okay. Double click on this. Let's compare. And we're moving this towards the left side. Moving this towards the left side. Okay, let's bring back the outer eye. All right. This little. I think I need to I need to scale them out a little bit. I feel like I scale them out a little bit more. I feel like I should scale them out some more Let me just move this down a little. Scale this out some more. Okay. No. Let me undo that. I onto this a little bit more precision. Into this a bit more precision. So I'll need to kind of separate these out first, separate them. Okay. I'm going to scale this out, center up votes. Let's scale it out some more. Is the value. I'm using one oh six, one Let's do using value 1.0 667. Tap 1.067, 1.067. Oh. Let's don't do that. I need to center pivot on this first. So 1.067. Let's copy that value and then just space this in here. Let's bring back the outer eye. Okay. Nice bulging out. Let's select them. Them back in a little Okay. Make sure it's not coy. It's not coming out. Now, studs gonna run some test also for you just to make sure it's in place. Leads to combine them again. By type history, Iris. Let's use our cups. Okay, drag this back into the group. As this. Let's see what we have. Okay, bring this out. Now, let's test this out. I'm going to select all of this. Then I'm going to expose this out. Just put this out. Let's see. Make sure what's in the same directory for this. Get this up. Copy. Busy directory in a main cars Let's out in front. Okay, exports. Okay, so back in let's import that in. Saving this five fi fi, input it in. Right so edits project configuration, selects no wrong folder. Let's import the two in a preserved through position. Yes. Yes, this should be fine. Click Okay. Then let's give this a moment to kind of run through recalculate and then bring itself back in here. We can compensate if there's any other correction we need to make. I just back and forth and do that until we get this right. Yeah, I think it's perfect. This is perfect. This will work just fine. This will work just fine. Except for one thing though. We need to scale out. We need to scale out the opacity. You need to scale out the opacity map for the for the outer eye. So let's go into the eye. I'll need a new opaste map for this actually. I need a new one, so let's remove that help just to help myself a little bit. I'll go over, create a new field layer, and then import the opacte map to the base color. So basically, what I'm going to do next, just to use this Acid guide kind of create a new shade or rather a new texture that should copass entire tool. There's some weirdness in here. You have some weirdness in here. It's probably upscale. Let's upscale. Let's see if you're out. Where is this coming from? It's coming from the Is quite strange. The US actually okay. Let's check the US. Okay. Yeah, I think this is just weird. Let's move this undo that. Undo that. It's coming from the ambient seclusion. It's coming from the ambient seclusion in the Let me turn this off. Probably bake a new embientltion for this. Let's bake a new ambient clusion. So I don't need to bake for the outer eye. Let's bake new embntltion for the outer eye. Turn that on. Select the embntltion. Okay. Let's bake this. I shouldn't take too long. Just give you some moments. Oh, it's still in there. The issue is still in there. Let's see, almost done. We still have the issue in there. Return to painting mode. We still have the issue in here. Okay, anyway, it's not going to be a major issue though. It's not going to be a major issue, so I'm just going to sign that for now. Let's turn this back on. So what I need to do in here actually would be to let me get some space in here would be to create a new layer in here. Turn up everything. We you need color for this? I only need color for this. I'm going to set this to full black full black. And I'm going to add a black max. I go to add a fill. And for this fiel, I need a circle. Let's just use a circle in here, put the circle in here, go over to repeat should be unknown. Okay. I'm going to scale this down. Noting this correctly. Come on. Come on. Okay. I need to scale this down. Scale this down. I kind of this kind of tiling across itself. So I'm moving down Control and Shift to kind of scale this down this way. Repeat come on repeat none. So already had the previous one in there. I was going to use the previous one as a guide to kind of get this look right. Control Shift to kind of scale this down some more. Okay. Let me get this up. Let's see. Let's use something a different color instead. So we can see this a bit more clearly. Let's use red circle. So you can actually see through this. Let me reduce the upper 62nd see through it a bit more. Okay, so this is the size that was there before. We're just going to scale this way this needs to be bigger. This needs to be bigger. So yes, I think this should be fine, and I'm going to duplicate this duplicate effects. Duplicate effects, drag this down here. Let's get this properly centered. Okay. I just need to work on one then if this one is actually okay, we can move this to the other side. So let's turn this off for now. Let's say this ton of color. Let's say this to opacity. So let's see a hole through that. Let's go back and then bring everything back on show. Let's see the size for that. Let's see if this is the size we want. Shing this down. For the most part, it looks like this is the size we actually want for this. Let's look at our main reference and then compare it. Yeah, yeah, this is the size win. Maybe maybe a little bit too big. Just maybe. Let's just see. Let's compare phase like slightly too big. Just slightly too big, slightly. Yeah, yeah, slightly too big. So let's go back in. Let's talk up the first one. Okay, let's go to the first one. Let's work with just one. Let's see realty preview in here. And then I'm going to scale this down a little bit more. Yeah, perfect. Perfect. I move this this way, little toward the center. Okay, I can delete this. Let's duplicate this instead, drag this down. Okay. Let's turn on the other one. I would like to change the color. Let's set the color back again. One of the opacity, so I can actually see this exhibit more accurately. When you see this bit macro, your cecum position is in the center. Okay? I think this way. Alright, let's go back in, turn off the color, turn on opacity. You just need to find go back in here. I just need to find the right spot for this. Okay. Get this down some more. Yeah, this looks, this feels like it should work. I'll save this. All right. I think this should work just fine. It should work just fine. So now we can turn this off. Let's turn on texture we have. Okay. This should be fine. All right. So, this is fan. Next lesson, we cannot go in and then work on the Iris. Since we cannot position this cannot position this precisely where we need it to be. You cannot go in and work on the Iris. I'll see you guys in next lesson. Bye for now. 32. 30 Eye Iris In Substance Painter: Okay, poco baa, guys, so now we can just go into the Iris and then work on that. So everything's all set now. Let's three d view solo, and we get into it. So layers. Now we already have a texture in here, so now, but this is the actual reference to kind of use kind of texture this. So let's get in there. Let's get in there then start working on this. I have an idea actually. Let's see if we can use let's see if we can use the what's it called again? Let me duplicate this. We can use actually. Let's just add a filter to this. The only one filter affecting the color alone. Let's see if we can get some color balance to this. Okay? We have no color balance. Let's try something else. We have color corte in here. Let's do should be some kind of H. Let's do Hs HHS. Is this the one I guess? Okay? So let's adjust the U for this Na's not going to give me that specific look I'm going for I paint this by hand. So I think I'm just going to have to paint this by hand. Yeah, I have to paint this byan so I don't give me those necessary textures I need for this bian. So that's completely fine. That's completely fine. We just do this by an. So I'm going to create a new paint layer in here, and I'm going to select this dark blue texture in here. Let's do another one. Dark blue, so we don't want any metallic material. We also want roughness in here. Okay. And I also need, that's fine. I think we can alternate between that. So I'm going to add the black marks to this. The black marks to this, this here, we can use, let me use the dead brush. I want a dead brush already. This is the dead brush. Not tell. Let's go over the check. Let's go to brushes. Let's use the dead brush. I want the dead brush already. All right. Just to make sure of one thing though. I want to make sure this center part is darkened out already. So I'm going to create a new few layer. Turn all this off. Set this to full black at a black mark at a few layer. Let's use the same circle in here. Let's go over to two D and three D. Repeat none, then scale this down. Scale this down. S to be roughly around the same size as the other one inside of it, almost there. Scale this out a bit more. Okay. Get this roughly in the center, this should be fine. It should be fine. I'm going to add a filter blow filter for this. Okay. Yeah, something pretty mots, so it should be fine. All right. This we can work with in here. So I know where that is now, so I'm just going to come back down here and then start painting. Yeah, we can paint the dark blue now. Think I can maybe I shouldn't paint this on my two dv instead. So let's just focus on the two dV. Let's paint this on my two dV. Okay. So I'm just come in here, don't do that. We use the bro size a little bit more. Okay. So basically painting this on the edge, painting this on the edge. We're going to blow this out though. Let you just get this on the edge. Okay. Paint across. All right. That should be fine. Reduce the bros size. Let's paint in here also Pints in here. Okay. I should be fine. All right. So now that we have this in here now. There are a few things now we need to kind of do in. First of all, I'm going to start by duplicating this. IDs for now, let's blow this out, add a filter. Add a blow filter to this. Let's blow this out some more. Okay, that should be fine. Alright, so now, let's come back. Let me just rename this to deep blue. Deep blue. Okay, let me use all caps for this deep blue. Okay. The next thing I'd like to do be to add let's use this now, add the black marks to this. And I'm going to use a more dark cnt may be almost black actually most black for this. So this is now going to be driven by a curvature map. Probably name this properly. Do. It's gonna be driven by a curvature map. Let's name this to curvature. Dark curvature in here. I'm going to use add a few layer first. Then let's type in Iris in here. So the Iris should have a curvature map for the iris. It's something pretty much like this. But it's supposed to be the inverse of this. The inverse of this would work way better. So let's add a lays adjustment to the inverts on inverts. Let's kind of play with this some more. I would like to tighten this get this back. Can I shrink this this way? Does it do anything? Yes, it does. So I'm just going to use this kind of tight in this a bit more like, so Oh, okay, let's tighten this a bit more like so. But I think I need to shrink it some more. It should be dark, though, but I need to shrink this. I don't want to be all over the place. They kind of shrink this. Now, does it even do anything? Okay. There's a maximum we can go for this. Can we use this too? This is just doling out the colors. Just doling out the colors. Maybe somewhere around there should be fine. Okay. I'm going to add a filter to this. Let's add a blow filter to this. This is not too sharp, just in there All right. I think this should work. Next thing I'm going to do would be to use the same curvature, Control D to duplicate that, the blow. And I'm going to change this to a more bright bluish tone, so it's way too bright. Let's just see if we can unpick the color in the Okay. Well, it's just all over the place. Sort of one also it's all over it, okay. Let's come back into the levels adjustment, invert that. Let's get this feels like it's all over the place. I want this in here. This is not give me the results I'm going for. I'm going to close close this. Let's use the generator instead and then use the CVrtual generator. That should give us something. I don't want to be I don't want this to be all over the place. That's one thing though. I don't want this to be all over the place so. Let's go to the co virtual. Let's get it somewhere we need it to be first and then we can now make some adjustment to it. Reduce the balance. See way too high. Let's see large. An of this isn't doing anything. Fine. Let's take down the fine sharp. Okay. Obviously, it shouldn't be all over the place. Get this down. Let's see what we can do, reduce this. Okay. Basically just playing with this and it's gonna figure out what we need to have in here. All right. Okay, so now I'm going to add let me name this to sort of dark, let's lim this to bright coverture instead. Let's do bright. Okay. Yeah, this should be fine. This should be fine. Let's just say this in a group. Add the black marks. Before I add the black marks, I need to blow this out some more. Adterblow filter. That's way too much. But this will shrink need to shrink this down some more. Let's see if we can add a levels adjustment to this and see if we can string this down a little bit more. Yeah, pretty much pretty much like so it should be fine. And add the black marks in here. You better still add the white marks instead. Let's add the white mark because still sees visible in here. Then we can erase what we don't need on some parts. For example, the parts, nothing should be around the edge. Let's screen up the edge. We don't want any contribution on the edge for this, okay? Alright. This should work. We also need to paint some textures in here though. There's some other textures we can paint on top of this to make this shine even better. But the dark, this dark one, let's see, we need to be we need this to be more visible. Need this to be more visible. If you kind of shine through a bit more. Okay. I think this we can work with. This we can work with. Name these two bright bright coverture Save this file. Okay. Yeah, I think we can work with this. Let's see what else we can do in here. Which colours we can introduce in here. Make this shine even more. Okay. I think I need to reduce this a little bit more so it's not too bright and then way too distracting. Come down here to this deep blue, duplicate this deep blue. Try and see if we can brighten this up. You know, brighten this observant look a bit awkward. I think the previous color we used before is fine. Now, let's introduce more let's introduce some more variation in here Okay. X on the keyboard, painting. So more. Let me make this a bit brighter. Slightly brighter. Okay? Are the black marks in there. Oh, it's supposed to be on top. Gonna do that. Rdce the bro size some more paint over this. Pint over. Add a filter, blow filter to this. Blow it out a bit more, reduce the strength a bit more. Okay. Now, It's begin to introduce some yellowish tone around this, so I'm going to control D for that. Let's name this to bright yellow, right yellow. Okay. Yeah, this should work. Let me change this increase the opacity for this. At the black marks, change this to yellow to let you just pick the tone from this. It's not on full yellow or something somewhere around be fine. They will start painting over this. I can start painting over this, so I need to work mystr copacity in here, take down the opacity, take down the floor, increase the bros a little bit more. Okay. Now just use the br size. Sprepant across some of these parts. Use the opacity, paint something light in the air. Okay? All right, reuse the brush size a bit more. Do a bit more around the air. Okay. Th something pretty remote like so. Right. Yeah, this you can work with now let's add a blot to this. Let's add a filter bl filter. Let's blow this out a bit more. Quite soft in there. I think the overall ambience of this I need to brighten up this dark blue. Just brighten it up a little bit. Let me duplicate instead. Duplicate instead. I duplicate. Let's just brighten this up a little bit more. Okay. All right. Okay, so I'm going to create I want to create. I think I can create a bigger darker sphere around this, though. So let's select no, let's select this the duplicate of darts at a black mark. So say it is too full black in here. Should be at full black. Generally, you just want to paint something black on the edge. Probably turn this off. Paint full black around here. Maybe just or even remove the marks instead. Let's move the marks instead. Let's get full black. Don't do that. I think we still need I think we still need this. I think this should be fine. Okay, better still better still. Let's add a black mark in here. Let's do a fill. Okay. Let's do a circle. Let's circle There's one butler circular there's kind of halfway. Let's just halfway. Yes. That's the one. Okay. Let's turn off tiling, T that off. This actually should be on top. So let me just name this ring or black ring. Black ring. This should be on top. Would you see instead. Let's start by giving a full white color instead so you can actually see where that is. Come down here, select this. Okay, let's reduce the border with, come in close, use the border with, let's increase this some more. Crease the border with. I think I should bring this all the way up some more on top of the entire in even. So yes, then this should be on full black. Be full black. And let's add a filter to this. Blow this out by lots. Maybe us bit too much. Okay. Getting close. Extend this out a bit more, maybe even more. Maybe even more let's get the outer paths quite dark. Okay? Blood this out some more. Let's do some more side feeds properly around here, I guess. Okay. Maybe not too extreme. Something like that should be fine. Let's save this. So now we need to introduce. I think I would like to introduce there's some brighter spots around this lower part. So let's go to that deep blue. Let's select this let me collapse this. It's a brighter blue tone. We have, you can use this. I'm going to duplicate this at a black mark. I think I need the lower one to increase a bit more. It's a bit more obvious, increase this all the way up. This should be like almost most entirely white kind of. This should be fine. I'm going to have a black mark. I'm not going to name these two bright. Spots. Okay, reduce my bro size. I'm just going to paint. Yeah, this needs to be a bit brighter. I'm just going to paint brighter spots in here. Okay. Just to get some brighter tone around this a bit more. I think just underneath the eye, like so should be fine. And I'm going to blow this out at a filter blow blow this out a bit more. I don't need to be too bright do. I think some pled should be fine. So let's see unless now, let's check. I see this dark brown spot. Let me duplicate this brown spots brown spots. Okay? Let's use a strong. Let's use this crystal instead for this. Use a dark dark brown tone for this, like so. Okay, let's go over that tone of the blow and we can Whoa do that. Come on. What's going on right now? My bross too big? Oh, yeah, my bross definitely way too big. Size is way too big for this. Take this down, down even more. No, it's not paintings paints. This isn't painting anything. It is actually. It's not intense. Brush is not intense. We'll just get some brown spot around a few places though. This is actually going to make most difference, but let's just get something in there. All right. Let's visualize everything now. Show all. Let's go to a three D view. Okay. So as much as we getting this to work, I see me some corrections to this. For example, one correction we need to make in here would be going back in. Let's do two D and three D instead. This out ring, we need to scale it out and bring back the head and bring back the outer eye. I need to scale this out. Okay. Something just doesn't feel right yet. The outer edge is way too dark. I turned this off. Do that. I think we definitely need to extend this out a bit more. Definitely need to extend this out a bit more, which is kind of shrinking down way too much. Shrinking down way too much. We can easily fix that. We can just duplicate this hide the top one. This, we need to make a lot of corrections to this. Let's select it first. I shring this down, reduce this border and some more 33. 31 Eye Iris Refining In Substance Painter: Way too dark. I turned this off. Do that. I think we definitely need to extend this out a bit more. Definitely need to extend this out a bit more. W is kind of shrinking down way too much. Shrinking down way too much. We can at easily fix that. We can just duplicate this hide the top one. This we need to make a lot of corrections to this. Let's select it first. I shring this down, reduce this border some more. Then make it more visible for us to actually see. This is a more darker bluish done for now. Do that. Come over sharing this down. Shing this down some more extend these out. Okay. Alright, so let's use the colour close to what we already have in here. No. Let's use something a bit darker. Okay. Let's try this one, Let's blow this out some more. Let's see what we get. Let's turn on the blow. So probably darken this out some more. Okay. Let's see what we get out of this. This is almost almost almost there. Almost there. Feel like, let me turn this off again. With this just in here, let's see. Maybe. Okay, because the outer eye, the glass shed that we have in there for the opacity is actually fine for this actually working. But one thing I need to do is to extend extend the colours out some more. Extend the colour out some more. This is one of two ways that we can still go in and then increase the size of the iris in Maya and bring this back in. That we can actually do, or we can leave this like so. I just one of two things. I think I need to increase the size of the iris some more instead of Maya size of the iris, a little bit more. Let's actually look for any reference. Let's compare. Let's see, actually dark on the edge. Yeah, we need to kind of scale the iris out a little bit more. So you just start going back and forth just to get this to look just to get this to look right. Let's compare this again. I think the size for this fine. Let's just extend this out some more Okay. I'm trying to see if I can just pin the edge I can spin the edge in. I should just be able to pin the edge in so Um Let's see. I should be able to just pin the edge in. Okay. That's for the center parts. Of on. Let's see this ring. Let's go to the coverture All right. I think this is where the major issue is coming from. This off now on off. Okay. I think where the major issue is actually coming from. Didn't go back up yet. If I turn this back on, I think I can use this kind of extend this out a bit more now, so I should know where this is. Let's go into this. Get this roughly around J, should be fine. Roughly around should be fine. We raise this up some more. Basically, I just need to extend this out, pin this out out towards some more. So the curvature, we're going to come back to curvature in a little while. Usually center, aluminum to center or a dark center. Okay. Let's go in and then Okay, as for darts. As for darts. Okay. Can't we just fill this is the particular color? Let me see if we can create a new fill layer in here, roughen things up all the way up and then just pick this tone in here? You should be able to use this. Ducking some more it is darkened out. So more, pretty much like this should be fine. Let's see where this is. And I'll come back in here. I'm going to extend this out. I'm going to extend the paint out instead. Let's use the dead brush. I'm trying not to go go I'm trying not to go over to Mayan to increase the size again. You should be able to just fix this in here. So let's extend this out. Stand this out. So what you need to do some more manual work in here bots. This should work. Okay. Then now for the dark curvature in here, kind of darkens everything. We need to put this in a group. Name this to dark curvature. Okay. Then we can at a Let's the white marks instead. Don't do that. Might raise any of this at all. Okay, I am. Unless you raise as actually painting something in here. It doesn't feels a bit awkward. Well, look. Estrone raise that. Zoom out a bit more less you are getting in a Okay. I think I will need to manually paint in a few things in here. Let's start by adding a filter to this art blow. Okay. So I think I'll need to manually paint in some few things in here, so let's go over Let's see what we are from a distance first. Let's compare. Yeah, it's beginning to feel a lot better in here. Except we still need to do some more manual work in. So more preferable way to do this would be to paint in some darker sheads. What do we have here? Oh, yeah, that actually helps. That fits things out a little bit more. That fits things out a little bit more. Let's see if we can keep this Okay. I'm going to duplicate this at a black mark. Let me just name this to black lines. Okay. Basically, I'm trying to kind of fix some things in here now. I fix some things in here. I'll need to use the default default brush in here. Default art brush. Rest re juicy bro size. Juicy size a bit more. No, feels awkward. Way too sharp. Soften this hardness, take down take this down. Okay. It doesn't look like it's on full black, though. But it's on full black. Should be on full black here precisely what I want. But the brush size should be way smaller than this actually. It's something way smaller. Let's go into the edits 0.05. Okay? Basically faking something in here now. Faking faking the length of this Because I'm trying as much as possible not to extend, increase the size of the is anymore than it already is right now. So trying to fix an extension around here. Okay. I'm going to blow this out to add a filter blow blow this out a little bit more. So more like so, so it kind of blends in. Yeah, I going in there now, I feel like it's kind of blending in. I think back, it should be fine. Okay? I think I need to I should actually extend this all the way to the end. I should be extended all the way to the end. Okay. Old wet weather black ends. So extending this old way out. Okay. There's actually a lot of work but necessary work in here. Alright. You should be fine. So another thing we need to do now would be to let's see No, that's blowing out way too moto. I need to create another one. Replicate this at the black mark. For this, I need to pick I need to pick this bright spots this color for the bright spots in here. Okay, and go back to paint two, then extend extend them out a little bit more. Let's do some extensions in between. So more or less like doing this in between. Also trying kind of connects the two, kind of. Okay. So it goes in between my curvature map kind of drive this because the curvature does not extend so there's no extend all the way. Normal map does not extend all the way to that end, so it's going to be an issue kind of capturing that's in the Okay. Let's blow this out, add the filter. Come on. Add a filter blow filter to this. All right. I think I went overboard. I think I went overboard with this. A little bit cover but let's take down the visibility for that. Shouldn't be too visible in there. Take down the blow. Okay. So, one thing I can do will be to go back to this black ring and then, you know, the other way around instead, push this a bit closer. It's working actually actually working in there. Actually working in there. I need to blow it out a bit more. I need to blow this out some more. Go back in there, bring it even closer. That's bit too much. Okay. Maybe I need to move this up a bit shrink this down. Oh, get this in. Kind of eyeballing what I'm seeing in here though. Eyeballing what I see in here and adjusting it Okay. Maybe duplicate this Yeah, basically, the idea is to kind of see this from a distance. So long this looks good for me distance, then we should be good. We should be good in here. So I'd like to go back to my let me save this. I like to go back to the outer eye, the outer eye, select this the shell that we created in here I need to blow it out some more out filter blow. If I increase the blow too much, this is what we get, you get a softer transition around the so this should make it should make it a whole lot believable in here now. Yeah, I can see from a distance now, it looks a lot more natural. It looks and feels a whole lot natural in here now. I said, I need to brighten up the blue. I need to brighten up the eyes a little bit more. So let's go back to the iris. So the base blue, we have the deep blue we have down here. Also open that up. This center. Okay? Maybe just brighten this up a little bit more. You know. If we go all the way up, we get something that is looking white or natural, it doesn't look too natural. So we need to take this down down a little bit more. Okay. Maybe it's somewhere around there. The one thing you need to do is to see see. Yes. I think I can go back to let me name this two blue lines. I'm going to duplicate this Okay. All the black mark. I'm going to increase a bit more. I'm going to use a more brighter shade for this is a more lighter shade. Okay? And I'll go in. And then just on parts, I'm just going to lighten that up. Lighting those up. Or maybe not. Let's use the death brush instead. Let's use the death brush instead. Reduce the brush size and maybe just create some undo the others way too much. Create some some breakup of brightness around this. So brightness breakup Okay. Let's see if this works. Let's add a filter blood is out by lots. So it shouldn't be too visible in here. Let's take down the visibility. Okay. Let me use a more brighter maybe almost almost white Clotone actually. Okay. Let's see. Let's see this from a distance. Let's where we get. We can go and eat eggs and remove some of this, break up the flow for it. Turn this off. Let's break up the flow. Okay. I bring some back, break up the flow, turn on the blow. Alright, I think this is an interesting one. Let's get in close. Let's see. Let's see in here. Okay. I'll duplicate this again at a black mark. This time around, I'm going to use default brush also basic standard. I want to basically draw ad lines in here, so basically draw ad lines in here. Let's draw some straight outlines in here and do that. You need to reduce the bro size some more, increase it all the way up. Let's use 0.05. Okay. Yeah. Yeah, this should be fine. Basically, I just do this on selected parts. Okay. I also need to change the color though. I need to change the color. Let's use a more brighter blue, somewhere around here. Probably too bright. Add a filter. Add a blue filter to this. Make this quite something like so. But the color for this is just way too much so Let's tune this down. Let's get this somewhere around here instead. Blend this down. Take down the blow, maybe the blow is way too intense. Let's see. This week, I believe this week can work with. We're going to looking at this from a distance, so I think this should be just fine. Okay. Yeah, I think this should be just fine. Let me save this Woof. I wire sometimes can be quite intricate intricate cannot get right, so I think what you did, I think we did a really good job in here actually. So let's make sure this is reflective metalness. Introduce some metalness to this. So you can at least see All right. I want to at least see the glass poking out through this positive was get this all the way up. I want my reflection kind of pass through this. Reflection is kind of cut out. Reflection yeah, yeah. Because we are blowing here, so reflection is a bit cut out. It's still cut out in this way, though. Let's see, I still cut out that way, so it's just gonna get something in here just to simulate something that looks realistic enough. And for the most part, I think this should be just fine. It should be just fine. One other trick though. Back to the iris, one other trick. I can create a layer in here at a levels adjustment this to pass through. And we can use it to brighten up the entire outing. So this will also case what's going to brighten out the eye. You can also use it to brighten out the eye. If we need to if we need to has a bit scary. So if we need to in here, we can always brighten up the eye. Okay. So we still have the control. We still have control over this we want. So this is default. No, I don't want something too bright, though. I think something like should be fine. This we can work with. Okay. We have this in place. So the next lesson, we will start working on the hearts, and we should be good. I'll see you guys in the next lesson. Bye for now. 34. 32 Hat Base Fabric In Substance Painter: Okay, welcome back, guys. So previous less, I think we finalized on the eye. So let's move on to something else. So let's give this minuscs a wet material in there needs to have a wet material in. See a lot of discrepancies on the texture in here. Can't show why I'm maven that though. For example, you can see this weird artifacts in here. He's definitely coming from he's definitely coming from a Iris outer eye. If I go if I remove the ambient seclusion and do that stay actually in there. Let's walk our way down. Let's do two k. That is not even fixing it, Let's try one K. Let's not fixing it either. Let's try. Let's go back to four K. It doesn't seem to be fixing that issue we have in there for some reason. Okay. Anyways, let's even check the texture. Let's see if the issue is actually on the texture. Texture is rotated, move a light source. Check this is actually in there. You can see the issue actually in there. Well, this we can actually fix inside of Maya though. I'm not going to ignore that for now. All right, so let's go over to the minusculs. Let's add a new channel in here, partitive channel. Then delete this layer, add a few layer in here. Okay. When this is fine, then I'll go over to let's see, increase the opacity. Okay? Add roughness all the way up, metanness also, too, add some metans in there. Because metalize kind of simulate that shiny watery filling in there. So we definitely need those. Think a mouse to raise this. The geometry can raise this scope. I need to raise the geometry up in there, except I go into the skin itself. I go to the skin itself and then make sure. Let me create a new material in here hide everything apart from the roughness. Make this quite shiny, add the black marks. Let's say a bro size, okay? Let's turn on symmetry for this. I'm just going to paint some wetness on top of this pretty much like so it should be fine. So it's entirely wet. Make it completely wet. Okay, should be fine now. Yeah, that should be fine. All right, so that's fine. So now let's take show the hearts in here. Actually, I'm sure a specific name for this ad, but I have no idea what the name is, so just bear with me if I just give this generic name of hearts. So art Matz, isolate that. Oh, yes, let's import the graphics we have for it. So we have the smiley graphics in here. We have these graphics also in here. Let's import that. I already created that inside the photoshop, so I'm not going to drag these two in here. I would import them in as textures. Okay. Texture. Let's see. Okay. Texture also. That is fine. Then input this into this file. Okay? You're in here now. So you're PNG textures, PNG textures. Okay? So yeah, let's now go over and then add a default material to begin with. I can really see it's quite the fabric detail is not clear enough, though, at least for the it information, so I will just have to we just have to work our way around this. Let's go over set material. Let's do fabric in here fabric in here. Okay? I think the closest to this would be fabric demi. Fabric demi seems to be the closest for this, so I think I'm going to use fabric demi drag and drop this in here. Okay? Let's check how the UVs are laid out. If the Us are not laid out properly, then we would need to redo this yes. For one, we need to redo let's see. Let's see what we have in here. I need to redo the Vin. Make this kind of flat. Make this kind of flat. I was trying to eliminate sim lines around this, though. Let me add Let's add the black mark first to begin with. Then go over to Fully fill. Let's do mesh fill. Let's fill up this mesh first. And let's try and see if we can capture the orientation in here properly. If possible. Let's see what we can play in years. Let's adjust the rotation. Yeah, that's what it seems. No matter how we rotate this, it's still not going to give us that accurate tiling for this. So we need to go back to semis we need to go back a few steps, though. And we also need to rebake this also, too. But that's fine. That's fine. So let's go back to Maya. Let's open up a Maya five for this. Select this, go over to UV D ten so there's no right or wrong way to do this, just to try this and then figure out what is wrong in here and then just correct that. Basically it. I'm going to go to the back instead and add my SIM line at the back. Just a sem line here, create coats on food, arrange layouts. I'm going to do a coat to add the coat in there. Okay, I'm going to select this let this to actually unfold Unfold this. Let's see. Let's just see again. Let's check. In here, let's see if there's something we Come on. Let me move this out. Let's see if there's a way we can work with this without having to Okay. No, no, we just need to get some cut out for that. So let's go back in here. Think I'm going to rotate this this way. Rotate this this way. Select the two. Let everything instead, no, no, not unfold. I don't unfold everything. Let's do the layout first. So I also like to check in here would be let's add Let's fd the black marks again and then select this instead. Let's see what we get from this. Okay. Just checking, though, checking. Just checking, see if we can somehow make this work. Rotate it this way. I'm going to do tiling for this. I do some sharper tiling. Yeah, I think this will actually work. It will actually work. Yeah, this can work. Let me try this for this also, too. If you actually need. Let's try to make sure if absolutely needs to recreate vizina. Let me select this. Go out. No, no, for a Satin, I think we can use this. We can most definitely use this. Most definitely we don't need to kind of go back and redo the vis again. We can actually use this. Shouldn't be too much of an issue because the button is going to be quite shrunk down way more than this, so I want you to let me go back in here and undo all of this. Letson do all of this back to the default. Okay, save this. All right. Loves this. So back in subcon spina, yes. So we can use A kind of tile, make this tiling way smaller than this right now. So let's make it a small. Let's do seven. So at seven, we can barely see any major discrepancies in there. So I think seven is a good one. Seven is definitely a good one anyway. So basically what we want to do now is to change the color for this. Let me go back to DD. Was the fronts. Let's see the fronts. These the front. Okay? So let's kind of change the colour to something a bit more yellow. So let's come in here. Let's see, there's some preset in here. We have the dark blue, classic blue, bicolor demi. Yeah, let's use this instead. Yeah, so let's just change this color up. So this is a bright because this is a brighter tone. Is a more darker tone. So I'm just going to use a more lighter tone for this. Use a more lighter tone for this in here. Okay? So I'm just going to change the color up. Because the colori and then just pick colors from this. Let's use the color picker now. Let's let's start with this. Okay. Then the other color is way too bright. This is the brightest colour though. Let's look for the brightest spot for this. Maybe way too bright. No major difference in here though, except I would need to I would need to select this more darker shade from this far more darker shade. Okay. Let me see. Does it actually do anything? If I put this to why, what does this actually do? Would you see is way too much. Let's get this. Let me come to this. Let's get this roughly where it was before. So let's use this. Okay. I think this would actually work. This will actually work. I'm looking at this, I feel like, I need to just di gym fabric in here. Yeah, I think I can I can. Why not? I mean, why not? Why not? So yeah, this should be fine. This will work just fine. Fabriclvaration. Let's dig this down. Let's see if that does anything. Take this down. Oh. Yeah, I think there should be fine. There should be fine. Okay, so now I have this all set up. Let's go in and then go to technical properties. Let's reduce the height range. I don't want the eight ran to be so strong. Shouldn't be too strong in there something light, so maybe add a little bit more. I I don't want it to be too strong, so something like this should be just fine. Okay. Yeah, this will work just fine. So this is how we kind of create a base fabric for this. So in the next lesson we're just going to go on and then add some graphics to this, right. I'll see you guys in next lesson. Bye for now. 35. 33 Hat Detailing In Substance Painter: Okay, welcome but guys. So let's carry on on this. So there are a few things I like to do here though. So the first would be not that we have the color in here at the very least. We have the color in here. I feel like I should still t some more just leave this as its instead. So let's add some feed to this. I'm going to create a new layer, add some roughness to this. Tono tono ides normal and metal. Let's use a more brtle yellow tone. Somewhere around there should be fine. We do this out a little bit more. Okay. I'm going to add a black mark in here. I'm going to add a generator. Let's use the co votrog here. So I'm basically trying to add some fad some fadedness to this. So. I want to reduce the balance for this to begin with. I also need to break this up. Let's see if we can break this up somewhere around here. Okay. Here's something like so. Let's see. Large, let's take this down a bit more. Let's add some blood to this. Maybe not too much. Somewhere around there, then we can take this down completely. Okay? Maybe let's take this down a bit more. This is not too obvious in there, but stay in there at the very least. Think we need a bit more. Okay. It's way too bright, though. Take this down just a little should be fine. Alright, now let's add deaths to this. I'm going to duplicate this at a black mark. Let's go back to our paint brush. I'm going to use a more brown dead stain for this. Come on. Let's pick something around here. Okay? And I'm going to name this to fade. Well, you know, we can actually use let me turn this off. We can actually use. Let me make this more visible. You can actually use the smart marks in here. Let's do fabric fabric edge. So dragon drop this in here. Okay. So we're getting something like this. So if we turn to make these two visible, let's do screen to make both of them visible in your I can now cannot take all of this down. So more round should be fine. Okay. Then go back to the deaths, increase this all the way up. Then for the same smart mark, we can do det can do a death in here. Let's find. Let's find something that is good enough. Let's dead soft edge leisure can drop this in here. Okay, I'm kind of liking the discoloration we have in here, which is cool, but would need a bit more to increase this all the way up. That becomes way too intense. Let's just have a fraction of that in there. Okay. I'm going to drag in another one in there. Let's use let's drag and drop this in there Okay, that should add some broken updates across this also. Let's blend this together. Let's you screen. So get this to visible in there. Okay? Take this down. Okay, no, that should be up. Yeah, something of this nature should be just fine. The default is actually just fine. Okay. Maybe take this down, balance, take this down a little bit more. Randomize. Where is random randomizing. Randomized randomize Random. Random. Okay? Randomize again. Increase the balance. Let's see a little more of this. Yeah, I think this will be fine. This will work just fine. So now let's begin to add some of these graphics in there. So these graphic should just be above the fabric demo. Let me rename this also a date in here, save this. So the first graphics I'd like to add will be this one dying. I need to input that in. So I already have this created Okay. Wonder. This should actually be on PNG. Let me save this again as PNG. Save this as PNG. Go in PNG, replace that. Okay, that should be fine. I'd like to try something in here to try this embroidery pattern in a let's see if I can make it to embroidery. Come on. Okay. Move show all actually. Embo. Dragon drop is in a Okay. So now let's import W is it? Let's import the wonder in here, import this in. Import this Imports. Okay? So let's fix our texture in there. I believe we should Imagine this correctly or notes. Okay. No. I think I'm not doing this accurately enough. So I'm supposed to bring this into this part here, so don't scroll down. Just scroll down, and then you can drag and drop this in here. Okay? It's interesting. Let's get this where we need it to be. Okay. Maybe I lately add a color. Probably import this with a color though. Can we use color in here? Is to color this in here? Let's see. I guess now the colors the colors comes with color comes with the substance designer file. Let's Let's try a few of this in here. Let's see what we get. It is actually an interesting one. Yeah, this actually looks quite interesting. It's a position this here again. Yeah, I kind of liking this though. Colors in here, we have eight colors. Let's see something else in here top stitch. Okay? Interesting. Feel an outline. This feels and looks even more interesting in here. All right. Technical parameters, there's something else. There's something we can do in here. But I think I need to give this a color. Start something in here, but I don't know if it works. Let's give this a try. If I do or rather add an ankle point in here, then I create a new fill layer. I'll turn of all of this off set this to red. It is to red. Add some more reference to this. Let's see if this works. I'll add the black marks. And on the marks, I'll add a few layer on the few layer. Let's use the ankle point for this embroidery, okay, yes, that actually works. That actually works. So, let's let's just kind of pick the color from this. Let's pick this color from this in maybe something a bit Sos a darker red tone instead should be fine. Okay. Need something quite dark. It's gonna give me this feed defect in here. Um, extract alpha. No. Keep alpha. Let's see. Let's see if we could just legs in here if that actually helps. That's completely washing everything out. Let's do let's find a good value for this now this color is no resonating with me quite well. Roughness, it should be a bit darker, too dark. It's kind of updating quite slowly. The updating is quite slow. Cancel this. I'm going to these two, I'm going to drag them down. There should be just below this feed. There should be just below this feed. So let's drag this on top of the fabric demi. I'll go back to the embroidere. I would like to change this let's use Outline. Outline seems like a good one. Density. Let's see. Let's make this a little bit of dense. Okay. Imperfection, increase that a little bit more. Okay. But the color is still not sticking out for me. Color still doesn't feel still doesn't feel right for me yet. Still doesn't feel right with me. Let's just keep playing with this until we get something. Feels a bit fitted out. Feels a bit fretted out. I want something that's more quite dark. But to of this roughness, what does that do? Not much. Not too much. Let's go back to the m. Let's see if there's something we can play with in here that should help. So we have colos. Let's say it's close to one. It it won't do anything. Not really. Okay? Okay. Yeah, I think this is it. A technical parameters you can now move this however we want and then darken that. Okay? Maybe way too dark. Let's take this down. Let's take this down a little bit more. Yeah, I think around there should be fine. Let's go and then try the fill an outline. Let's see what we get too busy. Let's just do fill, let's see. I think I'll sticking with the outline instead. But the height information for this is way too strong, so let's dig down the height range. I don't need to be too aggressive in there. Just enough where it's going to stand out this way. I think should be fine. Yeah, it should be fine. Now let's go in and then put all the graphics in here. So let's simple this graph smiley face graphics in here now. Let me see this for now. Just not simple this smiley face. We're going to tie this up, and then we should be good. It also comes with some colors in here. I already have some colors laid out for it, so it's just to apply this and then tile this across. Let me name this to embroidery embroid embro color. Yeah, that should be fine. So, let's create a new fill layer. Don't know if everything apart from color and roughness, increase the roughness. Let's come in here to the smelly face. Let's find the smiley. Let's type that in the drag and drop this on the base color. Okay. Let's tie this across Okay. Yeah, it seems to be seems to be all over the place. I don't want this to be all over the place, so we still need to make some adjustments to this. We need to make some adjustment to this. But let's see. Let's see. I take this down, it's going to be too small. So we need to go back to this. I think smiley face should be around here. Or better. We can also import it in here, so we can just do new inputs. Let's import it to a new documents. I'm going to reduce the size, reduce the size this way, set one here. Okay? It entero, drag another one out. Yeah, so let's create a bit more space. It needs a bit more space in here. Let's let this two get this down. Let's get a bit more space also in here. Let's get this done around here. Select all of this, set this down here. I'm going to save this out again as a PNG. Set as a PNG file, PNG. Let's put two in front. Save. Okay. Then I'll go over to. Let's go back to Subtn Spencer and then import this in drag and drop this in. Text your file inputs. Then let's replace this. I'm not going to drag this and then, replace this in here. I'm going to reduce the tiling. Yes, I think something something like so should be fine. I'm just going to drag this below the embroidery. So it should be something more or less like so. Reduce Italian even more. Let's do Italian of two. That two is way too big. Let's do four. Let's do an offset for this. Let's do some offsets. See if we can get a good offset in here. Yeah, I think this should be fine. Yeah, this should be fine. Offset this this way a bit more. Okay, something similar, like so. Something similar like so. Alright. I'm looking at the emoting. I feel like I should make this maybe bigger than it is right now. Can we do the transform here? Let's do transform in here, Transform, skill this out some more. Move move this this way. I'm getting a feed now at the edge. I don't want that feed at the edge. Let's scale this down. Use the move brush. Move this way. Okay. Yeah, I think this we can work with this we can work with. This is working just fine. This will work just fine. I'm going to save this out or save this out. Oh, I see something I'm missing in here. I'm noticing now that there's an outline. You can see this outline on this character. That's an outline, so that we can easily fix. We can just go put this in a group, duplicate this group, add this group, open this up. Let's add a stroke around it. Just reduce the stroke. Something modest, it should be fine. Let's save this again. Let's just replace it with the one that's already in there. So let's do a replacement for this sieve. I believe we can update this instead of sbkanspnter right click on this, reload. But we need to kind of drag and drop that in again. Name this layer to Smiley. Let's use our caps instead. Then we're going to drag and rope to update. Yeah, much better. Much better. So this has been successfully updated in a this we can certainly work with somebody who's going to do save. All right. So I feel like my debt is probably way too much. Since debt avenges way too much, so we might just need to take that down. So let's go into the debt. Take this down a little bit more. So it's not a bit too aggressive in there something light, like so should be fine. Something like so should be fine. Yeah, so yes. So that's how we kind of create this I'm going to create this. Now, we can actually really fit this out. It's smiley, though. I think weight is actually fine. We can actually fed this out if you need to, though. But really I don't think I need to fed this out. I don't think I need to actually fed this out. But maybe we can just see if we can take down, no, no, that's just going to make it look a bit awkward. Yeah, I think somewhere around there should be fine. Alright. Okay, this we can definitely work with, okay? So let's bring everything saving this. Let's bring everything back out. And let's see where we get. Let's turn on some lights shadowing in the Let's see some shadowing in there. Yeah, interesting. Yeah, this is fine. So I'm going to see you guys in next lesson. Bye for now. 36. 34 Whiter Skin Variation In Substance Painter: Welcobgus. So noticing here there are a few little differences in here you might not have noticeable. Let me just show you guys. So let me make sure I remove shadows in here now. So I made a little adjustment around the eye. For one, you lower eyelid, kind of raise that up a bit more fled that up a bit more my zebra file. Then the ey ris, I kind of rotated them out a bit more kind of facing me a bit more so I did that in my eye instead. So it's not really major difference per se. As if I didn't mention this, you might not have noticed the major difference in here. So basically, I just selected the outer eye and the iris. I kind of selected them with this. Kind of selected them as an individual piece. Let me actually show you guys to older, the original one. This is the previous one. This is the previous one that was there before. You see the direction is different. But let me select this to select this these two, select this. You can see differences in here now, not in the same place. So basically, I just select, let me hide this for now. So I just kind of tilted this to be facing me a bit more. I did the same for the out for the outer eye and also for the iris. So that's why in Sot penton I feel like kind of facing us a bit more, so that's basically it. Nothing much, though, not too much. No too much. So let's carry on. So let's just finalize on the's finalize on the garments on shirt in here. So also looking at the skin tone. I kind of looking and feel like I should make my bit more whitish or I can have a variation of it, so maybe you should have another variation of it, so I'm just going to go in there. I would like to have a variation, more white skin tone, more white skin tone variation in here should solo this so basically, I believe it should be this one. That should be the light skin tone. That's the one. That's more lighter skin tone. I can use the variation by doing by duplicating this. Let me delete this and name this to white skin tone. So we have control over this. We have control over this, so I'm just going to select this and then I'll just go over and then I'll pick use clopka and I'll just pick a more brighter tone from this reference in here. So just it. Basically, adjusted that will just kind of brighten brighten out the skin some more this way. That'll give us a more brighter skin tone. So the blend the blend with the one underneath it, that should give us a more brighter skin tone, so it isn't much or rather it's more easy more easy fix thought kind of blend down some of all this detail around here though. Maybe we should won't do that. Let's do that. Let's get two variations out of this. So I would just go over this is sports leap. I'll leave the leap. Let's go from all the way down here, select this Bodine group. A group and I'll just rename this two. Let's rename these two. Let's name this tan skin. I'm going to duplicate this group. Duplicate this group now. I'll hide. Before we hide, let's add one of the top first. Let's rename this to white skin. Okay. Then this one in here now, this tan skin, I'll go and then the save out. So for the white skin, I will just go over and delete this instead. So you should get back the tanned skin in her the tan skin in akin, let's see, there's a lot of stain. I'd like to remove that sin some more. No, not that one. Not that one. Is this this golden brown stain on it. There's definitely no spots. Should be this dark, should be this dark tone. Yeah, that's the one, maybe take this down little bits. Okay, but we still have idea is that we still have control over over this red skin. We can also take this down also to take this down a little bit better, let me go and paint. Let me erase some of the redness around the neck. So basically trying to show you guys how you can get variations out of this without having to paint paint the entire thing from scratch. You can just erase some of the redness around the neck. Okay. Let's see there's something else you can erase, dark spots. Let's erase some of the dark spot around your neck also little bits, golden brown. Okay, Let's see. Let's go and then paint, paint back this light skin, reduce the opacity, reduce the flow. Let's paint more of this white skin around the neck, use the brush size. Let's fill up this part some more. It's a bit lighter, a bit lighter skin around there. Okay, something more like so. So this should be fine. So let's go back, close this turn this off, open up this white skin. No this white skin. An. Then there are a lot of things we need to kind of tone down to tone down quite a lot. So golden brown. Let's see, not that one. Let's see, not that one. Not that one, either. I like to keep this. Okay. Yeah, that's fine. Better still, we can just go in and then paint paint in more whiteness in your more whiteness in your let's take down the stroke, down the floor opacity and this floor. B more whiteness around the neck. I feel like I'm missing something in here something doesn't completely feel right in here. Now, this see some spots trying to figure out where that spot, spot is coming from this spot in here, so I'm going to X and reduce that by a lot. Don't so much spot around here. So let me increase the opacity, actually. The floor there's a bit more. Okay. So we need to reduce the stand up, look for the face some more. Turn this back on. Some whiter skin. Let me pick this color again. Spit this color again for it. Then increase that some more use that a little bit more more visible. And the redness for this, you need to take down, reduce the redness for it. Pretty mot like so should be fine. Then you have to spot in here we also more spot on the forehead, the redness of the forehead. So let me isolate this and then reduce them on the forehead, quite a bit more on the forehead, so let's take those down by lots much like so let's go for the same for the spots two. Take them down by a lot also. We use a few of them also around here around here also. Do the same for the red spots, reduce them a little bit more. S is not too aggressive in there. Okay, get something a bit lighter on the skin. All right. I think this we can work with, Let's increase this feed, increase all the way up a bit more, get more white skin toon from this. Okay. So now, yes. Basically that's how we get variations out of this. Let me save this. So now we have a more while more white skin tone in here. So I would like to go to the redness. Let's go to redness for this let's intro some more redness around the nose, somewhere around here, so maybe there's a bit more on do that. I think what we have here should be just fine. Intro a little bit more around here also, just on the tip of the nose. Yeah, pretty somewhere around here should be fine. Let's do a little bit more underneath the eye. Similar also, so something light. So yeah, pretty much something like this should be fine. Remos something like this should be just fine. This we can work with just to get variation in here. So yeah, we're actually going to test two of these though and figure which one works best in our final render. Save this again. So yes, that's pretty much how you kind of get some more whiter skin tone out of this, and then you can pick between can pick between any of the two depending on what you want to use it for. 37. 35 Vintage Polo Texturing In Substance Painter: Okay, O Cumber guys. So kind of when we left off. So in the previous lesson, we kind of worked on the skin tone just a little bit small, getting more white out. Skin w. Okay. That's for that and then, yes, that's fine. We can moving on. So I'm going to just to reality just work on the we call it polo shirt instead. So just finalize on this. So to do that, let's go and isolate that first. So shirt polo, isolate that. Quite a few things happening in here. So I don't really have any texture. I can kind of import this to get this pattern in here, but also we can kind of create that in here. All of this we can create also in here. So let's get into that. So to do that, I'm going to create a new filler. You know, before creating new fiel, let's add let's add a particular fabric, gative fabric going in here first. CBs gative bis fabric in here. So materials, let's type in fabric. Fabric. Okay. I think it is a good one. This fabric felt seems like a good one. Let's see, fabric felt is definitely a good one. For fabric wool. I think fabric felt is a good one. I'm just going to drag and drop this in here C base. Okay. Let's go and then set this to four k resolution so we'll get the yes's good quality out of this. Okay? Just for the preview, right. We're good. So now the tiling is not good enough, so we need to work on the tiling for this on the tiling. So let's go down let's go down in tine, increase this all the way up. Like something extremely small should be fine. Let's use the value of ten. So look at this from a distance now, this should be looking, believe it should be good enough. Set we take down the intensity of the heights. I. Let's go over to technical parameters. Let's take down the height position. Take down the height position. I don't see much happening in here, though. Let's take down the normal intensity. Let's see if that does anything. Want something quite soft in here, that's not doing anything. Let's take down the height range here. Height range is the one. You still want some value, measure of height in there, but not too strong to kind of see this from close up. Somewhere around here. Let's find a good value, make it slightly visible, but not too visible. Because we're going to look now at this from a distance like so, so we don't want it to be too strong in there. Except when you come a bit close up, something like that should be fine. Now let's adjust the colors in here now. So we have a few yellow line. Let's try this yellow line. Let's see what it. Yeah, this is a good one. This one works just fine. I think, yes, our tuition will be manipulated again, but adjusted again, let's take this down. This down a bit more. Yeah, Dax should be fine. Is actually a good base. It's actually a good base. Maybe we can change this color up a little bit more. Let's dark in one of this a bit more. Darken a bit more let's darken this more darker range. Yes, a bit more darker orange. Because I'm kind of keeping in mind my lights on top of the material. I want to kind of add more light to this material. I don't want to get to get blown out and then it will be way too bright so. Some darker tone should work just fine, as darken a little bit more also. Yeah, I think quitting or somewhere around here should be fine. It should be fine. So this we can work with. I'm going to save this. So now let's work on this pattern in here. So how do we go about putting this pattern in here? I for one or rather, one way of doing this kind of manually paint. You can actually manually paint in the texture in here, this green texture in here, you can do that if you want to I think I have a preferable, I think I have a preferable idea to go about doing this, so. The idea would be to a few layer, layer in here. Let's select the color we need. So this color in her. Let's daran, B, increase the roughness for this. Let's get to the fabric roughness in something pretty mots should be fine. Okay. Then I'm going to I want to apply this in for a strip around this. So let's do a black marks in here a Come on. No, not pints. Let's add a few layer in here. Okay. Then for this few layer, I'm going to type in strip type in strip in here. Come on. Why is not trying. That's why for some reason, I always like to delete all of this. Kind of confuses my search results, so strips one I'm looking for. Apply this in here. Let's do a rotation. Let's do a rotation for this. There's a planer. Yes, I want this to come come across the entire outsin Is there a rotation? Yes, there's rotation in. Let's just rotate this this way. I want you to just cut across the entire mesh sps exactly what I want. Should cut across the entire mesh. So I think let's rotate it a bit more. Let's do 45 degrees instead. Fire that's fine, so now the, just the tiling for this we need to fix go to depart on any I meant something. C do that. Learn so much though, so we need to take this down. To take this down. Tying a value of 0.5. Get off of this. Yeah, half of this is perfect for what we need it for. This work just fine. All right. This work just fine. So one thing I'd like to do would be to go in to go in lets a filter. This filter, I'm going to add a wp filter. Let's add a WAP filter to this. This is just going to warp the edges for us. I'm going to get the edges a bit wopped out, so let's increase intensity. Can we do divide let's see one? No. 1,000. Okay. Then I think ten is a good one. Wp in a directional warp. Let's see, actually no, no, no. One is to work all round. So let's just do regular wp. Yes we need to do on corrections in. Let's go to the perimeters in here. Let's see what we can adjust in here have default noise. Okay? Let's use customise instead. Now, where's slot for customise. So let's look for a grunge material in here, so grunge. Let's use I'm not spelling that correctly. GRU. Okay? Is typing the wrong thing. Alright better. Okay. Now let's look for something that resonates more with the reference we have in here Whoa. This is way too much. There's no following the particular pattern you need for the edge. You need this to be directly on the edge. And this is like all over the place, so I think I think the default noise should be fine. Let's suggest the tiling for this, not so much tiling. Not so much tiling contrast Okay. It's gonna bleed. I don't want it to bleed out. Should don't bleed out that far. Okay? Sauce blow. No, I don't want too much blow. Okay, sauce balance. What does this do? Alright. Okay. Fair enough. Fair enough. Well, let's see what we can No, that's bit too much. That's bit too much. Okay. Let's add something in yours. Let's add a I'd also like to break up the colors of the colors in there, though, but let's add a filter to this. Let's do a blop blow I think a blo slope should be good one. Okay, makes it even more interesting. If let's see what it is that this divide actually does. Let's set this to one. As as I'm liking this, I need to blot this out quality. It really need this to just be on the edge. Just the edge should be the edge should be just fine. Okay. Intensity, we've worked with that already. Yes, something around there should be fine. Let's go on that source. Let's see if there's something else we can manipulate in here. Yes. Definitely we want to blow this out. Get this blood. Blood way too much. I think I found a good value somewhere around somewhere around, I believe. Okay. All right. I think we can use this trying to figure out. Okay. That's nice. You see a bit more contrast. Some sharper contrast around there, that's fine. So I'm going to name these two By green Bass all caps in here, base green. All right. So, I think, yeah, yeah it should be fine. Base green, and yes, so I'm going to add an ankle point to this. Let's add an ankle point ankle points ankle point to this. I'm going to duplicate this one of the black marks in here. So for this, I'm going to use more darker shade. More darker shade. Then I will go over to add in a few layer. Let's use Let's use the ankle points in here. But I need to break I need to break this up. Let's just do, I think this should be fine. Extract alpha instead, no. Keep Alpha. I'm going to add a new feel layer in here. This I'm going to use grunge grunge material in here. Let's Let's try this instead. Then drag this underneath this. Let's see. Does this actually do anything in here? No, we can't at least see what's happening in here. Okay, so I'm doing this wrong, actually. I'm doing this wrong. So a better way to do this to make this work would be I'm going to delete this grunge called the phone. Now, I'm going to name this to Dark Green. Darker green, like so. So what I need to do is since we already have knuckle point also to that's kind of making sure this color in here is stamping directly where we have this pattern in here. So more or less like we're using this base green layer in here as a max to use for this darker green. So anything I'm doing in here now or my train of thought is to darken. If you notice here, there's a variation of darkness in here. Vary dark. So I'm just going to put that variation in here because now we don't have it in here, so I need something like a max to use. So it doesn't bleed out where this yellow is actually. So kind of maintain where we have all this where we have all this beze green texture in there. Kind of maintain that and then be marked or clipped to that instead. So that's basically what I'm trying to do. So that might not make sense, but let me just show you guys a process. So dark green nows. I'm going to put this inegro so this is already anchored down on the mark already. So for this group, I'm going to add a black mark to the group. And I'm going to add a few layer to that mark. For that few layer, I can now use a grunge material. Let's try this on. So now I can see difference now. You can see how I've kind of broken up the surface somewhere in India now. So I'm going to go back to this base stone. I feel like I should lighting this out a bit more. Let me do duplicate. Okay. So I've been lighting this out a little bit more. So it's a bit faded. So it feels like it's a bit faded on some parts, almost similar to what we have in here. It's something pretty much like, so it should be fine. Then I'm going to go over to this ground material. Let's Let's use triplanar map in here. Then let's tyle this up some more. Okay. Let's increase the balance so it covers N as looking a bit weird, do that. I think the first one we did was actually okay. Let me make it into let's increase the balance. Let's see. That's way too much. On do that. Just a little bit of balance should be fine. A little bit like so. But we need this to be a bit bigger around this. Or we can create or add anodle Ground material in here. Let's add another field in here for this field, let's add another ground material. Let me use the cloud. Let's use the cloud. Let's use cloud instead. Let's use cloud cloud. As a more wider range across this. I'm going to let me first, adjust the values in here and add some contrast to it. Let's increase the balance for this first. Some balance to this. Adds a little bit of contrast to it also. But it's actually too soft. It's actually too soft. I don't want something that's too soft. S to stop. Let me use the BW, BW grunge seems to be a good one recover. Let's try this on instead. Crease the balance. Crease this a bit more. No, still not give me the result I need. Something a bit more precise, something a bit more precise. Let's do concrete. Concrete. Spot has a polar pattern to it. It has a paler shape or pattern to it. So let's look for something that kind of resembles it a bit more. Come on, show us preview. No share knows preview in her Nope. Nope. Let's try this is the balance. Yeah, yeah, I think we can definitely use. This we can definitely use. Yes, then we can now blend this with one below. So let's do, I believe, screen. So this screen will multiply. Uh, multi, no multiplier so trust, then screen actually blends them together, so that's what we want so want to blend these two together. If I hide this now, this is what we get. I'll need to blow out a li little bit more. Is there a blow feature for this? Um, I want to say this down. Set this down. This on top. Set this to normal, said this to screen, screen. Then I'm going to add a blow in between them now. Add a filter, filter, low low filter to this. If I turn this off now, the blow shouldn't be affecting the one on the lower parts, I believe. As blowing density is way too much. Something soft in there. Yeah, pretty much. So Yeah, this will work just fine. This we can definitely work with in here? I think this is more or less what we need, more or less what we need, I believe, this should be just fine. I think we kind of nailed most of the feature in here. One more thing we need to do. I think for this Bloss look, I feel like I should make some adjustment for this Bloss look Bloss look. Okay? Um let's see for the wb. I think closer just the web a bit more and still just all over the place, something like so. Alright, so now, let's make sure I see a few things we need to do in here. I would like to see Okay. Let me minimize this close this up. Let's name the two light green in here this should be fine. I'm going to duplicate this this. I'll drag this on top. I'll black mat in there let's fiel. Let's select mesh feel. Let's select this and this and then make this a more darker tone. More or less will pick the tone in here. Oh, no, that's a bit much. Let's do something a bit darker around here, so it should be fine. Then I'm going to Let's do. Let me drag this all the way down actually. So this is going to be for the next strip. Let's just put it just put it up instead. Put it up instead. Okay. This risk I only need height for this, sot of favor snapper from the heights, increase the height some more at a black mark at a few layer. Let's type in strip in a strip. Okay. So this should only be affecting let's add a polis knee group or a black marks group. Still on the same field. This should be affecting this, go back to paint brush. And then I will just come into the strip change the orientation to begin with. Kind of get like so, increase the counts, rotate this even more like so. Then the weights to go back to pattern down take down the weights. Increase the number for this quite small. Adjust the rotation also a bit more. Yeah, something pretty mode so. But it's quite intense, though let's go and reduce the height value for that don't need to be that high. So something roughly around there should be fine. I think we need to increase the width for this strip. Use the width a bit more. Okay. Yeah, I think we found a better value in here. I think I would like to multiply this bit. Let's do 20. That they won't do anything. Okay. I think this is fine. Get this direction. All right. I think we can work with except I will need one of these green at the top. This one needs to be at the top. So let's go back down to this base about the strip. Um, can we adjust this? Give me an Andros I can adjust this? Can I? Oh, I can. Awesome. Get this cover this up. I'm going to go down there and then increase the width. Let's get more broader width to this. Fantastic. This should work just fine for this. Yes. I like to do would be to go over I think let me just name this folder instead to sripGe spellings wrong. I'll save this. I'm going to apply an alco point to this strip, an ancho point. Let me delete that. To name this. Let me name this also, too, so I know what it is. So I know what it is. I want to add an ankle point to that. All right. I'm going to come over, add a few layer this ton of metal normal. I add some roughness to this. Then let's get more yellowish tones. Let's just put this color in here, make it a bit brighter, right. I'm going to add a black max. I'm going to use let's use a generator in here. Yes. Let's use the Cato gent. Now for this nting, can I use, under microdtails. I'm going to turn that on. Then go over to macro heights. Let's use the anchor point. Let's strip ankle point in here. Why is this all over the? It's all over the place? Invert this. Not much happening in here, though. Nope. Okay, let's see what we can do in here. We do? Is this won't do much at all? Micro details. Let's see what we can get out of this. Not so much, though. Not so much, except causing they are wrong ones. Let me close this. Let's apply it again. Let's start by working with defaults. So edges, cavity instead. Cavity should work. Use the balance for this, get something light in here. All you want to be on a specific region. Blow that blow is way too much. Way too much blow. Edges, invert that, no. Let's just do cavity instead. Cavity instead, sharp sharp. The large. Let's take down the large big also. Okay. Let's dig down the balance. Let's see what we get. Okay. I think this should be fine. Carve it. Just cover your rather. Coverture. Then just to cover. I'm going to put this in a group. One of the black marks. I want to kind of control where I want this to be visible, so. I really want this to be visible around. Like so. Okay. Pretty much like so should be fine. I also also need something that breaks up this top path also, too. Very important. Of course, let's blow this out. Let's blow this out. Let's blow tiny, tiny bit of blow in there. Tiny bit of blow in there should be fine. Tiny bit nods with too much. All right, that should be fine. So we don't really need that much, though. We can just break this up. This we can break up with some other variations of texture in here. We can do that break up in here. I'm going to duplicate this, drag this all the way up, name name this to co vtal names named neck or color Brick, break up. All right. I want to add the black marks in there. Then, yes, we can go in and then use some smart maxing. Let's is on smart maxing. No smart smart max won't be too great. Let's use This is Gronging. Let's some gruge material. Gruge. Some grog in here. Let's try this. Here is a good one. Except let me compete this not yet think we can adjust this. I go to add a blow to this. Add some blow filter blow, filter. Okay. Yeah, that should be fine. I'm going to duplicate this at the black marks. Maybe not oven black marks. Just leave this as it is, or just change the colour to more should we say more dark green. Almost black kind of most black, kind of. Okay. One of this. Let's randomize this. Let's do a randomizer for it, increase the balance more. So I'm going to select these two, put them in a group. I'm not going to name them to color Color stain. Wrong. Color sin. That's fine. Then I'm going to add a black max. I'm going to use the polypill. Let's select this and this. In there now, we need to make some corrections in there. So let's go in and begin to. Work on this a bit more. Let's get something lighter across this lighter across this, select this also. About the blow. I think my blind test is way too much. Coming here, randomize, randomize, randomize, randomize again. What do we need? I think we need to kind of increase the tiling for this. I get quite small tiling in there. Let's set this stripe na mapping. Yes, better. Pena mapping. But for this, we need a stone of this blow. For this, now we need to take this down by a lot. It's not too aggressive in there. Something light in there should be just fine. Yes, that's fine. Okay, so we can just finalize on this by bringing in this jelly mellow. Yeah, I cannot finalise by bringing this in, so we should be good. So let's create a new fill layer on top of this. Drag this up. Alright, take the metal, take the normal on its. L we turn on it in the make this quite rough. Pick the colo tone for it. Okay? At a black max at a few. Let's type in jelly. So Jenny M in here, let's go over to d and 3d2d and three D. Make sure we s this ton repeat should be unknown. Let's kale this down. Our big mission now is to find the front. So, it's the front. Let's make sure we're visualizing this in here. I go to shrink this a bit more. It out some more. It should be up around here. Okay, I think that's more or less like a perfect fix. Use a little bit more. The color for this, I need to make this even darker. So it pops out out of entire tens. And then let's add a little bit of eight to it. It's a tiny bit of eye to it. Okay, and then also Yeah. I want to add some reflectivity in there. Maybe. Um, maybe maybe not. Let's make this also quite rough. All right. So one thing that's still boring me, though. I think I like to 30 that still slightly boring me is base fabric in here. Be fabric in here. I feel like I just feel like I feel like I should. Let me duplicate this first. So I will backup want to work with. Uh feel like I should prank up the tylen. Let's use 30. So it should be quite small in there. Yes, I think I think this meets the requirements in here. This meets the requirements in here. I think this we can work with, yeah, that's pretty much it. That's pretty much it. I think should this work just fine. So now we just kind of visualize all of this as one single piece and let's see let's t everything back. Photon everything back on the hair let's just give this black material. I mean, just give this one feel of brown, redish kind of material. There's some a little bit of roughness to it. Something pretty much less. So it feels more like brunette kind of a kind of. Okay, yeah, pretty much, pretty much there. Pretty much there. Okay? And then let's introduce some shadows to this. Let's see where we get some shadows to this. Okay? So let's also move between the variation of skin tone we have in here. Let's use the other one. Let's see what we get. Let's see here and use the other one. So good to put this in a group, et's turn of this white and set this t Okay. I think some makes better sense. So feels a lot more natural at least to me. Well, I think we are good in here. I think we've completed this, and then we should be fine. This we can work with in here. Right. So next lesson, we're going to export this out and then move it to May and then starts some egg gen process in here. So thank you guys for watching. I'll see you guys in next lesson. Bye for now. 38. 36 Exporting Texturing In Substance Painter: Okay. Welcome back, guys. So let's continue from where we left off. So basically done with all of this, though, just to export this out and then get some textures or get this into Mya, right? So this for the most part should be That's for the most part should be just fine. All right, so let's get into exporting. So I'll go over to export textures. So I want to export this at four k resolution. As a default. Let's specify a particular fod that export this out too. So I'm posting this to the girl on art food fold and XP textures. Okay. Set folder. So we don't want to export cara. We don't want to export the hair, the hearts, Irish yes, minuscule, no, I want to use a glass or water material instead of Mya, Aa, shirt polo, yes. So, let's open this ns. We don't need metallic. We don't need this nonma. We don't need this eights. We don't need mixed AO. Okay. We don't need metal. We don't have any metallic property in there. We don't normal es won't normal open GL, ton of this AO. Okay? Let's go to the next one Iris ton of metal, normales, AO outer eye, ton off. Okay. Yes, ton of metallic normal height. I live opacity. I'll leave normal open GL, ton of AO. Okay. Then to off, shirts polo. Do you have any metallic property in here, I think, not. No normal height. Mix AO. Yeah, that should pretty much it. I think everything's all set up in here, I'm going to spot this out. Let's give this a moment. I shouldn't too long. I shouldn't take too long, running through now. Probably around a minute should be done. Maybe should be done. Then we go and then check was spotted out too just to be sure everything's in there. So it's done now. So cancel this. If you go back to XP texts, see textures, this is not it. XP textures in here, she our texture in here. So we also need to export that texture for the face. You need to export that texture for the face. No weird on white more white asking for. So let me name these two good Gold Cara. No, no, that's going to mess up the entire naming convention for this. Let's just put God in between. Okay. So now we're going to go back to the main skin. Then we need to don't know if this dan skin white skin in here. And then we're going to export out the Are you going to export albedo texture instead. Looking at this now, I don't know if this is too white. Given an impression that this is too white. Maybe let's dull down the whiteness a bit more, less fine. I think should we can use this. Yes, we can just take it down a little bit more like so. Then we can export texture again. So we will need to export let's all of this down. We need to export all of this down also. Just the base color should be fine. All right, so let's export that out. So we'll have a new variation for this. We get a new variation. All right. I have a new variation in here. Let me just name these two. After the base, put White White. All right, so we should be good in here. Okay, so we'll have two variations not to play with and then figure out which one works best. Save this file. Now I think we believe we're done with Supanpnter, so let's close this out. Close out, save. So now we need to go into Maya and then start working on the start working on creating or generating s out of this, okay? So yeah, so we'll do that next. I'll see you guys next lesson, bye for now. 39. 37 Head Scalp And Xgen Guides In Maya: Okay, welcome back, guys. So moving on. J now, we need to create gen F for this. So I'm going to start by selecting this piece. I'm going to duplicate this piece. So Control D. Let's duplicate the head, shift bit, send this down. So this is what we're going to use kind of generate our scalp for now. So I'm going to hide all of this for now, okay? And I'm going to give this a default material. Let's use a lamb bat. Call the lambat material to this I mostly use lamba use doesn't really have any issues with working with egg gen in yet, so let me just stick it to what I'm familiar with. It gives me less issues. All right. So this should be fine. Maybe I'll darken it a little bit more. Now, one very important thing to keep note before creating gene A inside of your to create a new project file. So let's go to Project Window. Let's do new. Let's open this up, phase the file directly, no. Let's go and copy the five directory for this. Copy this file directory in here, copy this. Piece in a let's put a new folder. Let's name this folder. Cara Maya select that, select. Okay. Then I'm going to name the two Maya folder. Okay? So all of this is all set now. Should be fine. Click on Accept. So this should be fine. Then save this save this. So now, if you go over to that same folder, we should be able to sit down the aramia cara folder. Yeah, that's fine. So we're all good now set up accurately. I'm going to duplicate this again, hide the first one. For this now, it's going to crop out regions where I want the hairs to grow out from starting from the starting from the headhe starting from the headhir now. Let's do the head hair first. Okay. Start from the head can see where the s are being generated from. So the idea for using egg generating egg gene is to create a scalp that is more than what you need. Actually creating an s type of scalp in here. So that's what we're going to do in here, so the should be generated around these parts. Let me just use the face mode. So should be generated around roughly around these parts. We select this don't do that. Let's select this. So basically around this region, but we're going to select more than what we need. That's a general idea in there. So let's come in here. I'm going to select a loop around here, delete, delete this. Come down here, select more than what we need. Let's select a loop around here. Deletes. All right. We're getting something in here now. I'll leave the s also to the also kind of gives me an idea of where I need to kind of create my guides from. So I'm going to leave that. Okay, deletes deletes. Okay. The lids. I think this should be fine. It's more than what we need, so this will work. Just fine. All right, so I'm going to go in and then rename these two head. Let's all caps in your head, scalp. Okay, I'm going to hide this for now. Let's duplicate this. Duplicate this. All right. Sit to make this visible. Okay, so now we need something to kind of generate that scalp to generate the eyebrow and eyelashes. Also selecting more than what we need, so I'm going to go face smooth. Let's do something around here. Okay, delete, delete this. Let's come down here. Double click. We need something that goes something like, delete. Delete this all this should work just fine. This obviously more than what we need. Let's create a bit more space in here actually. Can we do something around here? No. That's gonna just mess things up. No. I need to do it. I cannot leave this as it is, though, but I would like to No, no. Can we connect this here? Yes, we can. Select this go all the way down here. Set do that, select this, go all the way down here, delete. Yeah, I think this should be just about right. So let's name these two I scalp. All right, so this is basically all we need for the scalp. So the scalp and then the I scalp in here. So we should be good in here. I'm going to put this two in a group Control G. Let's name this to scalp. Scalp let me name this to XG scalp instead. All right. We should be golden in here. So now what we need to do now is to make sure we have UVs in here and then make sure that UVs occupy most of this space because we're going to be painting marks instead of substance instead of Maya. I've been a substance painter too long. I keep I'm just reminiscing back to that, so Anyways, we're going to be painting textures instead of Maya, so those textures needs good UVs in there, so Us occupy quite a lot of space in here, so you can work a bit accurately in here enough texture resolution for Egen. Maps generated with gen so double click in here. Let's do a cut Let's do cut in here. Then select these two. Don't unfold. Okay, then orients Come on, orientation falls off. Let's rotate this. Select these two. Let's do a layout in here. Okay, so it's occupying a lot of space, which is precisely what we want. Let's do the same for the eye scalp. Select it on fold. Then let's do a layout, so it occupies more space in here. All right. That's fine. I'll save this out. Okay. Let me close this out. All right, we are good in here. I'm going to change our workspace to gen. Let's do gen. Always let's kind of remove this because just copying to more space. Remove this. Remove this also. Alright, this should be fine. I'm going to save this out. So the first thing you need to do is to create let me bring out my think I have an gegen pure ref in here. Let me just type in pure ref in here. So we have one specifically for gen hair. So we need that also to opened up in here. Okay? So I have some variations of NN here we can actually use as a secondary reference kind of gets kind of capture what we need in here. So we would need that. We need that. So yeah, um, so yeah, just to keep that in mind. It's always good to have references. Kind of helps kind of gets the looking precisely the way you want them to look. So yeah, just keep that in mind. I'll put this let's put this up here. I'm going to press the middle mouse screw, drag these two all the way to the end. I don't want to convert my gen generated a into polygons. I don't want that too. Also to our outliner Window outliner in here. I actually helps to create a bit more space for us. So we have enough space to work with in here now. So now let's go to Egg gen. Let's select Egg gen in here. So now to generate our egg guys, we gonna select keep a last cup going to start with first. So let me select. Let's select. Um, let's see. I'll select this scalp, scalp. Let's start with this. Let's start with this. I'm going to select the clic on create new description. So this description is more or less like a subgroup. We put that in any way. N collection is like our main group. So basically, I'm going to rename this soon. He let's underscore. Let's underscore in here under sce. Sorry about that head here. Underscore DESC for description. Then create collection. The correction will be like a main folder kind of our main group, so I'm going to name the two head underscore scow underscore collection, CLL should be fine. So we need splines in a random across surface, correct. But this means kind of change the placing and shaping guides because we want to kind of manually by ourselves place and shape our guys the way we want to. Click on Create so we cannot create in precisely what we want. I'm going to select this, and I'm going to hide this, select this selected let's create guides for this because it's based on the guides you have to kind of directly, directionally force their follicles or trans, kind of follow those guides direction. So it's more less like one of using you guys cannot create the parts before the air to generated out from. So I'm going to go over here to the top screen, top menu here and move guide. So I select this. Now, we would need this reference close up in here. So I would like to start from somewhere around let's do somewhere around here. So I grade my fast guide in here. Okay. This would work just fine. Okay. We can use. So I'm going to scale this out. Like so. Yeah, that should be fine. So what now I like to do be to make sure I get with this guy selected now, let's rebuild this let's use the value of let's use a value of, let's use eight, the value of eight in here. So click Okay. So you should have eight points generated out of this now so you can have more CV count for it. So let me just show you guys control guide control points. So should eight of this in here now, so one, two, three, four, five, six, seven, eight. Okay? So it's more like having enough resolution to work within her, so that should be fine. So now we just kind of shape these guides to shape these guides to where we need them to be. So I'm going to selet sculpt guide. So I'm going to increase my browser. It's B with the left mouse. I'm actually using my pen right now, so. No. So B with the left mouse click to increase the brows size. So now input this year. So now I'm just going to shape our guides. Key on the keyboard, select. Let's go over to object mode. Okay, EGT EG to go back to our scope guide. Okay. Let's bend this down. Start by rotating it this way. Then E G on the key I G on the keyboard. Is G on the kyod's not working. I think we need to use this first. So let's bend this over. Okay. Yeah, something pretty mode like this. Get that cove in. So basically, I'm trying to recreate this cove in here first. That's basically what I'm trying to create. Okay. I feel like I should extend it out a bit to my guess rotate this. Select this, rotate it this way. All right. I think I need to scale it out some more. Okay, rotate it down some more. Out a bit more like so. Alright, let's create another one. Put another one in here. So we don't have a good reference for this cider that's fine. We're just going to merge this as closely as we can. Scale this out, rebuild it. Okay. I'm going to bend this down. I think my scale is way too much. Okay. Let's get this around here. You always want to make sure you have some shape in there, very important. Get some shape in there. I think I need to move this close. Maybe that's way too close. Lestend this out a bit more. All right. Get a more bigger view around this. Move this outward this way. Let's add another one. O. One around here. I'm almost kind of block out the major forms. I want to block out the major forms, more or less like creating more space in between, so I want to remove that. I always like to kind of work. And for now, larger creating larger space in between. So one kind of blockout or create more guys in between then it's going to kind of interprate in between those larger space out guides we have created before. So let's do one year, scale this out some more if it's more, let's rebuild this eight. Alright. Let's use the sculpting guide. This feels like it's way too much, see. Okay. Let's get this. I think I will need to bring out the garment, actually the garment will actually help me help me no soon be touching the garment. So let's bring this Come on, let's bring this garment out down here instead. So we're going to serve like a placeholder. So we don't kind of create something that actually touches it. Okay? Yeah, this should be fine. This we can work within years. Let's go back to Egg Gen. Create another guide. Let's create one down here. Yeah. I see how this kind of interpols in between now is more or less precisely what we want. Let me move this this way, a little bit more. Let's select it, rotate it this way, a little bit more all right that we can work with Okay. We can go back in here. Okay. I think I need to make slight correction in here. I'd like to get this out some more Alright. Yeah, I is working just fine. Let's add one around here. Okay. So see that kind of interpolate note so in between, which is also cool precisely what we want.This work just fine. Okay. Yeah, precisly what I need. I'm just going to bend this over this week, a little bit more. And I don't want it to be this long, let's scale this down a little bit more. Leave that up a bit. Like so. Okay. Yeah, this should be fine. Let's bend this this way. All right. Moving on. Let's create one Yep. Yes, is interpolating in between now. Which is exactly what we need. I think I need to bend this also. Let's be bend this bend this over, do that. Get this down. Okay. Get a curve to this. All right. Yeah, we're getting something interesting in here, no doubt. I feel like I should select this and rotate this out this way. So more Okay. That would be fine. Yeah, definitely getting something in here, so let's continue with that same energy. Bend this over. Okay. Yes. Let's add another guide. Study guide around here. So this one should be a bit closer to her neck. So I want this to be quite close to the neck. Let's bend this over this way. Okay? That should be fine. Let's create. Another one roughly around here. Okay? This one should be maybe slightly shorter. I move this closer to the neck. Right. So let's start with the back. Let's start with the back. Let's create. Let's create one. There's going to be a hart around on our head, so let's do one here. Some of these tines kind of just a bit more though. But we should just get this in, do another one around here. Yes, kind of encapulting in direction where we need it to be, which is fine. Okay. So let's create another one down here. Yeah, we need to Let's just cop in instead. Let's get this out this way. All right. Bend this this way. All right. Get this up some more. I think this is a good place. Let's kind of visualize this from this angle like so. I see some things I need to pull out this, for example, get them out at a bit further out, like so. Okay. Let's generate a few more around there, just to hold. Just just hold the shape a bit better. Ben it over. Somewhere around the edge be fine. Let's add another one. See fill up can fill up these gaps in here now. C fill up these gaps in here. Let's bend this down in this way. Okay, scale it out a bit more. All right. Let's do one also around here. Yeah, also, also, like, so should be fine. So don't go too crazy, though because you think it kind of do for the opposite side to do for the opposite side, so seeing this should be fine. Sow let's generate some eze out of this let's see what we get. Okay. Let's do that next lesson instead. So let's just do once and first. Let's select all select all of this. Then mirror this to the other side. So we have something like this now, right? So next lesson, we're going to continue on. So bye for now. 40. 38 Pt 1 Head Scalp Density Mask Xgen In Maya: Okay, welcome back, guys. So carrying on with this. Just before stadding some drinking s out of this. Let's just strength analyze on the guides. So I would like to see where the heart is. So let's bring the out of the mix. Let's put this here. So I know where to generate s from. So following the same pattern in here, that'll be fine. Okay, so let's go back to X gen, still on this scalp, out. Let's add one. Okay. Increased a bit more. Do we need to bend this? Yes, I believe we do need to sculpt something in here. Okay? Yeah, pretty mot so it should be fine. Okay. Get some cove in there. Let's do one also up here. Okay. Add some sculpting to it. Let's add some interesting shape also to that. All right. A add another one around here. Okay. I think I need to make this quite long. Let's see let's figure out the shape in here up a bit higher, a bit higher also around here. You should start bending towards the center, pretty much like so. Okay. Let's add another one down here. This should be quite long. Let's cop the shape in Okay. Bend this over this way. Alright, so let's do one more down here. Okay. Scope the feature in. Let's get this fist in this direction. Okay. Yeah, pretty much like this. I'm going to select. I think I can select these three. And I'm going to mirror this to the other side. Now we have some conflicts in here, so let's resolve those conflicting directions for it. Turn this over, select this, get this across. So now we need to create a few more in the center. Let's do one here. Okay. Get this out. Alright. Let's do. Let's do one also up up all the way here. I'm going to let this go up. Okay. Move this this way. Let's do another one around here around here also. I think this is this we can work with. I'll save this. So now we need to work on the opposite side. The opposite side, the direction for the opposite side is quite different in here. Okay. So need to flee some of this out. I can select all of this in here. All right. I'm going to extend them out a bit more. Should be a bit out some more. Let's use our sculpting to get some shape to them. Okay, clear this out, select this. Bend this this way. Select this. Get this down out like so. All right. I'm not basically trying to break the similarities in there actually trying to break the similarities in. Also right. I think I should scale them out some more kind of route them out this week. Then come in and bend this down, bend this down. Alright, I think this we can work with. So I'm going to save this. Let's generate as out of this. Let's see. Okay, it's fine looking quite interesting in here. This we can definitely work with definitely make obviously some corrections to the bots. I think this is coming out nice. Okay. This we can work with let's adjust this CVicon let's set this CVCun to 20. So this kind of force the strengths, kind of follow the guys a bit more accurately. Unless I make some adjustments to the weed, so I'm going to use the value of 0.01. For the weed save this, let's make sure we turn on antes in so you can see the s a bit more properly. So it's slightly more better definition in there, actually. Okay. Then I'll go over to Um, yes. Let's make sure I'm using Nicole red value for this. It is c value for this. So tapa 7.1. So let's come to the tapa. Let's do this 0.71. Then the TAPA start, should be 0.760 0.76. Okay. Now, let's increase the density of our head here. Let's get this a bit more densed. So we know what we're working with in here. I'd also like to bring out the head also. Let's see. Let's bring out this head out of the mix. Now this is affecting the neck. I actually touching the neck so we can see this a bit more risk in here. Though we have a generating we are not supposed to generate it out from, but I think this should be fine. Rotate this out some more. Okay. I think we are good in here. We gets in the air we need let's make sure. Let's review the heart also. Let's see this with the heart in here. Let's see what we get. Okay, we see one issue here, so select this. Put this down some more. Let's go back in here, refresh this. Okay. This is fine. Select this up a bit more. Select this also up a bit more. Run this through. All right. I think we have something workable in here. Okay. Yes. So now, basically, let's just go and hide hide all of this. Make sure this cap is visible. So now we just need to paint where want this cap generated out from. Go to your preview. Turn off only primitive in view, so it generates on other regions, too. Let's bring back the hats and the neck. Let's review this. Let's see. Yeah, this is quite good work. I believe this is quite good work in here. Let's select this to scale them out a little bit more. Run this again. No, I think that's way too much. Let's put this down. We should use the brush instead and pull them out. W some more run this again, that is fine. Yeah, that's funtion. Us of specify where we want the hairs to grow out from. So let me select this and this and hide them. Save this so let's eye the guides from the generated for now, let's kind of paint where we want the s to grow out from. Very important. Let's paint where we want the s to grow out from. So to do that, let's paint some density mouse. Let's go back to primitive, open up this option, create map. Let's say this 250. We painting full black. The full black in here. And then let's name these marks to head. Let's our caps in here. Let's head unsce head under scoe D ENS underscore max, perfect, so let's can create. So right off the bat, you should be having something like this, full black, exactly what we want. I'm going to turn on wire frame on shaded also, too. Then let's eye the hair. No let's paint where we want our hairs to be generating out from this. So let's go to the brush set up in here first. So let's do painting with solid brush, let's solid brush. So a painting with full white I also want to paint this with symmetry turned on, so I need to shring this down a little bit more. Let's paint this with symmetry on, so go to Crook, I believe, on reflection. So you're painting with symmetry on now. These are bro size. The broize is fine for now. So I'm painting with full white. So yeah, let's get into that, so I'm just going to paint around, like so. Okay. Print here. Then we come in here, let's pins down here. Fill this up. Now we can just fill this up. Okay. Let's get this filled up. Alright. This should be fine. Alright. This should be fine. Let's test this out. Let's test this out to be sure. Let me more or less get something around here first. Okay. 41. 38 Pt 2 Head Scalp Density Mask Xgen In Maya: Now let's save this. Let's see. I'm going to save this. It's going to generate from those parts. So those parts we mark start now, we're generating out for us. So yes, let's start of fire from shaded from now. Okay. Yes, let's hide our guides. I think we can work with this. Yeah, this we can definitely work with 70 cars, yeah, that's fine. I think this is This is a good one. This is a good one. It's a good one. So I like kind of assign texture in here S this to four k, assigned texture, sieve texture, sieve also in here, right. Then we can sieve our file. So now let's kind of fed this out because the edge is kind of a bit sharp in your Let to fied that out. Let's go back to the pins. Let's set this pin brush to blow. Let's say this to block. So we should start blowing this out now, So what needs to symmetry to do is precisely what we need. Let's do remonttd also again. Okay. There's always some weirdness in here on the center part all the time. Actually went blowing things out, so there is some weirdness in there. Okay? So let me tone of symmetry for this, which is the reflection tone of reflection, and I'm just going to paint this. It's a bit weird kind of s separating things out in here. It's a bit weird. Let's repaint. Let's repaint that. Blow. Fantastic. You just repeating the same issue in here. Let's go back to paints. Paint this low intensity, reduce the blows size. Let's just do something like soap, no. Quite can be quite annoying sometimes. Reduce the browse size a little bit more. Use the blow, reduce the bros size so more than just blow this. Fantastic. Anyway, Tim being major issue, though. I felt increase the brow size. So more blow this out a bit more. So you get properly fided edge, properly fided edge. Okay, Let's save this. Turn off Ram and shaded. Save the file. Yeah, this should be fine. They should be fine. So we need to kind of make some corrections in here for the year. Let's bring out our guys. Let's ID for now. So we need something kind of ps this out. Close this now. I would select this, rotate it out some more. Do the same for the other side. You select this. Come on. You select this, lip this up some more. So knew some guides kind of force that in place. So let's create a guide here. Okay. And I'm going to please don't crash. Please don't crash. Please don't crash. Come on, don't crash. Come on, come on. Uh Well, that's great. I think my eyes, new it Kw it. Anyways, let's open this up again. See, I crashed on us, fortunately, so let's go over to five set Projet. Let's set that's Pu jets. Let's copy my Karamayaopen this copy these five parts, paste this in here, then select the folder sets. Let's go over. Let's go over to Egg gene. We need to remove this remove this, bring back our guides ID here. Now, you need to kind of redo this again, select this. Get this out. Select this out. Then create new ones around here. Well that out. So more let's just mirror this to the other side. Okay. We can do one more around. Let's do something around here. Kind forces in a butler direction. Select this out some more. Okay. I need to let me move this guy out. Let sculpt in two. Criticize move this out some more. Okay. All right. Let's mirror this to the other side. Has it been mirror to the other side? I guess, let's visualize as in here. I think I need to move this this way. I don't think we have something in on the other side. I don't think we have it on the other side. Et's mirror this to the other side. Oh, I think we do. I think we do, but let's delete this older one. Run this again. All right. Okay. Just checking just to be sure if everything working correctly or not. Yes, I think this should be fine. Let's bring back the arts. Bring the back out. Let's see. Yeah, definitely an issue in here. Yeah, definitely an issue here. Gonna make sure the ears are kind of relaxing more on this call. So let's fix that. Most likely, this is way too far out. So let me I think there's a way to move this. I think there's a way to move this. If I still remember correctly, though, I think control put control and the middle mouse crew drag this up. We set this up here. Okay. Let's get this more towards the skin. Okay. Generate as in there. All right. Okay, so should work. We definitely need to do some cleanup around there, but I think this should be working for now. Okay. Yeah, this is the one I believe deletes that's Let's select this new one. Let's select this mirror to the other side. Save this. Let's go back to the paints. Let's paint full black in here. So let's go over. Double click in here, solid brush. Let's paint full black. Yes. Need to ease ease. Oh, come on. Painting, full blacking, you know. What's going on? This is full black already. One paints. Yes. And what is better now? Let's do wire frame unshaded. Let's see raise this, go back to blow, take down the blow size. Blow this edge. I'm supposed to do this symmetrically. Supposed to do symmetrically. Let me undo that. Okay. Let's make sure symmetry is done on for this reflection. Black. It's supposed to be on this pen. Yes. We get wheeze some of this out some more. Okay? Just a bit more. All right. Let's go to the blow, use the blow size. Okay. Let's save this torn off wire frame shaded. Now, some of these as we need to fix most definitely, we need to delete some of this, but I think this should be fine. Save this. Okay, so we'll continue on the next lesson. I'll see you guys in the next lesson. Bye for now. 42. 39 Pt 1 Head Hair Modifiers Xgen In Maya: Okay, welcome back, guys. Alright, so let's continue this. There are a few things I would like to do in here though, but for now, let's start by. Let's start by creating. Because I feel like I should create show you guys in here. I need to kind of create a side hair like sew, just to give it a bit more a bit more surface surface. Should like soft, kind of hair detail around the side of her face just to make it feel a little more interesting. Because that would actually help. Then is not so much indoor. It's kind of pushed all the way to the back. So let's see let's see what we can get out of this though. So let's start adding modifiers in here and let's get modifiers running in here. So I'm going to use my presets in here. I have some preset I can I can actually use for this. I'm going to be using those preset now. So, we have this albino hair in here. Quite a lot to use in here, though. It's a nice coil to eat. I go for something that does not have any measure of coil in there. Okay. So yeah, let's have some Asian A in here, so I think there's one for short A. There should be one for short A around here. Eye clumping, T clumping, pong hair quite a lot in here. Be no. Okay. So let's just use this Asian A in here. Asian will be a good one. So let's do that, so. Let's start with the Asian Long clump one. So I'll go to generate generate generate some clumps for this. I'll click Save. Allow this run through. You should be getting something like so. And I also need to. I also need to can see some coming entering the skin, which you don't need. You don't need entering the skin in here. That feels a bit awkward. Let's go That's why I need to add modifier. At least. At least see how this is actually working in here, it should be this two. These two in here. Let's use the sculpting to get them out the bits, ground this again. Okay, another one around that parts. Okay, I think a better idea would be to use let's hide this now. Is to kind of create more kind of create additional Oh, no, maybe not, maybe not. Because what we have here, the guards we have in here is already good enough. So I just need to rotate them out some more. Most likely, this one. Okay. Let's get it out. Right. Let's do the same for these sides. Let's get it out a bit more. Select just this out. Let's run this again. Let's see. Okay. I think once in the actually open here, definitely to add additional guides on the lower part. So guides let's see. Okay. I'm not supposed to get this kind of entry into the here. Maybe we should come in here and increase this civic council around 40. Let's run this again. We still have them penetrating in. Yeah, I would also have to. We need to create some guides in here. I create some guides, kind of tag guides around. Let's do one year, one year or and select those two. Select those two. I'm going to push them out by lots. Okay. Get this pace in this way. Okay? At some more. Put my selection to. I'm going to mirror this to the other side, and let's run this again. Yeah, that's fine. You can say it's pushing that out now because those need extra guide is going to push that out. That's fine. But rather, I need to crank up my let me ID guides for now. Save this. I need to crank up the density in here. So let's use Andre, I guess. Let's go back to modifiers, generate, generate again. Let's look at our main reference so we can follow this a bit more precisely. So the clumping I have in here, I need a bit more clamping in here. So let's do a value four, generate, generate, save. So you get more clumping around now, this is way too much. I think we have way too much clamping in here. This is This is not ones we need. We need something in there. Let's go back to set up in here. Let's do one. Be here, we kind of have larger clumps in here. See larger clumps in here. So I'm trying to recreate those larger clumps in year. Now, we have too many clums right now. Close enough. This seems close enough, not entirely there yet, but before I am continue, I'd like to adjust some of the setting aneus. Let's grab the roots up a bit more. Get the roots up a bit more like so. Okay. Yeah. I still need to work on I still need to work on the numbers of clump we have in here. I need to reduce you have too many cloms happening in here right now, so let's reduce that. Let's reduce that. Okay. So let's go back to setup. Let's use the value at 0.3 initially. Let's the value of 0.0 0.3 generates. Save this. Yes, now we have bigger clumps in here now. Yes, something like this should work. Something like this should work fine. Okay, so let's carry on. Let's carry on now. Let's go over to the clumping load user. Let's do clump two. Let's do clump two, setup, generate, save. Let's allow this run to see what that gives us. Okay, so this is going to start breaking up this original clump a bit more. This actually looks nice. There's a guiding in here. We need to push out. This guide. This guide needs to pull out some more. So let's this. I need to get this out. Let's get this up a bit more. Okay. Like so it should be fine. Okay, I think that's the corresponding parts. Okay? I feel like I should know. I feel like I wanted to add more kind of rebuild most of these guide points in here, but I don't think we need to do that. I think this should be just fine. This should be just fine. Let's run this again. Let's see. Yeah, we have the penetrating es in here. I think that we need to add. We need to add more, another guiding here. It's kind of all this tightly. Let's do one very close around here. Reduce this size a bit more. I'll push this out quite more. It more around here. Let's add some es in here. Let's see what that gives us. Try to force some of the ears out of the air. Out of the air. Let's run this again. Close enough. Yeah, This is fine. This is fine. I'm going to duplicate this to the other side. Let's get this on the other side, and let's go to mirror this to the other side. That should help. I'm going to again see how that helps now. Most of what is generated in here, we can just delete those hairs. Those hairs, we can delete it's going to be a bit tricky cannot delete them though. But delete them anyways, that's fine. Let's add the guys for now. Okay. Here, we get some you. Looking at this now, I feel like we need a bit more densed hair. I think our hair needs to be a bit more densed in a Okay. Maybe go back to the comp one kind of spread out e more. Get this spread out some more. Okay. So just to make it feel like it's a bit more dense in there, so trying to make it feel a lot more densed dns in there. Okay. Right. I think this feels a lot better. This feels a lot better. Okay. There are some interceptions in here. Let's see if we can get that fixed. Let's see directionality in here. I think is this one. Okay. Get this back out a bit more. Okay. I think pretty much so should be fine. Let me select this. Let's get this out a little bit more on this edge. Run this again. I'm just making smaller, smaller corrections to this. Making smaller corrections to this. Let's continue. Let's go back to the modifiers, selection modifiers. Let's add another modifier in her so do we need to add a coin? Don't think we need to add a Let's just add the coins Let's see what that gives us. Now, we don't necessarily need this coiling here. Maybe just a tiny bit should work. It's a tiny bit, so the idea is kind of the randomization we having here, so for the counts, we need to take down the randomization for the counts in here. So let's do from 0.52. Let's rise 0.5 to two. Okay. Yeah. We still have a lot of coiling we need don't really need so much coiling here, so let's take this down also from 0.1 to 0.5 instead. Yeah, this is kind of, this is nice. Let me hide my guides for now. But it's kind of grating some weird to this, the end is a bit weird for the tip. Let's see if we can figure out. A 43. 39 Pt 2 Head Hair Modifiers Xgen In Maya: Let's see if we can fit it in here. Okay. Not really. Not really. Let's get this up. Let's spreading it out, get it back down all the way down. Also, I don't want this to be affecting the entire head. So let's randomize the max for this. So let's do a value of 0.1. So a value of 0.3 instead. So not everything is going to be affected, a few of them is going to be affected. Let's compare let's see. Okay? Something like so, yeah, I think this can work. I'm just kind of a bit more concerned for this tip, though. Though we have some of that tip in here, though, if you can see some of them, is a bit shabo. I like to space them out. I think what we actually will be adding noise in here. So let's add. Let's add noise asian long noise. Okay. It's not doing much though. It's not doing much. Let's go this qui. I think. Let's find dominating there. Let's try. This I think I should definitely be the one. This feels like it is the one that's kind of messing things up in the Okay. Let's cup this down completely. Okay. Stiff is awkward, though. Stiff is slightly awkward. Let's. Let's see if that actually does anything. Nah, nothing at all. Get this back to where it was before. Though, for the most part, this can actually work. It's actually work. If I get this back in here. Okay? What will actually make better sense with adding some codes in here. So let's try and see if we can add noise seems fine. I don't want something that's way too noisy. The noise in here should work just fine. Oil. Let's see, okay. Not the root now trying to figure out if I need to do something for the roots. I think I do so these roots, let's take root like so okay? Okay. Let's see. No, no, we need some volume in here. Take this down. Let's see. Basically trying to compare this just to see if I can get some volume in here. I think that should be fine. Now, this nice tea feel like I should reduce my clump in one. Feel like I should reduce this even more. Let's set this back to let's use a value of four instead generates, save. Okay. Okay, we have big junks in here. Just need the right. Right value going to sell this. Let's do three. Run this again. Let's see where we get. Let me run this down more. Okay. All right, I think we can work with this. Let's do a value of 80 in here. So maybe let's do 70 in here. So just a plecora trying different settings in here, cannot figure out which one works. Which one works just fine for your set op in here. I'm going to generate this again. Run this again just to see. Okay? I think we can definitely live with this. Let me turn this off. All right. Looking for a number that should work for this Clumping one again. Let's go a bit extreme. Let's try value of one in here generates save Let's clump two C Nah, this is just way too small. Way too small. I think the best value for this should be let's do 3.5, generate, save. Yeah, I think we can live with this. Let's go back to let's review the guides. Hide this for now. Maybe because we are maybe because our guys are way just too noisy probably. Probably try also try something in here, so we can do just for the sake of experimenting in here, let me hide this. We do set up in so we generate our clump from the guidance itself. So if I save this now, it's going to be generating gloms from where we have our guides in there. So anyway, we have guides, it's going to generate clumping. Well, it feels like a mess in here though. It feels like an entire mess in here. Okay? Let's just put in here and then see if we can see play with the certain a bit more. So long eps Like so I think this work. Let me go back in here and let's do a value of 15 year. Let's see how actually helps with anything. Not really. But the point is that you have so many options, kind of work within here, figure out figure out what works best for your character. That's completely fine and completely up to you. I'm going to delete some a few things in here. Let me use this select primitive select primitive. If I can just find it a stubborn one in here. I need to find a good angle for this. I'm selecting everything that something at the back and I deselect this. Yes, I can. Awesome. Select this also. Okay. I'm going to use this thin cooling primitive, cool primitive. So select that to kind of delete that extra haze in the air. Okay. We have a few also in here. This selects all of this, all of this. Okay. Let's delete this. Select this. The select all of this down here. Do that. Let's select them again. Can I select them as individual strand. I can't, I can't select this. Keep selecting keep selecting them. Okay. Just select all this. Let's see. This select, then we can delete this, I think I'm going to be using this as my final setup instead. But I don't like I'm not like get this pinching in here the root. So let's see where that is coming from. Coming from pin, it takes down, that actually helps. Just need to find a good value for it. Yeah, I like this one more because there's some volume to it. So let's go back in here and then increase the volume all the way to hundred just for the sake of trying something out in here again. There's no end to kind of No, guides instead, it's supposed to be on guides. So let's run this again. Now we have more hair in here. Doesn't really do much. Not so much happening in here though. But I think it should be just fine. So I'm going to save this. I'm going to go back. I feel like I should play with this coil some more. I should play a little bit more with this coil. Okay. Let's increase this number a bit more. Let's use all the way to 90.1 to 0.9. Let's increase the visibility of this from 0.12 70.7 Okay, maybe just maybe we can actually use this. Let's turn it off sea without any major difference. Okay? Sharp. Then we have this a bit fuller in here. Should be a bit sometd ones in here. Okay. Maybe let's take this down instead of seven. For the mark, 0.7 let's do 0.5. So, there's no right or perfect to do kind of try things out here and then to figure out what works best for you. Okay. Let me take this down a bit more Let's do four. Cut that off. Okay. I think that should be fine. I'll save this. Let's bring back the other primitive. Let's see what we have. Okay. Yeah, this is nice. This is nice. This we can work with. Except we can do something in here, we can we can come in here and then we can go to primitive. We can extend the length of the. Let's do zero. Let's do 1.5. Okay, now we have this way too long. Way too long. Let's do 1.1 instead. Let's try 1.2. Okay, I just pushes the hair out a bit more, like so should be fine. Yes. Maybe not too much, though. Let's do 0.18. Yeah, this should be fine. So I'm going to save this. So the next lesson, we're going to work on creating the eye lashes for her. So no, no, I think we need we definitely need some hair around here. So we need some hair around here. So we'll do that next lesson by for now. 44. 40 Teddy Hair Xgen Guides In Maya: Okay, welcome back, guys. So previously, I see kind of finalized on this hair in here. But I would like to add some additions to this, like, putting some teddy air on the side. So I really have some reference that I doloaded on interest to kind of use. Maybe you might use something like this. Or maybe something like this since something like this makes better sense instead. Just try to kind of merge the length of the hair around those spots. Let's do that. I'm going to go to outliner. Let's select this and this. I did those back to the cup. So generally, the hair is going to be roughly around here. Also to one now, I like to do this to let me show you guys kind of sieve out your egg modifiers because I made some modifications to these are modifiers in years. Let's save them out. Let's save them out. So I'm going to come down and start with this. Let me show you guys have to save out your modifiers so I'll go to this folder icon. Click conceive modifier. I'm going to name this to. Let me give the name of my character. So let's do cara Cara underscore shots He underscore clump. There's the clump underscore 01. Okay. Saved. I'll go to the next one. Pretty same to know, T is basically how I kind of save out my modifiers in here. So now reuse for other projects. So let me save this clump two. Okay? Let's go to the coil, sap modifier. Okay. Let's them this to coil. All right. Same for the noise. Let's same for the, this is the noise. Only have one noise in here, so no let's go 01. Okay. Then let's do for the coords. So this is something I can always reuse for other projects. So this is the codes. I'll save this. Alright, so good. So now let's create the side teddy hair for this. I would like to flip this image. Let me just flip this image this way. Because I want to mirror this to your side. So select this scalp, let's go into description, create description. So this description should be teddy a description ESC. They want to this description to be added to the ESCA collection. That is precisely what we want. I'll leave that as it is. I'll leave that as it is, and I'll go over to random across surface, plt in a shipping guide, create. Yes, this is fine. I'm going to leave this as it is in here in here. Just give me a guide for me. Let's add a point here. Okay. On here, that should be fine. Get this out. Scale this out a little bit like soap. A little bit more. Okay. Then let's go to AscopTin two. Let's reduce the size of the brush. And I'm just going to bend this in here. It should be kind of in here like so. Okay. Yeah, bend this around here this way to add a curve to it. Yeah, that should be fine. Create another one. Let's add I'm going to create a large gap in between though, so. Let's create a gap in between. Let's create a gap here. Extend this out a bit more. I there's way to extend it out. Let's cope this down. All right. Get this bent this way. Should be also closer to the skin. Let me increase the broad size some more. Make this closer to the skin. Okay? I think so it should be fine. Let's create another one, take up around the air, scale this in. Fold this down. So the skin somewhere around. That should be fine. So now if you create orders now, they should interpolate between what we already have in here. Let's do one year. Okay? Yeah. Yeah, oh soak. Alright. They'll need one year just to hold the shape a bit more on the edge. But this I'm going to take down by lot. Let's do another one here, soakle these two. Fold this in some more and some more. I need to scale them down. Slate these two leave them down some more. Select this This also scale them in Okay. This I need to bend this way some more. Let's get this out of the skin slightly. Okay. Let's select that bend this this week goes out to the skin, right? You need one around here. Do that. Let's do one year instead. Let's go to our scoptin to live this up some more, pretty much like it should be fine. Let's generate on those parts. I Tn this off. You should have gen written out in here. I don't know why can't find something is oddly off. Save this. Just hide this for now. Come on. Zbrush Engine is acting up now. It's neither refreshing anything in here now, so kind of close the soft to open this soap you save this basically acting up. Nothing seems to be working anymore. So I'm going to close going to close. It's working now. It's working now. Go back to the teddy hair. Take this down. All right, so now, what I'm going to do would be let me show these guides hide this. Let's add another one around the. Okay? Yeah, somewhere around there should be flying closer to the skin. Okay. Save. Let's put our set in here. So 0.01 for the weights. Then let's see set up for this. TPA should be 0.71. Then TPA that should be 0.7 common. Right? Something. Then tapas that should be 0.76 Alright. But yeah, we can work with this in here. This we can work with. So I'm going to select all of this and mirror this to the other side. So let's mirror this to the other side. Let's mirror it now to the other side. To run this again, this is what we have. Now what we need to do is to paint where we want our to generating out from. So let me save this. So let's go in and create some density map re a bit more. Let's set this see if we come to 20 Okay, snow, let's create Let's create some marks in here start colour black. Say this 240. Set the marks two Okay, 30 Osco DENSO Max. All right, as fine. I'm going to click on Create. An wire frame on shaded in. I can actually see the structure bits properly. Let's go back to Let's go into a two solid brush. Painting solid brushing painting with the full whites. I'm going to reduce reduce brow size a bit more, like so, hideas for now. That's going to pin paint around here. That so should be fine. Okay? So I think this we can work with. Then let's add the blow to this. Men smear or something symmetry. Okay. Let's blow the edge. Okay. Blow this edge. And let's do it save. I feel like I should clean I feel like I should clean this up some more. Generates hairs first. Let's see. Oh, save this first. Save our clumping. I need to kind of clean this up some more. Let's side the hairs. Print it with full black. Let's erase some of this. Okay. Then go back to the blow, reduce the blow brush size. All right. Let's save this. I believe this we can work within electron of fire frame shaded, ton of wire frame shaded, save this again. Okay? Mmm. Let's crank up the density of the air. Okay. Yeah, obviously, some airs, we need to delete in here. But for now, I think this should be fine. Let's just first make sure we add the clumping in here that we need before 40 19 now, so yes, I'll save this. Okay. Yeah, I think this should be fine. Let's make sure we turn on the head instead also in here so we can actually see all of this as one piece. That's fine. So next lesson, we're going to work on creating creating the adding modifiers to this actually. So we're going to be adding modifiers to this. I think I made Oh, nice systems. I think I made this way too long. This is way too long. I need to erase some of this I let's go about our teddy hair. Go to the max. Painting out full black. Need to erase a bit more of this. Let's don't know wire frame on shaded. Hi there for now. Shouldn't be this long. Let's erase this some more. Save this. Come on. What do you just Did I just blow this out? Bring it back. Paint, black, solid brush. Yes. This is where we're supposed to be. So now I can erase. The erasing is quite sharp in here. Okay. Then let's go to the blow. Reduce the brush size. Okay. Save. Great, snow now, we need to do some more clean up in here. Pretty broad size. Paints a lot of erase these parts out, sieve. Yes, much better. Much better. So maybe what we actually need here is that the guides are way too long. Let me turn off why f shaded. Select guides. Select these guides in here. Select these guides. Come on. Con through shifts. Let these guides scale them down some more, run this through again. Yeah, that should be fine. Okay. Yeah, that should be fine. Saved. So continue the next lesson. Bye for now. 45. 41 Teddy Hair Modifiers Xgen In Maya: Okay, G guys. So now let's just add modifiers in there. Let's work with modifiers in there. So let's go to modifiers. Add modifiers so now we can use what we just saved out. So we have our in a carasot Clump one. We're actually generating generating from the guides, but I don't want that let's just generate, we need a bit more. We need a bit more in here. So let's do one. One is gonna seem small. Let's do five. Okay. Generates, save. Still way too tight, though. But anyways, let's just add the next one. We just circle back to that and try and fix most of this. Let's add the clump in two. Set up map generates. Is that five, let's double let's three put this actually. So let's do 15. Save. Okay. Let's go back to plump one. Let lift this up some more. Let's start of act in a really weird in a really weird way. Spread this Nah. This is not working accurately as I would want it to. Even the default is actually way better. I think we need to make some variation in here or some correction in what we have in here? What can we use? I actually doing it in copy. Let's say this to one N doesn't do more. Let's see cop ef. I suppose to make this kind of follow the curve a bit mobile. No really getting what I need in here. I'm not really getting what I want in here. It feels a bit off. I can modify this to get what I want to do, but let's try delete this. Let's try a completely different modifier. Let's try this T clump one. T clump one. Let's delete this in the center. You. Go bally sticking here. Fantastic. Come on. Come on. Try to just delete this can just delete, delete, delete, delete put Oh, great. Great. I'm coming so out of delete. Let me save this first. I should be able to delete this finally finally. Yeah, this one is a better one actually, so it's putting out the clump too much. I think roughly around the center p should be fine. Generveo? Let's make some corrections to this. Let's go back into the setup. Let's do five. So yeah, there's no, like, perfect or straightforward way to kind of do this kind of try it out and then figure out what works. Okay? So let's go over local user lumping two. A clumping two is fine the way it is. Local use Oh, no, not fine yet. We need to do setup setup generate set this up. Save this let's see what we get. Please don't crash. Please don't crash. Okay. Position not done zero pixel up and disqualified. What does that even mean? What does that even mean? Can't even see any effect working in here actually. Delete try that again, clump in two. Something feels oddly wrong. Something feels oddly wrong. Anyway, that's computer should be f let's see if it is exactly working in there. So I think this one feels well, let me select that then delete Okay? We can spread this out a little bit more. Let me increase this to a value of 2020 generates, save. Yeah, that's fine. Then going back in the Okay. Maybe I just a little bit of clumping in here. Just a little bit of clumping. No, no, this is this kind of breaking the shape. Breaking the shape. Local user. Let's do coil one. Whoa, whoa, whoa, whoa, whoa. I don't think we need coiling yet. I think I can delete, delete this. Add another user in here. Let's do this Carl shorthair coil instead. Yeah. Yeah, this is way better. I think I can work with this. This we can work with Okay. Let's go in and add the noise. That is fine. Then we can add the carts. Yeah, this should be fine. So let's go and then visualize the parts and the character itself. Okay? Oh, yeah, yeah, we need to be a bit more dense. This should be a bit more dense. Add some more density to this. Yeah, we need quite a lot in here, actually. So let's double down on that. Okay. So after doubling that on that, this kind of updates the clumping, most especially the clumping. Generates updates that on the clumping, generates, save to update that also. Let me hide this for now. Let me just see how dense this on a dark shaded background or dark shed shed near. I think that's way too. Let's put this to 150 instead. Let's do 120. Yeah, I think this we can work within here. Okay. Yes, just checking, checking to be sure if this is working as you would want it to. Alright, I think this should be fine. I'll save this. Alright, so this is fine. So in the neck classing we're looking to work on the I'm going to work on the eyebrow for this character here, I'm going to work on the eyebrow. I think I need to add more. Maybe this is fine. I'm looking at length now. Maybe I need to pull this down some more, but I think should be This should be just fine. I should be just fine. I should work. Alright, so I'll see you guys in next lesson. Bye for now. 46. 42 EyeBrow Xgen Guides In Maya: Okay, welcome back guys. So previous lesson, I think we finalize on the teddy hair. So let's work on the eyebrow now. So I'm going to select this and the hearts. I'm going to hide those, and I'll go over to N put this here. I should like poopie instead, so I'll go over to Egen. I think I need to minimize some space in here, so let's go to the E gent tab. So you can scratch this down. So let's hide. Let's start by hiding the head head. Let's hide this for now. So we have enough ram space to work with. But the plan is actually occupying a lot of ram space in there, right. So moving on, let's go over and back to Outline nine. Let's hide this scalp. I'm going to hide this for now. Let's turn on. Let's turn on the scalp. Review that. Okay. I think I would also like to let's hide this di also. Hi do. Okay. And then I'm going to select this. I believe we have renamed that already, so yes. Did we Uh, I go to confirm something. I want to be sure if the material I used for this, I renamed them. I did not rename that. That's fine. That's fine. You don't necessarily need to name them because he's not going to be visible on a final render, so that's fine. Even though it's nameless, that's completely fine because I don't change the name mess up Egg gen in here because you really want to be careful with E gen. So you don't mess things up. What you have there, you started with, you want to leave that as it is so you don't mess things up in there. So let's select this scalp now and then we'll go over to description, create new description. So this should be I this is all caps in here. Eyebrows scalp. No, no. Eyebrow hair unders DESC for description. Okay? This is work for description. That's fine. So now we need to create a new description. So this description will be I underscore, cow underscore COL collection. Yeah, that should be fine. So spline definitely randomly across surface, definitely. Laser shipping guys creates. So she has some kind of unique like call it unique or I won't say most people do, but she don't do any makeup and then she's not kind of dressing up the eyebrows or shaping it, so she has more natural eyebrows soot a distinctive shape to it or direction to it. So now that that is in then now I've created that, let's go make sure it's there, then let's block this in. Okay? So I would like to Oh, yes, yes, yes, yes. Very, very important. Let's start by adding. Let's add one in here first just to begin with. Then I'll go over to so I need to bring back the placeholder for the hair. Um, Let's open this up. Base What's the base mash. So let's bring this out of the way. And I'll need to kind of separate this out. So I would select this, select this ship right at. Let's do tart faces. Okay. Select this, select this. Let's combine them. Sheet right shift. Bright can hold. Let's do combine eye brow. Okay, you should be fine. Then I'm going to hide this. So I need this ne just to give me a good idea where it's going to block out my guide in here. So let's go back to EX Gen to put this up here for now, it should be around here around there should be fine. Okay. I'll select this. I can delete that. Let's go add. And then let's start blocking. Blocking now the ship in here, so let's add one. I think I'll add one around here. So basically what I'm going to do is going to block out the ship first. Add one, add one year. Okay. Yeah, yeah, I and, and, this should be fine. So can I use this as a base? This work as a base blockout for this. This is a base blockout in here. Okay. So now I think I can hide can hide this for now. The second hide to control H to hide that. Let's work with this using the reference. Let me just put this reference around here to begin with. So let's go to our sculpting to select this. Then with the sculpting let's be bend that in place. This actually looks quite long, though. It looks quite long. But anyways, let's just get the shape in first. Let's get the shape in. Getting close should be closely on the skin directly on the skin. Let's just leave this part up some more a bit more on something that is kind of touching the skin. Like, so let's go to the next one, select this IG on the keyboard, go to my sculpting too. Let's get this on the skin. All right. I should be up a bit more. Like, so get this in. Yeah, the length of the guys are quite long, but that's fine. We're still going to chain that up later. So let's just first get them in place. Okay? Give them up out a little bit more. Bend this down this way. All right. Go to the next one, select this G on the keyboard to use the period to select the two, which is the scope guide to. Bend this over this way. Okay. Get this close to the skin. Right. So you touch the skin like so. Yeah, that should be fine. Okay. Go to next one, select this. Unless bend this in place. This one should actually be quite short, shorter than the others actually. So let's just get this way closer to the skin. All right. Go over this. Get this face in this direction. Okay. Yeah, there should be fine. All right. That should be fine. Okay. That should be fine. Let's go to the next piece. IG on the keyboard. Bend this over this way. Okay. Bend this over, a bit more this way, touching the skin some more. So now the last piece, select this bend this over this way. This one used to be quite short also, too. Let's get the directionality for it first. This way, maybe you rotate it up a bit more like so. Alright. So now let's start by shrinking all of this. Let's set all of this. I want to shrink them down some more. Okay? So we need to start lifting them out a bit more. All right. Select this. All right. Select select this. Out some more select this. Get it out some more. I think I need to get this out also to a bit more. Okay. Same here also. Okay. Do we have for this? I think that should be fine. All right. Yeah, this we can work with. You can work with in years. Now let's add some more guys. New guys now should inapolate between what we already have. You should inaplate between what we already have in years. Let's do one around. One around here. One down here. One in the middle one in the middle. O do that. Let's do one in the middle around. This will need to bend this way. Okay. We definitely need one here. Okay. One in the middle, another one in the middle. Okay, let's do one here. This part and I'm going to bend this up this way. Should be this way, facing upward. Then I'm going to do one I just go straight down this way, so it should be fine. This should be fine. I'll save this. Alright. Now, let's generate some as out of this. Let's see what we get. Let's generate air. Now let's just setting in herir. So the weight should be 0.01. Then this actually TPA should be 0.71. Tapat should be 0.760 0.76. I believe that's the right setting for it. Yes, it is. Let's go back to review output turn off for the primitive in view. Okay, go back to primitive. Let's increase this a bit small. So now we need to kind of paint where we want the house to grow out from so to paint where we want as in here. Save this. Okay? So just before we end this tutorial, let's let me just select all of these guides and mirror to the other side. So let's mirror this to the other side. Awesome. So let's run this again so we having eggs around this like so, which is fine. Alright. This we can work with. Okay? So in the next lesson, what good going on then paint some densty marks for this, right. I'll see you guys in next lesson. Bye for now. 47. 43 EyeBrow Xgen Modifiers In Maya: Okay, welcome back guys. So carrying on from where we left off. Let's see what kind of paints density marks in here now. So let's go in and then create map. So I want to paint this starting color should be full black. Then map reston 40 is fine. Then I'm going to type in I. Let's do a cap so this I brow underscore D ENS underscore max. All right, so let's can create so I announced, let's go in the top tap on the setup in here, let's see, we're painting with solid brush. Paint paint ful white. They want paint with symmetry turned on. Let's go over to stroke. Reflection is turned on. That's fine. Okay. So let me put this all the way here, should be fine. Then I also need to turn on wire from my shade so I can actually see the shape a bit better. So let's turn off the generated has in there, reduce brow size a little bit more. On less pins. Let me get this around here. It's no less pins. Let's just since over where this should be. Okay. So should be fine. I think this we can work with center part. Now, let's blow up the edge. Let's blow out the edges for this. So I'm going to go and then said this to blow. Okay? O. I'm trying to figure out if I'm supposed to paint white or black. Let's start. Okay, black is fine. So let's just fid out the edge. Get this edge faded out. I'm just going to do this just once. Just one should be fine. Just one should be just fine for this. Okay. So around right. This should be fine. I'm going to save this. So we have generating now on this part, which is precisely what we want. Yeah, this should be fine. I think I need to kind of scale down the heads around this path, though. So, let's set. Let me get this up. Let's do assigned textures. F save textures. If that doesn't anything. That's fine. So now let's save this again. Go back to selection two. I'm going to select this select this. Let's shrink this down. Okay. Run this again. All right. Maybe we won delete a bit of those around those pad boots. I think this should be fine. So let's turn off wireframe shaded. No freshaded. Let's the guides for now. Yes, this is precisely what I want. This will this will work just fine. So basically, what we're going to do now is to increase the in the Okay? Let's see what we get. All right. This we can definitely work with. I just checking. I'm just checking just to be sure. Just to be sure this is good enough. Maybe I need to erase some of this at the top. So this part, just trying to figure out if this is in the right place or not. Let's go. Let's go back in here. I think this is a bit too high. So let's go back to paint unless solid col less paint full black. Freeze the bros size a little bit more. Going to clear this out a little bit more like so right. Okay. Same here also. Then go back to blow. Going to blow this out. Just to get something that matches around there. Save this. I think this should be fine. It should be fine. Close this, go back in a run this again. Yeah, this is fine. This is just fine. This is fine for what we need it for. So I think I'm going to increase this a little bit more. Then set this modifier CV count to 20, so we get something a bit more definitive, a bit more defined in there. So that's fine. Now let's add some modifiers in there increase this a little bit more. Okay. Then I will go over to modifiers. Let's do. Let's use my templates in here. Uh, we can use, I think we have let's see what we have in here that we have one in here. Can we just bino eyebrow. So let's start with Abeyebrow clumping one, set up, generates, save. Okay, that's a good one. Let's go in there also clumping two. Setup map generates, run this again, save that. Okay. Let's go in local user. Let's do Yeah. Let's do noise. All right. That's fine. Let's go and do cuts. Okay? So I think what group just now be the clumping. Let's just get this clumping one. Let's free up this clumping one a bit more, so we can, I believe, lift this you know, that's tighten out with too much. Let's leave this the way it is. Let's look for the tip instead. Let's lift this tip up so more just a little bit of clumping around there. I think somewhere around there let's look for a more close up reference that should help. Okay? So let's go in and then see if we can tighten this at the tip. That's way too tight. Let's get something around nature of so. Yeah, this should be fine. Yeah, this should be fine. Yeah, this we can work with. We can work with this, let's go back to the guys. Let's see if we can just sik of getting something a little off. Let's get this this way. Run this through. Okay. Run this through again. All right. Okay. Maybe add one guide in here and rotate this guide this way out a little bit more. Let's run this again. Let's see what we get. So we get some slight breakup in there, let me mirror this to the other side. I selected, I'll mirror this to the other side. Run this again. Okay. Yeah, that seems cool. Select this bend this this way, run this again. Okay. Yeah, now we have a little more interest to it. I'll save this. I think this should be just fine for what we need it for. Let's our guides. Yeah, this would work. This would work. All right, so that's fine. So the next lesson was going to creating the eyelashes, right? So I'll show you guys the next lesson bye for now. 48. 44 Eyelashes Xgen Guides In Maya: Okay, welcome bad guys. So in previous lesson, we kind of worked on finalizing on the eyebrow, right? So in this lesson, we're going to be working on the eye lashes. So let's get right into it. So I'm going to select this scalp. Go to description, create description. So accurate description, let's rename the description to to caps in your I Las underscore DESC. Okay. Let's do hair in between that. Alright, so I want this to be in the same ice cap collection. Splines random lacrosse surface, placer shipping guide creates right now, let's go to R guide. Let's create our first guide at the top. So let's do it around here. Okay. That obviously wait too long, that's fine. Let's do another one here. Then we'll do one in the middle year. Okay. Now, let's start bending them the way we want it to be. I'll just get this out of the way. All right. So let's go to our sculpting guide or sculpt guide, let's bend this over up this way. Okay, select the next one. Bend this up over. Ship in this direction, so select this. Get this up. Okay. Okay. Let's bend this up also up a bit higher. I need to get a curve down here. Make sure this is working correctly. It's fine. So now we need to kind of reduce the length of these three, so a select them, reduce them some more maybe around there should be fine. I guess a little bit, okay. That should be fine. Now, let's create some in between. So this kind of enterplate between what is already there, so just precisely what we want. One, one year, maybe one year should be fine. So that should be fine. Now, let's create for the lower parts. Let's first start by selecting all of this and mirror this to the other side. Okay? Let's do one here just to fill up that gap. One year, do that. Let's do one around there instead. Okay? Now, let's do for the lower part, use this. Let's get one down here, one, another one here, another one middle. Then let's start adjusting that. I'm going to let this get this facing the other way, facing downwards instead. Facing downwards this way. All right. That should be fine. Select this. Okay. Bend this way. All right. Select this. Bend this this way, facing this direction instead. Okay? It should be fine. Yeah, it should be fine. Now, let's get some in betweens. Let's get a bit in between. So let's add one. Add one, and, okay? Alright. This should work. Except we need to select this and bend this down some more Blit it up this way. Of a good angle for this, bend this this way. Alright. I feel like I should extend this out some more though. Spot law doesn't still sit right with me, skill it out a little bit more. It doesn't feel like it sits right with me yet. Bend this down some more. Yeah, it should be fine. So I'm going to select everything on the lower parts. Mirror to the other side. Alright. This we can work with. I'm going to save this. Okay, so now let's see let's increase the, get some maze in here, to preview output, turn off only primitive in view, and let's put in our values in here for the 0.01, for the TAPA 0.71, TAPA start be 0.76 Okay. This we can work with. I feel like I don't want to extend this out way too much, though. Let's see the height of this first. Let's see the height of this. Select the top parts. Select the top parts, scale them out a little bit more. Run this again. Yeah, that's fine. Okay. Now let's go in and just paint some densty marks for this. Save this. His shouldn't take too much time. So tone of the hairs fire freon shaded, create denty map for this full black say this to full black. I lashes underscore. Yes, underscore. Underscore. What's Underscore DNS, underscore, Max. All right. Yes, this should be fine. So clic on create. That's double click on a brush painting, set to paints, full white, solid brush. That's fine. Symmetry. Do you need to paint this. I don't think I need to paint this symmetrically. Um Okay. But with the top part, I can pin symmetrically, but I think the lower part of the eyelid is not entirely symmetrical, so I need to be careful about that. So let's start with the top. Instead, put it around the air. Okay. Okay. I'm going to reduce my bro size by lots. So should be fine. Hide the hairs. Let's painting where the hair should grow out from. Okay. All right. Stops here. They should be fine. Now, yes. Yeah, we don't really need to blow out the marks. We don't need to blow this out, actually. I think they should be fine. Let's see. Making sure it's not going AYR in here. Yeah, that should be fine. Less turn off reflection, which is a symmetry in here and less spent on the lower parts. That kind of straight off. There should be fine. Go to the other side. Okay. All the way should be fine. Let's save this. Yeah, this we can work with a sytext shows Sin text show, save textures. Save this again. Contrast to save my entire file. Let's turn all fire from unshaded. Then we're going to crank up the density by a lot, so we can see let me hide you guys for now, so you can see a generating out from those part to create the marks. Whoa. So we're having in part where we don't want to be generating out from. So let's go in there and clean that tube, let's face double this 200. Let's dug that begin with. Okay. Well, we can actually just delete. Let me close this. We can actually delete where we don't want to grow out from D. Let's just paint. Let's just paint instead. So solid brush, let's paint full black, quiere frame and shaded. Let's just ease erase this under here. Okay. Raise also a few on these parts. Okay. Save this. Do the same for the other side. Okay. All right, clean this up a bit more. Okay. Save this. Yeah, that should work. Let's see. Trying to figure out where I need to get this painted out. Let's do around these parts. Okay? I want to be careful though to save this. Let's come in around the lower parts. All right, cleaning things up a little bit more around. So it feels a lot more believable. We clean this a little bit around here. Save. All right. Let's close this. Okay. Don't of wire frame on shaded. Yeah, yeah, this feels a lot cleaner now. This feels a lot cleaner. Except we need, let me just checking, just checking. Yeah, except we need a bit more. Let's double this even more, so let's go 300 even. Okay? Yes, that should be fine. Directions for the guides in here doesn't feel right. Go back my sculpting too. Okay. Just hacking the lower parts. Um Let me select this. Basically, I just doing some final touches to this. Let me leave this up. So more Okay, some more select this, leave this up. Select these to leave this up a little bit. Run this again. Yeah, I think this should be fine. So the next lesson, we're going to work on I'm going to work on adding modifiers to this, and then we should be good. All right. I'll see you guys in next lesson. Bye for now. 49. 45 Eyelashes Xgen Modifiers In Maya: We comber guys, we're still on the Eilashes we just need to add some modifiers to it and then we should be good. Let's go over to modifiers. I'm not going to use my pre setting here. Let's use the same Ii lashes, Clum one, setup, generates, save, go in the eyelashes, clump two, setup map, generates, run this again. Why not? Let me, increase the Sven more. Let's double this. Let's do 50 instead. Generate, save. Okay. It's not really doing much. No doing so much though. Let's go in free let's free up the tip. Let's free up the tip. So more. Let's just a little bit like so. Let's look at this from a distance and compare. Okay. Yeah, we can work with that. Let's go over. Do we have noise in there we have noise? Something doesn't feel right. Noise doesn't seem to be working in here. Let me delete this. Delete. Let's add noise itself. Without using the pres, let's add default noise in here. Obviously, way too noisy, way too noisy, so. Let's take this magnitude down. So let's do 0.0 0.4. I don't want too much noise in there. Okay. Let's randomize the noise we have in your too. Yes. So I'll go over this. So we can do round open brackets. Let's start from a value of 0.1 comma from 0.1 to zero point let's do five close brackets, Enter on that. Okay? Okay, maybe let's go from 0.2 all the way to 0.9 instead. Yeah, a slight break. Just a slight break up in here, should be fine. Let's turn this off. Let's see what we have. Yeah, something I should be fine. So let's go over and let's add the eyelash cuts. Okay, so we have them with different lengths in the yes. Sensity value here is quite small. So when I having this usually the value is usually around 0.1 to 0.2. If I 0.1 to 0.2 in here, you're going to see a major difference in the What did I think I added something alien in the remove that. Okay. So 0.200 0.10 0.2. This is what we have. Kind of shrinking it way too much, so let's do 0.1 instead. Let's compare. Let's see what we get. Okay. I think we can work with that. All right, we can work with that, so I think I need to crank. I feel like I should add more hair in there. But this should actually work just fine, though. I should actually work just fine, though. Let's see. Okay, I think I see what is wrong in here. We ones need a bit more curve to it. Oh, yeah. Let's make sure this is at 20. Let's say this to 20. I like to add a bit more bend to it, a bit more bend at the tip. It's more bend at the tip. Okay, let's run this again. Here, so it should be fine. Okay. Let's select all of this and repeat the same thing. Let's get a bit more bend at the tip. Some more bend, bend. This I need to lift up some more get some bend, run this again. Okay. You guys, yeah, yeah, this we can work with India. Alright, let's save this we have no guides found. Okay, no, no, let's go back to selection in here, this we can work with. That's fine. Next lesson, let me make sure I bring everything back out. Collection, collection. Let's bring everything back out. Let's go to our outliner. Selet these two, make them visible. And then we can send them back into their original group. Uh, send them in here, review this. Okay, so you should have this in here now. Alright, I think this we can work with. Yeah, this feels just about right. There's anything to kind of make any corrections in here. We can always do that. I feel like I should double the density for the eyebrow. Let's go to the eye scalp. Eyebrow. Let's crank this up. Let's do 150. Make it a bit more dense. Okay? That should be fine. Alright. All right. I think this is fine. Save so next lesson now I was going to go in and start working on the lighting and setting up a light studio, right? So I'll see you guys in next lesson. Bye for now. 50. 46 Arnold Studio Lighting In Maya: Okay, O Comber guys. So let's start the process of creating some light setup in here, right? So let's get into that real quick. No, I can see some interceptions in here. That's fine. We can just select this and just move that out a little bit. Okay. It's not going to be visible anyway, so it doesn't really matter that much. Probably, okay. Okay, so I'm going to change my workspace. Let's change my workspace to standard. All right. Then I'm going to I think I would like to go over to Window. Let's make sure channels that generalito channel box, drag this in here to be in there right. Well, that's fine. Now I'm going to let me just make sure you have all of this properly arranged in here. Let's drag this bolo also in Anything that do with the eye let's get this up. Okay. Then for the let me, I collapse that the old eye that's fine. Then I would lift this up also in here. This one was actually created from the crushing of Maya when we work with Egan, so kind of created some Egen curves for us in here, I believe. So if I should open this up, I see some Okay. Nothing that in there. That's fine. We don't really need that, so though, I'm not going to delete it because I'm not sure what actually does in this. I'm going to leave that. I'm going to select the scalp collection on the cal collection. I'm going to hide that control edge to hide that's fine. Then all of what we have in here, I'm going to give this one single material in here. That'll be the I know standard surface. But before we do that, let's bring in I have a backdrop I can use in here. Let's bring in a backdrop. I have a backdrop with no edge. So backdrop, no edge. So drop this in here. Okay. So is going to arrange this properly. So let's center up a vote on this, drag this out. If you're watching this from Skillshare, you should be, you should be getting the same file. Let me extend this out some more out a bit more. Let's go in select this edge, get this up pretty mode like so. Extend this out some more. Select this edge, extend this out. Save this. This should be fine. Okay? Sled and push this back some more back a bit more like so, maybe a bit more, that should be fine. Okay? Yeah, that should be fine. Save this. Yeah, we are good in here. So now let's go into our render setting and do some setup in there. So before we start rendering sins in here before we start adding up our lights. So I come to my render setup in here. I have a preset that I usually use, some preset. If you're watching this from skis, you should get this file also too. It's important that setting user. I like to start with the MIT. So under the common Tab, this is this should be about one kid that is fine. So under render in here, I'm going to come down. I'm going to go to textures, yes. Turn off Auto, don't off use existing CS texture too. I'm going to I said this to 50. Maybe let's do 100 instead. It doesn't work. You just switch it back to 1,000 1 gigabyte actually instead so. I think that should be that should be fine. That should be fine. Because this the signifies zero out, let's see. Zero out. Nah usually of the auto converts texture to TX and use existing C should be fine. You shouldn't be creating any extra fire that we don't need any All right, so that should be just fine. So now I'm going to select all of this, select the back. Let's give this one single material. Let's give this one single material in here, so assign you material rnd. Arno standard surface, that should be fine. Let's turn on our resolution gate. Resolution gate should be sharing we're going to rendering out. So it's the area focus in here. Let's take a look at our main reference and then see how this has been set up, the length for this. Get a bit of rotation a bit too much. Let's get this front facing us first. Somewhere I think somewhere around here should be fine. Okay. This should be fine. I'm going to bookmark this. I go to view, this bookmark, new bookmark. I'm not going to name these two fronts. This is cap in front came yeah, all good. I'm going to select the backdrop now. I'm going to give that assigning new material AI standard surface also. This by type play history in there. Then I'm going to name the two AI backdrop. That should be fine. I'm going to darken the material a bit more, add some more roughness to this. Yeah, that should be fine. Darkening more. Somewhere around there should be fine. All right. We're going to kind of use the same color from the background through. But for now let just use a darker shade in there. Now that we have this in here now, we can yes, we can turn this off. Save this again. I'll go over to select Anno tab. So I would like to use I'd like to start with an ASR, so I like to use the ARI from I have various types, though, but let's try let's start with the one from Sukan Spinter. Let's start one from Splan sprinter, so I have already brought that out. I believe I should have it in a tomoco studio. Marco Studio RI. Should be in here already. It is the one, but it's the TX file. So let's look for the normal regular one. I should have regular one in here. I'm still going to show you guys out. Okay, this right. Marco studio this is the one in here. Let me show you that's of steal that from Substance Painter. So you just go over to your local dis program fs ado substance three painter, resources, starter assets, environment, studio, and then you should find the studio tomaco in here. So that's the one. So let's start with that. So also before, let's do that. I would let's create skydome light. So this skydome light, we're going to be used to log in our Asia material. So select that skydome to colo, click on the Checker Paton file, let's go in and bring that in. So I already have this on my desktop, Comaco studio. If you have a scale out now, it should be in here. So this is what we have in here now. This is it? Though from our main reference, this light in here is more like an outdoor light source, we have an outdoor light source in here. I'd like to start with the more neutral light more like a studio light setup in here for now. Maybe something almost mimiing something like this should be fine. Maybe we can actually use this as a reference guide instead. Yeah, so now at the main or the biggest lights in here is one at the back. So one of rotate that. Let's rotate that rotate this. Get this rotated do that. Get this rotated this way. So she's coming from this direction instead. Me or less our light should be hitting. Let me show you guys in here, more or less light should be hitting from this direction on the face. Okay. That is what we want. So let's go in to it. Select this. I like to darken the material a little bit more. Let's darken the material a little bit more. So you can actually see so you can actually see the light sauce a bit more on it. Then add some add some roughness to it also. Let's get some roughness to it. All right? I'll save this. Let's jump back into our camera setup. Okay. Now let's render this. Let's see what we get. Let's go to render Venard render view. Let me shing this down. Save, go over to view, set this to 50%. One that I like to do for the render set here is to go to AOV, output the noise in. That's fine. Usually, I don't usually work with most of this in here though. But those kind of passes you can actually use kind of do some post processing in electron or Photoshop or any external software of your choice. But usually, I like to work with what we have here. It's going to get the best render possible. Let me close this let's make sure for the light for the environment light, the samples is set to four. Let's do samples four for now. We might in to start toning up this intensity, though. So let's do an intensity of three to begin with. Okay. Save this and let's fire a paren. Let's see what we get. So we're starting with something quite. This is actually way too bright. This way too bright. So let's go back to the environment heights said this about one. We're kind of getting first feedback also to which is cool. Which is precisely what I want. But I would like to rotate the light a bit more. I like to rotate my light a bit more. I like to something similar to this in here, this part a slightly a bit darker. Should be slightly darker around those spots. But for the most part, this is quite nice. You get some soft shadowing also around the edge, which is cool. I'm digging that that is actually quite nice. So I'm going to eat spacebar coming here, it says, no, space by my screen. Then I'll split my screen. Let's split the screen, put this up around here. Let's go to the top view. Okay. Yeah, it's rain quite fast in here, which is cool. View. Let's stop this for now. I don't think a lot of time to kind of update itself. Did I think I ate this in a weird angle let's go over here. I think I need to zero this out. Zero the Y out. I y for the rotation. Then I would like to let's see. Let me see where this lights. Okay, I lights coming from this direction instead. So I'd like to turn on texture in here maybe that'll allow see something. It's not in. Let's turn on wireframe, don't of wireframe in there. Okay? So I eating it from this angle can see light source from this angle. Let me maximize this. Can see light source from this angle. So I would like to select that and rotate it this way some more and then fire up the render less. Now, just brightening up the entire. I don't want to brighten up the entire I still want some level of soft shadows around there. Okay? Okay. Let's see. And this reference I want to use. So shadow is nice on this side. It's supposed to be on the opposite side. Let's get it on the opposite side. Do this actually looks good too? I actually looks good too? I think I actually prefer this. I think I can actually work with this. Let's get some more shadows in the Okay. Maybe not so much. Maybe something like this should be fine. Okay. This we can work with. I think this is the same school. Let's let's just see Ar Let's compare. Okay. So on this particular one, the shadows on this side. Shadows on the other side. Let's see. I need something. Need something I can actually try and mimic closely. Okay, yet, lights also on this direction where we have it right now, which is also cool. Which is also cool. I think, we can we can definitely work with this. Yeah, this we can work with. This we can work with. Then for my main reference, we hardly have shadows underneath this part, so I need to lift that up some more. Let's stop the render for now. I'm going to bookmark this render. I'm not going to stop the render. I'm going to do a snapshot of this. Let's get that in there. Okay. Let's go back to our main perspective you. Let's create Let's create another light in here et's create another light set up in here. I'm going to go over to arnod lights. Let's go over to arnod lights. So let's do an area lights. Let's create an area lights. Area area to something something down small down here. I'm going to increase this some more. Like, so get this up. Okay. So I want it to be heating. I want this to be hitting this part around there. I think I'm going to be giving it a warmer color to it. I giving it a warm colour to it. So let's get this out. Rotate it this way, this way and get this somewhere around here. Move this this way. Let's go to the top view. The top view should give us a better angle this is quite far. Let's get it closer. I think I need to reduce the size. Get this down this way. So you should be shooting at it from this angle. Now let's go into funds come. So now going to kind of temporarily hide the area the skylight, which is the Azira light so. Go over to woad menu, then utilities, then turn on light editor. Light editor turn of disable the disable skydome light. Let just walk with the area light alone. I pull this to the side with the area light selected. Let's come over to the setup for it. Samples SLS to four. Save this. Let's use the colo temperature for this. I would like to push this towards a more warmer Cloton around there should be fine. Then the lighting. Let's start with one. Don't off normalize. Let's see render in here. Let's see. Now, this is just way too warm. Let lighten up some more. Yeah, this coloton should be fine. Okay, I need to hide this for now. Let's see if you can eliminate some shadows around these parts. Yeah, I think this can actually work. Yeah, this can actually work. So let's turn on. Let's bring back the lights editor in here. Let's re enable the sky dome light. Let's see what we have together with this. Okay. Disable it also. Let's see. Enable it again. And then let me select the area lights. Let me get this this way. Let's add some more warmth on to it. Okay. Warum should be fine. Disable this guy dome for now. Enable it again. Let's see where the shadows. So I'm just going to crank this up just a little bit more, let's use a value of two. Let's brighten it by a value of two. Let's turn on the dom lights. Unless we get out of this. This one actually looks interesting. This feels a lot more interesting in here. If I crank up the light a bit, let's go extreme. Let's do four. The sirs blown out, and we don't want that. Let's go back to two. I think two should be just fine for this. Right? I think I still have some strong shadows around here. I turn off my area lights. Let's disable the area light for now. I would like to slightly rotated like to slightly rotate the dome light some more I'd like to rotate the dome light so more or let's select the dome lights. Select the dome lights. Get this way. Let me rotate in this direction. Just to lighten up those shadows a bit more. I want the shadows on the right side of her face to be so strong. That's fine. Then let's enable the area lights. Let's see where we get. Select the lights, reduce the intensity to one. Okay. Yeah, I think we're getting somewhere rotate the dome light a bit more, introduce a little bit of shadowing. So more shadowing in there. Right. I think I can live with this yeah, this I can leave it. If at all, I'm to increase this area, let's try two in the Let's see. Yeah, I believe this is tight enough. This will work just fine. Let me see if this. So the backdrop, I would like to darken that even more. Darken the backdrop even more. The name of this backdrop is quite long. Let's just do drop shorten the name. Then I'm going to darken this even more. All right. This we can work with. I'd like to do one more single. The backdrop, I would bring it down. I can see some ash shadows on the lower part. I don't want those ash shadows on the lower part, so I would let me near to the front view. Bring this down. Like, so yeah, something pretty much like just eliminate that hash darkness, gradient darkness on the lower part, so I think should be fine. Let's see our main reference. I think this should be even closer. Should be even closer. Okay. Yeah, I think this is angle for this. Yeah, this is a better angle for this. We can put another bookmark for this new. Just name these two close. For name to close. Front came right, clothes. This fine. So the next lesson, what I was going to go and then starts the texturing or rather look development process for, let's say this skin. We'll do this skin. Yeah, yeah, let's do the skin fast. Skin is like the main thing that going to be focusing on. So we're going to start with the skin and then we're going to work our way to the other parts of the measure model, right? So I'll see you guys next see you guys in the next lesson. Bye for now. I 51. 47 Skin Look Dev Arnold In Maya: Okay. Welcome about, guys. So in the previous lesson, we kind of worked on lighting for this, and I feel like I'm not done with the lighting. I feel like there's still one more thing to do for this light set up in here. And I'll be adding a back light to this. So I'd like to have a light that kind of highlights the edge of my character and just kind of make the silhouette of the kind of pop out a bit more. The more brighter. The more brighter lights to to it. Alright, so let's do that. Let me just pull this down here. Coming to my perspective view, I would select this light. I can duplicate this. I'm not going to do a duplicate for this, I'll duplicate this. So I'll just name this to front wreck lights. Okay. Let's use all caps for this front lights. All right. Then this will be my rim edge light. You can give it whatever name that you feel is okay for that. I'm going to giving this edge light. So I'm going to go to the attribute editor for this. Then I want to think I would like to zero all of this out for the rotation, zero out the rotation in here Okay. Get this out this way, and I'll just rotate it's 180 degree 180 on the wire axis. So this should be at the back, pull this all the way back outward like so. Yeah, I think somewhere around there should be fine. Let's see where we have this, leave this up some more. Alright, bend this a little bit like so. Okay, so for the light is in here, I would hide I will hide disable lights in here disabled lights and put this here. Let's go back to our main camera set. Okay? Select the back light again or the rim light. I will set these two. Maybe turn off. I don't want to use temperature for this, so I'm not going to turn that off. Okay. I'll move this down a bit more. Let's check this. So let's do a render for it. Tab. Let's see. It's way at the back so that's fine. So let's hit the render. Let's see what we have. You can see how immediately we can this rim light going on in here. So I would like to increase the intensity a bit more. I also like to scale it out. Let me ski it out some more this way. Okay, so it should be fine. Yeah, I think this is a good one. I think we can actually can actually leave this success. This we can definitely definitely work with. So let's turn on the skills skill, let's crease some more intensity weight. Let's do one intensity of four. Brighten it up a bit more. Maybe this might be too much. Let's now start turning on the low light. Let's start with the AziRI light at the back. Okay. So I need to tune down the rim lights. Let's turn on the front lights. Let's see what that does. Okay. Is actually interesting, though. So you can just really starts down until you can see some colours in the bloom dot light by just one minus one there so let's say it to three. Intensity of three instead should be fine. Okay. This we can definitely work with. I'm going to stop this for now. I'll save this. Now let's start working on the skin in here. So I think I can close this set this down. Let Can I dog this somewhere? Let me see if I can dog this in here. Okay. Win notes in here instead. Let me see if I can dog this in here. Okay. It's a bit more a little bit more. Alright? Yeah, I think, this will work just fine, yeah. This will work just fine, yeah. All right. So I'll save this again. Alright, so now, next thing you need to do is to start working on the skin, so I'll go to my outliner in here. Let's hide everything else apart from, leave the leave the Ion. Let's just add these two. For now, All right, so now let's go to the hyper shade. So window window rendering ditipashade. Okay. Oh, yeah, yeah, just before that, before that. Just before that. I'm going to select this and apply the previous material in the sokara mats. Okay? Select that, let's go to the attribute editor. Okay. Cara mat, let's change this type to And standard surface. Arno standard surface. Alright. I'm going to name this to AI Cara All right, so now, the first thing I would like to do in here would be to test out, test out the normal map and displacement map in here, most specifically the displacement map. So let's do that quickly in here. And I'll add some roughness. Maybe leave this at default for now. Leave this roughness at default for now. Yes. Okay, one all that thing I would like to do here go down to presets. I'll change to skin. Set that to skin. But for now, let's go over to subsurface, take that down completely, bring out the base color weights, increase that a little bit, a little bit more like so, a little bit more something a bit dark in there. Yeah, this will be fine for now. So now let's now select let's go to hypershadather, to hypershade, look for AI cara, AI, AI. It's not refreshing in there. Let's select this properly named Window rendering editor hypershade, we should see it now. It's in here now, so AI cara so graph network. Okay. Now this is in her nine Windows minimizes down for now. So still selected, select the head again. I'll go to, I believe it should be this carrier base mesh, go to Arnold. We activate our displacement for this, go to subdivision. Set to cart clack. Iteration should be at two. Two, right? So that was kind of subdivide the mesh two times for our render view. So this is only for render view only. So open displacements. Scalar value should be at 0.5 because we put this out of zebra. So if you insane setting I use also for zebra, you should be fine. So just leave this at 0.5 because our bargon this displacement map is at the value of gray. So the bargraon kind of grey. So that's why we're setting this to 0.5. So one means full white, then zero means black then. In between 0.5. So let me just show you guys from our map so if you go to our displacement map, export Z maps. Arrow displacements, open this up. So basically, let me just get this down. So basically, this color in here, this background color in here is just 50% grey. So to interpret that 50% green instead of node, we want displacement map to work correctly, that we expected out of Zbrush. We need to set this to that gray value also, too. So the gray value for this is 0.5, so I believe that makes sense. Then the eyes kind of gives us an idea of how intense you want our displacement to be. So usually, I like to start with something around zero point. Let's do 0.3 for now. But now this won't work because I've not applied that text shot to a character yet. Let's get this close up. Let's get this close up. Okay? Go to let's minimize this for now. Let's kind of make sure. It's kind of moving. Much better. Movement was kind of slow previously, so let's just get this somewhere around here. Here, should be fine. Save this. So now do we use or bring in the displacement map? First thing we need to do is to let me minimize wash this some more. I don't think we need that. We don't need that, so I'm just going to close that out. So to use that displacement map in here, I'm just going to bring in the AI displacement sheder. I tab AI displace type displacement Sder Okay. So I'm going to extend this out this way. Then we don't need this shading engine. I'm going to delete this. I'm not going to do that. Stop deleting that. Let me just make sure I drag this up displacement first. Then I can delete this, ok? Bring this out, set this out. Now, let's drag and drop our displacement map in. This is our displacement map. Drop that in. Okay. Then I'm going to select this to bring this up here, pretty much, so should be fine. I'm going to select our displacements. A think, our displacements should be plugged into this channel in here. So I'm I'm going to my mouse go on this middle mouse click drag and drop this ina. Okay? So basically, the out alpha goes into displacement. And I'm going to, this will be fine. Yeah, this should be fine for now. Yes, I'm going to select the displacement texture now. Make sure you set this to utility row. Very important. So now we can come over and let's render out. Let's see what we get. So rendering this at 50%, that's fine. Render this. Let's see what get. Okay. You can see now how displacement is kind of blown out. Yeah, this feels This feels blown out, no doubt. You can see especially for the eye. You can see how the eye looks quite blown out. And we don't want that. We definitely do not want that in there. How do we fix this too? Much easier way to figure this would be to select the mesh and go to Attribute Editor. So underneath here, this is where we're going to be adjusting the values in here. So let's set this 0.1 th that's okay? Move this aside. So this is it. Just make sure trying to make sure this is as accurate as we come to be. Let me a little bit more on the lip. Let's get some close up for the lip. No some close up for the lip so we can this in here. Under Auto bump, let me to on auto bump for this. Let's see if that actually does anything in here. Okay. All right. You should be fine. Okay? Well, this is not looking This is not looking right. I think I'm seeing something. I feel like I'm missing something in here. So I'm going to stop this for now. After doing my renders, this is this is what we let me create a bit more space. This is what we get. I can't really see the details. I can't really see the details accurately enough for this, so I feel I'm making one mistake and I feel that mistakes should be in here. So let's first make sure, let me select this again. All right. This is a black and white material, so let me move this for now. Let's plug this to one of these channel linear Busce this is a black and white material, you should be able to use one of the channel to kind of log the same without any co contribution to it. Pg, plug it from the R channel to the displacement, and then let's make sure the other settings set up are correct in here. Clear is 0.5. That is 0.5. Okay. Then, yes, 0.1. Yes. And then let's run this render again. Turn this off. Let's file up our render again and let's see where we get. Yes, way better, way better. So you can see some major difference in here already. So I can actually start seeing can actually start seeing my paul detail linear now, so my skin pole detail is a bit more obvious to seen here now. I don't know if you guys. I don't know if you guys he this, but let me just's the render region for this instead so you guys can. So I'm going to do a render region on these parts. So lemly on this part. You can start seeing that break up, break up, wrinkle, and skin pot in here now. So I'm sure you guys can see that. So that's basically what I want. Okay. Yeah. Awesome. Because those CDT is for IP also kind of peaking out is also cool. Yes, this is what I want in here. So yeah, so this is fine. So we have this properly set up now. We have this properly set up. We can work. I'm going to stop this for now. Next thing I want to do is to bring in mine of this tone that off of the render region. So one thing I'd like to bring in is the roughness map for this. So let's get some roughness for this. So before I do that, let's go back to R and then darken this material a little bit small round this again. Yes. Reason I'm doing this because I want to kind see the sweetness of our skin a bit more. So next I'm going to do will be to come over to the roughness and set this to 0.8. I would like to use 0.8 as a base. So it's going to be my base skin, reflectivity or specularity in here. So 0.8 should be fine. Then I'm going to stop this. Go back to our PA shade. Come back to our IPA shade. Okay. That should be fine. Then I'm going to go over I'll go over to my exported textures from Sotan Spenter XP textures, open that up. So we need the texture for the roughness, so I'm not going to drag. Let's just drag everything in here actually. Yeah. Let's I think one thing you need to actually test is the normal map, also, too. You definitely tests in normal map. But anyway any of this you can confess though. So let's make sure we import all of this in drag and drop this in here. Okay, let's arrange them put this up here. Normal map should be down here. Let's select this, put this here. Okay. Let's start with normal map instead. So a AI normal, input to out coolor then outvalue to normal CAM. Okay. Now let's select this. What do you have in here? Error message in here. Select this. Texture itself, utility should be on row. Okay. Now, let's test run this. Let's see how this works with our normal map brought in. But I will need to go back and then increase this a little bit more so we can see the normal map in there. Also, one now, let's just leave this as this. I wanted to kind of turn off the displacement map for now, but let's leave this together. Let's see where we get with. Let's put the normal map and the displacement map together in the Okay. Let's see those two together. Let's see how well they complement themselves. I feel I might need to I feel I might need to tune down the normal map down some more because it looks quite strong in here. So let's go in and then soon the normal map. So I'll select the normal map. The varies the strength one. So let's do half of this. Let's do 0.5 for the strength. Little point for the strength to be a good value for this. Because Aditya driven is mostly driven from the displacement map, which is also cool, which is also cool here I will be fine be fine. Is there any correction we need to make also in here for the when we can stop surface scattering to this. So I'm going to leave this as it is for now. I'll stop this render, select the head again. Let's darken it some more. All right. So let's go back in. The roughness. Now for the roughness, I need to apply my roughness that we spread out from substance pinter into the clay coats material, so I get this ape. So underneath this under the coat, so I'm going to increase this all the way up. Then I'm going to set the IOR for skin. Then I'm going to open this up, log the arrow channel to my clear coat or at roughness in here, select the roughness, set this to roll, that this to roll. Okay? That is fine. Drag this down, and let's render this out. Let's see what we have. Okay, now, what we have is actually quite or rather too reflective It's actually reflective. So we need to adjust that a little bit. So with the texture selected in here, I can come over to balance polar balance. I just need to kind of teak the exposure, just a little bit more, so I'm going to tweak the exposure a little bit more. No, I think to be on your pus ceilings, the less pollute. That's way too much. You need to find a good value for a good value for this. Yeah, this looks like a good one, 0.5 seems like a good one. Maybe a little bit small, let's do 0.70 0.7. No, no, no. I need to actually reduce that, not inclusive. Let's 0.4 instead. Alright, 0.4 seems like a good one. Yeah, I think we can actually work with this. This we can actually work within here. Okay. So now, so see more the final final look. This would be to make sure we get our subsurface scattering working in here. So let me stop this. I'm going to save this. So now let's go to select the head. Let's increase the weight of the subsurface scattering. And I'll say this to already at random work that is fine. Then the scale value, very important. Since we have accurate scale in here, let's use a value that's a bit more accurate for what we need it for. So let's do 0.1. Let's start with 0.1 for now. Then I'll go over this. I need to plug my main color to surface color subsurface color subsurface color in. So let's plug the out color to subsurface color. All right. That is fine. Okay. So we have this innia now. I'm going to say this right. Okay. Let me zoom out a little bit more so you can see the s in here. Save. And then let's run this. Let's see what we get. So we lost into last render out a few times. Feel like my camera stop is stop in there is accurate enough. So let's give this to kind of render out. Okay. So it's rendering out, I don't know if you guys can see this. Okay. Also we kind of come in close, we can see the subsurface lights through the bit small precisely what we want. Seem also in there that is fining precisely what we want. Yeah, it's actually quite nice. Once we get these to render out and babies clean, we're getting something a bit more interesting in there. Then we can also kind of compare it with the old out texture. You know, we have two textures in there. We put it out two textures, so we're going to kind of compare it to them and then figure Oh, come on, move this not move this Okay. But I feel like I should still soften the blue on the head a bit more. So maybe use instead of a value of 0.1 let's use a value of 0.07 instead. Okay? Just just to see how this is being affected in a So the idea kind of look out the ideas of clout a bit a bit cleaner actually just to just see how it's working out on the skin right now, we still have a lot of noise in here. See quite a lot of noise in here. So I'm going to allow this render. I'm also going to test out the other color we have in here, and then I'm going to do this snapshot for the two of the so we can see we can see two comparison for them, and then we can figure out which one feels a lot better for our character in here. But for now is actually quite good. It is actually quite good. So we did an impressive job for the texture painting instead of substance painter. So yeah, that is fine. So let me just allow this render out and then I'll come back, alright? Sos you guys the next lesson, bye for now. 52. 48 Eye Look Dev Arnold In Maya: Combat guys. I've done some quick renders for comparison for the two skin. We spit it out of Subtnspena so this is the first one, not to park lean though, but at least we can see at least most of the skin in her hair kind of looks like. Is for the more white house skin tone. This is for the more white house skinton. So we have two variations to play with so. In every day I'm still going to kind of rent out two versions of this actually so, but I'm kind of digging this. I'm going to keep this for now. Let me minimize this. Put this to the side, let's drag this back in here All right. Okay, Sung should be fine. Can we shrink this? We cannot. All right. So, that's fine. So let me just pull this down for now. Let's work a bit more on the eye. So I'm going to hide the head for now. Okay. Get this in view. I'll select this. Let's apply the material for it, existing material meniscus. I believe that should be the one. Then let's come in and change this to AI standard surface. I'm just going to name this to AI meniscus. Let me use our caps for this. So I'm just going to use the preset in here. The presets, I'm going to use Clearwater. Use the clear water preset for this replace, all right. That's fine. Let's add the outer eye phone now. Let's work on the iris. Okay. Now, there isn't so much doing here, just to apply the base color in here, but let's first apply the previous material. So Iris Siris she bid one, then said this to AI standard surface, named this to AIs. All right. Then let's go to our iPass shade. As. Why is not updating? Okay, it's in here already. So rightly graph network. Let's just go into the texture in here, si color normal map. We don't need the roughness actually. Let's ignore the roughness for now. We just need this to let drag and drop this in here let me start by moving this this way. Move this up. So we're going to plug this to the base color, right? All right, so let's use AI normal for this A normal map out color to input, out value to normal outcome. The default should be just fine for this. Default trend should be fine. Okay. So let's run this through. Let me minimize this. Get some space in here. We have something invisible in here, actually, so let's scroll through, turn this off, and let's file ropaanda again. Okay. Yeah, I think this should be fine. So what we need to do to select the shader and then for the roughness, drag this all the way up. Something completely rough, fine. This is what we want. Absolutely rough in then. Oye just maybe. We can bring in let me move this for now. Let's plot to an AI local node instead. AI color. A color correct. Out color to then out color to base color. This one is because if I need to if I need to kind of increases the contrast although saturation easily do so. Actually select this noun, select the color correct. Going to attribute ital. Use the color correct now and put the side. The color corre in here now, so I can easily just adjust any of these setup in. If I should add more saturation to this, may increase saturation. Let's say I cannot change the coloring in there. If I also want to increase the Dama also let me set this back to one. Then set the saturation also to one. We can also increase intras if you need to. Maybe we will decrease that if you also need to. But one. Yeah, that should be fine. So now let's work on the outer eye. I'm going to stop this for now. Drag this year. Let's bring out the outer eye. So in, I need to do a little bit more work in here actually, select the out, apply. Apply the material in here. Outer eye should be this, that's the one. Okay. Would this way, go to the outer eye, and then we would let's see, um. Let's change this up to AI standard surface, AI out I. All right, so that should be fine. Let's go and look for that Sadin graph network. Let's import what we need in the that's that's up a minutes. Hold up a minutes. Try and see if I need to crank this up, that should be fine. I don't need to crank up the normal map for that, let's bring in the necessary textures in here. So outer eye base color, normal opacity, outer eye roughness. Dragon drop this in here unless I arrange them the way they should be set this up. Yeah. Normal should be year, opacity. Opacity, all those drop outside her for now. And roughness in year Oh, yeah, I think I'm missing one but let's fix this up, then we'll go back and we can't do that. I can actually do that here. Let me select the Iris. But the normal for the Iris, I'm supposed to set set that to Let me open this up. Set this to roll, open the inputs up, set this utility to roll. That's supposed to be roll. That should be fine. Let me hide this for now. Let's render this out again. Let's see. Should be fine. Stop this. Bring back the outer eye, save this. Let's go back into the outer eye out color should be on this color. Okay. This should be plug, open up the out cool log out to specular roughness. All right, set this. I think the IOR for this also too for the IRR for the roughness should be on skin also. So for the normal AI normal map, log input to a cool or out value to normal came, select. Let's start with the roughness. Let's say this to utility awrmal cam normal texture rather utility to roll. Okay, that is fine. Save this again. Yeah, we're good we're good in there. So if we should do quick render for this, something like so, something like. So I think my normal map is way too intense, so. Let's take down the normal strengths down a bit more, so. Let's split this into a 0.5. Okay? Oh, you should be on 0.5. My mistake, zero point. Let's 0.8 instead. 0.8 instead. So it's not too aggressive. That should be fine. Alright, so now it's going to create this glass shed in the center part. So how do we go about creating that? Let me stop this for now. So a way to go about that is to kind of create a mixed shed down node in here. So to do that, I would need to first create I need to first create a new. Let's create a new shead in here, so let's do I won't do that previous time. Can we open this up a standard standard surface? Select that The's bringing a new sheade in here. Where can we put this? Let me drag this all the way up here. Right? So this is going to be fully glass material. It's going to be a fully glass material. So I'm just going to select this. I'm just going to name this to AI glass I. All right. So the preset for this is going to be a glass material. So let's look for glass replace. Awesome. So now we have this in here now. So what I'm going to do will be to bring in AI mix Shader so AI mix, shader Alright. This is fine. So now we have to input now for two shader so the first shed that we're going to bring in would be, I think I hope I get this correctly. So the first sheder is going to be I'm just going to select this okay. Let me select this too. If I don't get it right, I'll do it again and then we'll get it right. So I'm going to select the mix Shader. So I'm going to middle mouse drag this outer eye text shot to my Sder too. Now drag this AII glass material to shed a one. Then we just kind of drive the marks for this. So what's going to drive the marks for this would be? Let me select this. Select this to extend them out. What's going to drive the marks for this to be our paste map? We kind of gotten out of substance painter, the center of the glass eye. So let's select this. I'm just going to drag. Let's drag let's drag the out color to not mix. Let me just middle mouse drag this all the way to the main weight, select darts, yes. Min weights in there. Now I'm going to save this. Now let's compare. Let's see what we have in here now. I'm going to run this through. Okay, nothing seems to be happening. I think I kind of transparency. I say. Let's see. I think my arrangements should be off for this. Let's drop this for now. Let's run this through. I think I need to flip my arrangement for this. So I would use Oh, yeah, one very important thing to keep notes, I haven't done anything yet. I live setting the way it was before, so we need to apply let me rename you need to apply this mixture now to the eye itself where it actually work. So probably probably one of the reasons one of the reasons why it's not working. So I want to kind of proof test this. So yeah, I've done this before several times, so sometimes this kind of skips still kind of skips mind, but let's get this to work. So I need to rename this to AI. I mix. Okay. I mix. That should be fine. So I'm going to select the IR li and hold on this. Rendering anything? I'm supposed to render anything. Come on. Let's select apply to material and view ports. Then let's run this again. Okay? Okay, so we have it in here now, so let me just show you guys what I did. I actually won't do much actually. I just seem like closing this and opening it up seems to do the trick. Work together need to apply material. So initially, initially, should be a lavard. Let me select this, select this apply this in here. You don't get anything working in here, so for a to apply AI AI I mix with the mesh letting the mesh. Forming rightly can apply re to view ports. And then one other thing we did was to mix node the glass material. I read out to the initial so drop the glass material in there. Then basically just repeat all of these rials out. Let's do this again. Okay? So the glass shader should be on sheer one. Let me also remove this. Let's repeat this again. Sedar, drag and drop SderO. You can see how we're having this on full glass now. Then she too should be out texture. Then in drive the marks for this, select the opacity, open up the coop up the out coolor in here, then drag this out channel to the and then we should have that have that in here. That's completely fine. So now we have this inniar now going to say, it should be fine. So we can let's stop this for now, drag this down, move this out, bring back the head. Let's kind of position the E somewhere around there should be fine. Save this. And then let's do render. For this, It's see how this works with the eye in here. So let's see what we get. Eye is actually fine. It's actually fine. Kind of getting good eye set up in here, which is precisely what we want. Okay. So obviously, I want to wait for this kind of get a bit cleaner, and come back to this. For the most part, this should be working just fine. This was needed for. So let me this save this again. Right. I'll see you guys the next lesson we work on work on the hearts and then the polo shirts. So there isn't so to do in there and then work on the eigen hair. I'll see you guys the next lesson, bye for now. 53. 49 Fabric Garment Look Dev Arnold In Maya: Okay, welcome back guy. So this is what we have. Let's just see this in here, maximize this. Okay? This is what we get. Yeah, I think this we can work with. So I'm kind of looking at this no I feel like I think this should be fine. It should be fine. I think we're actually good. But my thoughts were like, Okay, maybe I should extend, maybe widen this part of the nose bridge a bit more, widen this bridge a bit more. Uh probably that will be a correction for another time. But for the most part, I think we are good in her. This is actually quite nice. Okay? So let's carry on. I'm going to hide let me minimize this. I'm going to hide all of these. Let's work on the hearts. Let's work on the arts and also on the polo shirt, also, too. So let's work on this too. Let's start with the hearts. I'm going to select this. This wouldn't take too long, so we're going to do this quite quickly. So yes, let's do. Let's apply the heart material in your At mats. Okay. Let me just put this. I think we can drag this back in A where it was before. That should be fine. Okay. Yeah, that should be fine. I'm going to go to armat. I think I would like to also use the displacement for this. I would like to also use the displacements for this also too, but let's set this to AI standard surface. A standard surface. All right, let's rename this to AI hearts. Okay. Now, select the s. Let's go over to no types, subdivision level, cart clack, set this to two. Play attribute, scalar value 0.5 Okay. Then the heights, I'm going to use 0.2 instead. Okay. Then let's go to the hypershade. Did I close my per shade. Let's open up the hypershade in here Windows rendering settings, hypershade. Okay. Then let's look for the hearts. It's the AI art. So graph network in here. Let's go over to the textures. Let's put the textures in. Hat, hat, hat, hat, hat hat hat hat. Normal ma roughness, drag this in here. Okay? I think we're going to do much. You can set everything up and then do the renown, then we should be good. So let me just arrange this up properly. Said this year. No, you should be up instead. All the way here, say this year. All right. I'm going to select this. Let's set this to roughest Amal map. Input outclor out value to normal CAM. Let me make sure this is set to roll ready. Set this to raw utility row. Book not the outcol and then drag out to secular roughness. Okay, that should be fine. Then out color, you can drag this to base color. I also like to add shin in here. Let's add some shin in here. Shin material. I don't like to use something way too high. Let's just do 00.4. Then the colour for this, we can use maybe this more lighter shade to it. Somewhere around there should be fine. Let's start with that for now. Mind to change that later on. Maybe let's brighten it up a little bit more. Okay. Let's bring in out displacements. Let's bring in displacement shed face to AI. No AI lets lets do displacement here displacement sheder No drag this to displace, delete this. This to push them a little bit distance so then let's go in and then bring in I believe wonders exports, bringing the Earth displacements, drag this in here. Put this this way, set this to row. Open open up the outcoH value should go to displacement. I'll save this. That should be fine. Then, yes, that should be fine. I think that's basically all we need. Okay? So let's do a render now. Let me save this. Definitely save this. Let's do a render. Let's see what we get. Okay. Now, I want to avoid having this way to the fabric pattern, fab the fabric pattern way too high. So I think this is actually in a good place. Yeah, I think this we can definitely work with. Just zoom in a bit smaller see. Okay. So now this we make this down just to see if this is working correctly or not. Yeah, I think that should be fine. That should be fine the way it is. I think I like the way this is. I'm going to stop this render for now. Let's go over to the garment in here, save this, apply the material that's supposed to be in the polo shed polo. Set this to AI standard surface. Coming here, AI shat. I think that should be fine. Select it again. Let's go over down here displacement, cut clock iteration two, scar value 0.5. Set it to 0.2. All right, so let's go over AI shirts, graph network. Let's bring in textures in there. Extend this out a bit more. I mean, maybe let me start by bringing in displacement first. Living displacement sheet and let's set this up. Okay. So drag plug this in here, delete this. Sled this to extend them out a bit more. So since we have the folder opened up, you can just drag the plot sheds in get some space in here drag and drop this in here. Let's arrange this knob cool displacements, roll then back into the folder. Let's get the substance painter textures in there. So yeah, it should be everything, select this drag and drop in. All right. So basically I need to arrange this color should go up here or is this normal should be roughness. So let's start with the normal EEI normal map out quality inputs out value to normal cam. Is this is set to roll already. I said this to roll, roughness to roll. Have you said this to roll yet, that's fine. Open this up, out channel to specular roughness, out lot B color Okay. Save this. I think we should be good now. And then you need to bring this out actually. Then let's do a render for this. Let's do render for this let's see what we get. So the quick render. Okay, it is actually actually quite nice. This we can definitely work with. Yeah, all of this is working correctly as it should. Okay. Let's compare this in here. No though we have a bright setup in here. Is more brighter since setup. Brighter set in here. But for the most part, I think this should work just fine. We don't want to be too extreme at least for now. I think this should be just fine. So now we can bring everything back out. Let's bring everything back out. Let's set our camera to the way it was before, close up. Let's just wary up just before we bring in the air in there. Let's see what get maximize this. Okay? Yeah, I need to add shin to this, so let me stop this for now. Let's add shin to the fabric material. Let's add chin to the fabric material in here. AI shirts. S somewhere around here should be fine. Use this colour to instead. Run this again. All right. Maybe she slightly way too much. Let me slash that up to half. Let's do half way a little bit more. All right, so I'll like sender out. So the major difference that need to be in here will be our hair once we bring in our in here, then we should have sender looks more even more interesting in here. All right. So let me see if I can find a good angle for this. Finding good angle for this. Okay. So I'm going to give the moments, and then I'll come back when this is done rendering out. So I'm going to leave this to render out for a few minutes and then we'll come back to this. Alright, so I'll see you guys in next lesson. Bye for now. 54. 50 Xgen Hair Look Dev Arnold In Maya: Welcome bu, guys. So we have some render in here, not the best render for now. It's not entirely clean but but most part can get the feel of how this is kind of coming out to working out together. We're getting something realistic in here, which is precisely what I want. Okay, so yeah, I'm going to move on with this and then render out or do look development for the hair. So let's stop this for now. I'm going to minimize this. I've already taken a snapshot of this, so ting snapshot button in here the snapshot. So let's hide need to actually hide anything in here. Let's just let me do this down. Supposed to hide something in here. Let's just hide this select this hides. Let's just visualize the head in here. Okay. Save this. Let's go in and turn on the hair in here. Let's see what we get. And then now starts. Let's work on this Eigen hair. So let's go over to, uh you need to bring out the Egen tub in here, so let's select the Egen tab. Is gen tab selected Fantastic. That is just great. That is great. I can't even see the agent tub anymore in here for some funny reasons. Can we just get the agent tab in here. I mean to just close this up and open this up again. It's just close and open this up again because our agent tab is not showing in here. It's not showing in here. So let's save this. I'm going to close this and open it up again. Here, we got this tab now, so we need to kind of set our project again. So set project a yes B select sets. Alright, so eyebrow, let's bring back the eyelashes heads coal S Teddy also. Okay. It's fine. So now let's start with Teddy. We go to preview and outputs the renderer renderer let's take the star node render. Let's go over to the hair renderer and node render. Let's go over to the ey cow Okay, renderer and nod render. Let's go to the eye lashes, renderer and nod render. All right. That's fine. Let's start with the main hair. So, come on. These are outliner. Let's window outliner. Okay, so what we need to do is to let me bring this out. Let me say this outline now on the opposite side instead it is always visible. So open. Let's start with the head scalp. I'm going to select the head hair, the head hair. Come on. What is going on right now. Okay. Lady head hair. Lady description, very important. Sled the description rightly can hold, go to assign you material, rnd, then select AI standard hair, a standard hair. So I'm going to rename this to ahi AI hair. Okay. So I'm not going to bring too much in here. I have a few settings I can just use based on documentation from rnd. So let's just use this set of pine. I'm going to use a Brunette hair in here. What actually controls the color most of the time for more realistic colors is the melonin in here. I want to be careful values using for the melonin. At the value of full one at one, you have this black hair and C. I'm going for almost more reddish, dark brown hair with some redness to it. I believe that's for a Buntte set of hair. If you're going for white full white, we're going to full white set this a zero, blond 2.0 0.2 0.5, then Brunette are 0.5. Let's say this as 0.5. I need to be brunette so let's do 0.5. All right. The redness for the air, I'll need quite a lot of redness, millennium redness in here. This is at full 10 is at one. I'm going to set this. Let's do 0.8. Okay, that should be fine. Then randomizer kind of randomize the kind of break up the color variation of the ir a bit more. Having a zero, having something like this, not so much break up 0.2, 25, some kind of white strands in here. So I don't want some white strands in here. I'm just going to use something around 0.2. 0.2 should be fine. Roughness should be fine. Then the air shifts. So the air shifts, let's use something that's more European light brown, European, dark, brown, European h. Um, let's use dark brown Europeans. Let's shift of Yeah, it's already at three, so that should be fine. That should be fine. That work just fine. So I'm going to leave that. I'm going to leave that as it is. Let's put this away. That's precisely what we need. So I'm going to apply the same material for the hair, select select the teddy hair. I'm just going to apply this same material Ah go to the ice cap, open up the ice cap collection, select these two. Then we can apply the same AI head to them. If we need to make any other corrections, we can just go in and make corrections. But for now, I'd like to do some rando test just to see what we get in there. So main character, let's turn on the hearts. We need the heart in here. Definitely need the heart in here. Then I would also like to brighten up this AgI. Maybe just brighten up the ag a bit more or less use a value of two save this. Let's get a good angle on the air so we can actually see how this is working in here. Okay, close up, save this. Okay. Now let's go to node. Let's bring out the node render view. And then we lost our snapshot. That's fine. That's fine. We kind of done with them. We've used it for what we need it forted this way, get this out of the way. A bit close up. Save this. Then at up our render. Let's see view reduction is at 50, let's do 75 instead. Let's run this. Let's see what we get out of this. So it's running through. Let's just give this a moment. And then we should start seeing something in here in a bit, Okay. I think I think the hair is a bit blown out. I think the tie out is slightly a bit blown out. I think my DRI brightness is way too high for this definiteness. Let's say this back to one. This back to one. So we get this back to the natural state towards initially, which is fine. So I'm more concerned about the hair. I'm looking at this, and I feel like I may have added just may have added way too much. Way too much redness for the hair. Because the light passing through, and then this is where we get. Let's Let's allow this render out a bit more lets do. We can do a render region for this. Probably do some render region for the C. Yeah, let's arrange a region for the hair instead. I have way too much redness. Way too much redness for the hair. That one is quite certain. Way too much redness for the hair. So I'm going to leedon head hair. Let's also push this towards the black. So let's do 0.00 0.5, let's do 0.65. 0.65. Let's the render region. Let's bab this. For the redness, let's tune this down to 0.6. 0.6 for the redness, give this a moment to kind of calculate some more allow just calculate a few more. Okay. I think this is a good one. I think we can actually use this. This we can use. Allow this render out some more Okay. Yeah, I think this should be fine. Yes. This skeleton kind of looks very similar to what we have referenced. Since we can actually make this work. This we can make work. This should be fine. Except I feel like I need to kind of space this out a bit more. I feel like we space this out. I'm talking about the clumping for this. I feel like I should my clumping, too, I need to use that kind of space this out some more. By skin actually looks good. The skin works just fine. Let's see. I kind of feels a bit too thick. Feels slightly a bit too thick. So let's stop this let's start working. Let's go to the Egen tab. Let's go over to Ed. Yeah, I stop the render already, so that primitive? Um, Let's set this side, side a bit more. Um, trying to figure out what to do in here. I know what to actually, but I'm trying to know the bright settings kind of used to kind of get this to look right. So let's go to the modifiers in here. Said this here modifiers mod two. Button that off. I think we need a bit more space this out some more space this out some more. I can't really seeable, not really seeing the definition of what we have in our preview on our rendering here. Not seeing so much of that actually, so. Let's spread out even more. Okay. I think I would like to go to primitive and then change the ticnes change the etiness. Let's do instead of 0.01, let's do 0.007. No, maybe eight. Let's do eight instead. Get the 18 out some more than 40. Well, let's add a bit more noise to this. So I want to increase the randomization of the noise. So instead of zero to 0.7, let's do 0.5 to 0.0 0.0 0.9. Let's see what we're getting a bit more noise. Okay? That should be fine. I'm going to save this. And then let's run this again. Let's run this again. Let's see what we get out of this. Let's run this again. So yeah it just revenue starts tweaking and I just think just to just to get to look right. Just to get it to look right and good enough also. Let's do a render region on that particular part. There's a render region around this park alone. Okay. I'll just give you a moment then I'll come back when this is done. Then we can kind of, I think it's beginning to look a lot. Beginning to look a lot better now. Yeah, I think this feels I think this feels much. I think this feels much better. It is much better. Yeah, I can definitely use this. I can definitely use this. Okay, so I'm going to stop this for now. Then in the final conclusion, I'm just going to come back and then do a final render for the entire out. If there's any other correction or adjustment I made in there, I'm just going to show you guys. Let's do something around 150. No, this render region, bring back the polo. Let's set this I'll save this Okay, I'm looking at this now. I don't know if I should use the same color setup for S colo set up for the background. Maybe that you do something maybe probably probably not. Probably not. Because I don't want my idea to be direct to be kind of misdirected towards the backdrop. I don't want the backdrop to draw too much attention. I don't want to draw too much attention. Okay, let's just let's start with what we are having a first. Let's start with what we are having here first. I'll save this and then let's do a rundown. Let's see what we get out of this. All right, so I'll see you guys in the next lesson where we kind of look at this a bit more and then see if there's something else I could have adjusted in here to make it a whole lot better. Okay. Mm. Here, I think this should be fine. The backdrop seems fine. Okay. For the fun. Just for the fun of it. Just for the fun of it. Let me just give this a new let me stop this for now. Give this a new AI standard surface material. And I'll just name this to a AI orange. Back drop. All right, so let's see if we can pick the color for this roughness all the way up this way. Okay. Let's pick this color from in here Okay. We need to kind of darken it a bit more because now we have lights set up in here, so let's run this again. Whoa, that's way too bright. Ah. Not sure I'm digging. Not sure I'm digging this though. Ah. I'm not sure I'm digging this though. Do something blown out up up. This is the previous one that is in. I think the previous should be just fine. So I back Let me stop this. Let's see if we can actually bring this closer. This is probably not too far out. Probably not too far out. But I need to select these two, somewhat closer. Okay? Select this, bring this even closer this way down. And let's get this back to front view. Let's see what we get. So we'll be getting here, yeah, this is, this is a lot better because it's a bit closer now, so we can see some deep shading around these spots, which actually quite nice. Really quite nice. So this we can work with. Let's use this in here. So I'm going to leave this latest render out, and I'm going to come back when this is done. Alright. So I'll see you guys in the final lesson, like the conclusion of the entire out scene. So by for now.