HYPER REALISTIC AFRICAN MALE WARRIOR PART 01

1. SKILLSHARE AFRICAN WARRIOR PROMO VID: Ever wondered how realistic VFX game characters are made. My name is Kelechi Tango John, and I have been a three D character artist for about seven years. I have worked for TV shows, movie agencies, and three D animation studios. Currently, I'm working as a freelancer character artist and a TD tutor. You'll be able to create realistic cred African male warrior character design utilizing industry standard tools like Orthodex Maya, Maxon Zbrush, Marvelous Designer, homosetTubag, Adobe sbtanpinter, NexGen hair, and also rendering in Arnold render. By the end of this tutorial, you will build the confidence you need to create your own realistic believable looking character. Well, now, what would you learn in this tutorial? Pro creation in Maya, ven rapping in Maya. Sculpting male anatomy in Zbrush, baking maps in Zbrush, garment creation in Marvelous Designer, texturing skin, fabric, metal, and leather, realistic air creation in XGen formya and look development in Arnold Formya. What is this course for? I have designed this course for intermediate level to expert level. Want to model eye catching looking, production ready male characters, but they struggle to get it because they don't find a tutorial, which is step by step, no fast forward, no skip. I'm coming from a production artist who is doing this for years. Because it's also for artists who want to speed up their workflow and learn industry proven techniques. If you want to model realistic characters using util or utilizing industry standard softwares like Orthodex Maya, Maxon Zbrush, Marvelous Designer, mosetTb and adopt Softan spina. Join me now and take your skills to the next level. Don't forget that investing in yourself will pay for the rest of your life. Hope to see you in this course. 2. 01 Gathering References: Hey, guys. So in this tutorial, we're going to be working on creating this African warrior character in here. So this male warrior character in here. So we're gonna be doing this from start to finish. But we're going to be starting for the main character, for the body, we're going to be starting with a base mesh, and for the most part, every other thing is going to be created from scratch, except for the base mesh, we're going to be using which is just going to be the body and then the eyes in there. So yeah, so now before I kind of, I'm just going to show you guys my own thought process before starting any character design work. Usually the first step would be definitely definitely to gather more references as possible because we can't just work with just this reference in here even though this is kind of good enough, but we still need more realistic references to actually kind of help. That's why I have two boards in here. So one reference board contains references for anatomy, but for the head, the hi, the body in general, actually, body in general, so so I already saved out some screenshot that we're going to be using kind of create and get the body to look anatomically correct as much as possible. Yeah, and then aside from that, that's just by the side. I also have, like, another board. Let me increase this board a bit more. So for this particular board, I have reference that kind of relates to the head, just ply the face we're going to be using as a reference to scope this. As much as this is good enough, we still need something that's a bit more definitive in terms of real world proportions in there, and what better way to do that than to use an actual human head to better get better to get a better illustration of that anatomically, so for that, I have this character in here. This is I think Dancing Idris, I believe. That should be his name. So this is dam scene. He has a face that resonates more with a character reference facing it. That's why I'm using him instead. I look some similarities in there, maybe not entirely, but at least something close enough to actually work. Maybe just maybe the character artist or the concept artist actually uses face as a reference kind of grid concept, maybe. But anyway, that just by the side, so let's keep that in mind. The idea is to look for something quite close to the reference, so you can actually disputed concept product, so you can actually scope something as realistic as possible using real world references. So aside from that, also, too, we also have some parts and pieces going on in here, too, like for example, a good example is for Glast beyond the head. A good example is beating around the head. So looking at the building now, you might think, Okay, maybe they actually metal buildings, but actually, they're not. They're actually just marble building in here. So I have also another reference that kind of helps. I think the reference are not exactly it though, but yeah, it gives a good idea as to what they actually are. So this is similar kind of kind of building around this. But in size or yes, in actual size of the building and ship also they are quite different. You can see some bit longer, you can see some a bit shorter. Okay? So longer, some shorter. So we're going to kind of create variations in there by creating longer and shorter bits. So let's see. Yeah, this is an interesting one. I kind of give this an idea, especially on this lower part. I can see some because the sizes of B is quite different. Solar and cylindrical shape, some more like some more polygonal shape. So we're going to be using that as reference, yeah. So that's just to give you an idea as to the loading references needed for your scope. So aside from that, also, too, I sparkler one is completely different. So it's a completely different one. This we're going to be creating some say metallic because it actually looks metallic, more like good actually, we're going to create here also some building. We're actually going to use some of the raffle. I is a very good one in here. It's a very, very good one for the building across the face. See different sizes and coloring in there also too. That's one thing to keep in mind. Then this we can obviously see almost like kind of jaguar kind of face with some interesting patterns going across them, which are going to create also, too. Then we have another reference for the feathered. But for me personally, this actually looks like a if I'm pronouncing that correctly, do, but a skunk or a skunk animal, that kind of stinks, that kind of stinks a load produces some gas subtan scales of preys around that thing. I'm going to using that as a reference for this. In one actually using that, but it gives us a good idea that's okay maybe they actually use iskunk skin for this with all the hairs in here. That's one aspect to that also too. I'm basically just trying to break down the concept for you guys understand my thought process before going to search for references online. And also on this also, I think we can also create a variation by creating some paint across his face also to actually help. I go to give him a bit more character, like another variant of him also. Moving on. So we have some animal skin in here. So for that, I also add some animal skin that kind of helps. So this will actually help in getting proper for detainea and also texture painting details also too in there. So by painting the textures, maybe you can actually use textos online, but that is completely anyway we actually work actually. You can actually pen this in or we can use textual references that we import in. This reference board is not my final reference board also too because while we continue sculpting and working on this download some model additional reference is bring in but I'm going to be providing this fight for you guys to actually all your files to actually use project files for this character in here, so just to get there, just to get you guys in knowledge of that. So I'm asking we're going to be using this also two references for this to kind of get the four s in here because in here, we currently see the four in here, so that's fine. Then this might look like a meta piece, but it's not. It's actually cowry sine. So let's see if I have, I believe I should have a cow co reference in here. So yeah, so this is an example of how a cowry should should look like. So basically, around this spar these are kind of coales going across the entire meal. Basically, you need to use objects that relates more to the African culture. That's basically the idea for guarding reference for this. Also moving on, so you can see some scarring in here. So wens in and create or download some scar references also too that we can actually use kind of get this as accurate as we possibly can, too. So all the references in here are kind of selected individually for to kind of get better realistic representation of what we have on this concept in here. Now for this, I couldn't really find maybe I need to do some more searches for this, though. I was thinking to do some more searches for this to kind of find exactly what this is. So you can have a reword reference that kind of represents that you can actually use to kind of scope this improperly. Then for despair, let me get this to the side. For the pay, we already know this is like a meta piece, and this is a wooden piece so that shouldn't be too difficult to know. So yeah, okay, all that sins in for the arm now, in here, the concept artist kind of just created something that looks just generic like a flat surface. In here, we just lines going across it, but in reality, using reword references for this, they actually tubes, actually individual tubes or kind of elox tube, most likely, yes, definitely an elox tube around this or just normal rounded tubes going across. So you can see more or less like biding going across these deary spheres or tubes, actually, or should we call it should should we call it donut tubes going across this all the way? So we're going to be using this also to kind of layer all of this on top so that give it the more realistic look. Then we have a we have a leather band going across this, leather bond, and a leather glove also. So the concept artist kind of added some additional or bond looking detail in here. Like for example, this leather glove in here that's not entirely complete. Then for the fit, we definitely need to grab some reference for this also, too to help yeah, but for the most part, for the most part for the most part, we have good reference in here to begin with. So that's just Matos process for downloading references in here. We're also going to get some other references also to kind of use for this. So as we move on, we'll keep adding more references to our collection and to our body, so just to get this looking more realistic. All right? So I'll see you guys in next lesson where we jump into my begin to prepare our mesh for put into Zbrush. Bye for now. 3. 02 Importing Base Meshes to Zbrush: Okay, welcome bad guys. So now we are in Maya trying to prep our base mesh to spot to Zbrush. Okay? So now, there are a few things to kind of keep in mind in here. So on those things, one, the UVs and to see if the base mesh is good enough to kind of work with. So let's do that. Let's do that real quick, but let me just show you guys. So if you go to your workspace, send this to UV. So I have a pack of base mesh I usually use. So this I've used before. So we already have UVs laid out now zero to one space in here, which is precisely what I want. Just to keep you guys in perspective, this is a it's like a base mesh you got in from meta human. So that's why the name in here is Meta human base mesh. So just to keep that in mind, and I took the liberty of arranging all of my UVs in zero to one space cause I'm not going to be working with you Dems. I don't want this to be zero to one space in here, so yeah, moving on, so one other important thing to keep in mind before exporting this is to let me close this out, set this workspace to modeling standard. All right. So set it back to modeling standard. And then one other thing I like to do is to check our camera setup. But before we do that, let's just just show you guys the topology for this. Let's use a more darker material by type history. This is a more darker shade of material, so you can see the topology for this bit properly. For the most part, we have good topology around this. I mean, come on. Obviously, this is from meta humans, so I believe the topology should be good enough for character designs. So that's why I'm using this. So for that all good. So yeah, all good for that. So the next thing would be to kind of check our camera in here. So we just kind of set this to a more realistic camera. Setting. So once we're sculpting this in kind of using the realistic word reference and rendering this, everything should be matching the camera across each platform, we're going to be using, for Zbrush and Softanpnter. So let's start by matching the camera and we are using reword skill for this. So let's go over to a perspective camera and I'm going to set this focal length to 85 millimeter length. Zero on 85 millimeter length for this. So this is like the camera setup I usually like using for the most part, for most of my characters, actually. So this should be just fine. So with that setup now, so let me just show you guys one of that to the eye so I'm going to use my own eye mesh for this. So I'm just going to let me get this done, and I'm going to explain a few of. There's not much explanation in here. But let's start by isolating hiding this control edge to hide the miniscus and the iris. So this is not just the outer shell of the eye. Let me solo this. This is just basically the outer edge shell of the eye in here. Then I'll hide that. Then we have let me put this down. So let me work sequentially. Let me explain sequentially in here. And then we have the iris so the iris is, that's just the iris, with some pattern in here. I already have premade textures for this. We're going to just use and then texture out a brown eye instead of stan spinter. I have the normal map that comes with this and displacement map also too. That's going to where gets good realistic eyes out of this. I'm going to get that set this up too, very important. Then we have the miniscus in here. The miniscus is basically the set that underneath the eye I think I can find let me shift H to bring this back out. Let me show you guys a reference for this that should help. If you look at your eye, you notice that there's like a water line underneath your underneath your eye. So obviously the eye is a bit wet. So once the eye your eyes supposed to be wet most of the time because when you have dry eyes begin to have bloory vision. So your eyes is usually wet. And that's when you close your eyelid, kind of creates another extra level of coating of wetness around that. So the wetness kind of settles just below the eye. The wetness begins to settle just below the eye. So there's a miniscus in here that actually illustrates the wetness underneath the eye. Was it going to eventually kind of come back in there and then modify that a bit properly, but just to get you guys to understand why that is in there. So yeah, that's fine. So I'm going to make sure you save your file. Make sure you save your file to correct directory. I already have my file already saved. So the next thing I'm going to do now is to export this out individually. But before I do that, I'm going to export all of this and then save in project files for you guys to actually work with. Okay, so I'm selecting all of this, and I'm just going to export selection. Spot selection. Okay, paste this in the correct fold the way it should be. So any, I'm just going to create a new folder, projects project pise so I just want to open this and then save this as an FBX and just name this to base meshes. All right. That's fine. But now to export to Zbrush, you need to export them out as individual bits. So let's start with this. Let's start with this in here and then let's go to modify freeze transformation. Okay, no transformation in there. Yeah, I think, that's fine. Okay, do that. So this should be where it should be, is fine, select this. I'll go over to File export selection. So I'm going to create a new folder. I'm going to name this folder Z Import. Z inputs. Any file I'm going to be important for Maya to Zbrush, is going to be in this folder. So let's open this up. I want you to change this from FBX to OBJ. I'm going to rename this two. Let me just name this to Idris Idris Yeah, it is body. It is body, it should be fine. And I also need to kind of rename it also in here, not yet. Is to be spot back into Maya we're going to rename. So this at default, I'll go over to the eyes do outer eye spot selection. So this is going to be outer eye or this cochlea, it showed whichever word you prefer to use. So let me just name it outer eye. Saved. Let's go to the Iris, export this out. So this is the Iris. Okay, exports. Then let's go to the miniscus. I'm just going to copy the name for this and export that as an OBG I'm just going to paste the name in there then export selection. All right, that's fine. So we don't exports in now, we need to put all of this in one single group, so I'm not going to drag this I and drop this inside of this group and rename this to base mesh. All right? That's fine. Save this again. So now let's open up Zbrush and then import our mesh in there. Okay, so inside of Zbrush, let's close Lightbox. And then, let's open Lightbox, actually. I always like to start with the default project. Let's click on this default project. Open this up, and then we can now import meshes on top of this. So with this police past selected and go to Imports, let's imports. Let me first past my directory in here because T wants to use the same directory for this. So it should be imports, copy these five parts. Press the five parts in here. Let's start with the body. I body. Then let's go append. Because to apply or to bring in meshes in here, we need to actually use the append. So let's do the append in here. So fair, select fair. Select this. Okay? It should be fine. Then I'll go over and then click on Imports. Then let's do the Iris. Let's done append again. The police fair. Okay, Imports, let's do the miniscus. Append sphere, you can actually use any of those shape in there. It doesn't have to be police are so. Olan select this spare Imports out eye. All right, so not as in there. So one thing we like to do before ending this chapter, I would like to show you guys the camera setup new to using here. So like I said before, let's kind of march the camera setup across each platform. So you can get something close to what we already have. So let me say this this way, I'll go over to documents. No, not document on the draw, Sed this to 85 millimeter length. Draw. The one that I like to do is to adjust the crow factor, so you can actually properly match that of Maya. So to do that, I'm just going to come in here and set this to four. Four usually works. So we need to test this out. So to test this out, let me change my interface. Okay? Leis bling material, set this to the side. Okay? Come in close on the head. So it's the head going to use kind of measure this. So then I'll go back to Maya. Let's go to our front view, outside the front view around here. Let's collar this. So we have this just completely visible in our view around here, get this closer. Then I'll go back to Zbrush. Space bar, take down the draw size. Let's can see through, and we'll try to match our head with that with one inside of Maya, so you can see how we kind of accurately match accurately matching both camera, kind of a bit more precisely. So I I should, let me just show you guys should do feed this through. You can see very soft transition across this is not too aggressive actually so. You can see it for the most part, kind of matching of magic camera, at least, quite closely, quite closely. So that's just how you kind of test to know if you're matching the camera a bit more accurately. So yeah, with that out of the way, we'll just move on to the next lesson. So the next lesson, there are a few things I would like you guys to kind of understand in my thought process of sculpting before kind of go in and then start doing proper sculpting details in here using the references we already have, so I'll see you guys in the next lesson bye for now. 4. 03 Directional Sculpting In Zbrush: Okay, welcome, bad guys. So in the previous tutor, we kind of imported our character into zebrush. Okay, let me temporarily hide the minuscles for now. All right? So now, imported this to z brush. So just before I start sculpting on this, I would like to just kind of run through some of the brushes I use and then some should we call it subtle understanding you should have at the back of your mind, why sculpting on here that would actually help by a lot. So we kind of get quite similar results in here. So even though we don't get precise results in here, at least, you kind of be getting something similar and something good enough also to work with. There's actually nothing too fancy just to show you guys some transitional flow and directional flow why sculpting on your model. So I'm going to go to the cylinder in here. Let's just open a new canvas in here and I'm going to bring in a rather upend sphere. Okay? And I'm going to hide this cylinder for now. Let's see delete this Can let's work with Joseph Fine, then I'll go to my sub too and I'm going to subdivide this some more. Yeah, I think 2 million should be just fine for this. So let's go over. So if you want to kind of bring out this layout in here, you just need to go all the way here. Let's go back. So just load next interface layout. So I always like default, so I'm kind of familiar with default. I'm not used to customizing my entire workspace though customizing your entire workpace actually helps kind of work a bit faster, but I'm quite comfortable with the default. So let's continue so let me set this to the front view using this Gizmo and E plane in here, kind of know where my front view is. I'm going to click on this stream dynamic and I'll set this to them standard brush. I'll go to my clay brush. So I'm going to increase my broush size, space bar, increase this. Alternatively, you can hit on the keyboard and increase the brow size. So I'm going to create something like, so let's do one. Let's do another one in here. Let's do another one in here. So let's do one that comes across this way, right? So basically, basically, what I'm trying to explain to you here, is kind of transitional and directional scoptin flow in here. So what I'm going to do is to go over to my smooth so down shift to go to your smooth brush. Let's take down the intensity. So usually let's let me let's do another one, yeah, another one, yeah. Okay. So usually for beginners, if they want kind of scopes or smooth things in here, or maybe when you create lumps of additional flesh across their model depending on the kind of model you're working on. They tend to just do, let's say just smoothing things out, for example, they tend to just let me increase this a bit more. They tend to just smooth random relax. So at least for the most part, you want to avoid smoothing in this direction like so. You want to avoid that. Why? Because soot in this direction doesn't really Smoothing randomly doesn't really give you that soft flow around your mesh. Let me do this and do this smooth. Let's go to lower subdivision level Shift D. You go to lower subdivision level, and let's repeat that again. So you can see I'm smoothing this randomly. And I noticed in here, if you come in here, you notice on this part, this part is more smooter than this part in here. So on this part you can see some edge detail in here. If I use my max brush on this part, you can see some edge detail in here. But on this part, you can't see this edge detail anymore in here because we were smoothing randomly. So you won't go to avoid smoothing in that fashion. So if you aren't going to be very conscious of smoothing any particular direction, depending on the Look you're going for. Let's say, for example, now it's going to have soft edge here and another soft edge around here. Basically, what I'm going to do is to hold down shift, and I'm just going to smooth in that direction instead, smooth in this direction instead. So I know precisely what I have the mental picture in my head of what or how I want this to look like. So just to smooth out full length a particular distinctive directionality to it. So in here, I was going horizontal. Then in here, I'll be like, Okay, let's say, I want to kind of get some soft edge around this part. I won't just go and then smooth randomly, so that will just be where you can see we are now having some lumps across this which in some cases, you might actually need smoothing randomly, do that. So you want to kind of smooth with directionality in mind. So I'm going to smooth this vertically instead, I'm going to get a better flow around this because I'm following the direction of how that surface actually is. So getting a nice blend in here. You can also smooth this some more. So that just one thing to keep in mind. Also, grating. Let's go back to the cteniclybo brush. Grating additional lumps of flesh or additional flesh in here. You also want to be mindful of the directionality of it also, too. Let's say, for example, let's drag this all the way down and clear this out. Let's say you want to create some nose in here. I'm going to increase this. I'm going to start by let's know symmetry for this. Let's say we're creating a nose, we know the nose has a particular directionality to it. Let's say we're creating this for now and then I will just leave this part up a little. Then I would like to create something that goes across horizontally. Nod that back to declare or brush, and I'll just go across this way. Go across this way. Just for example, this is not a precise nose though, but just give guy an idea. So if let's say I define this nose structure a bit more and make it feel more like nose in here. Now, what I'm going to do is that I'm not going to just smooth randomly, just go in and then just do something rough like this. You don't avoid that because now you can see irregularities and irregularities and then bumps across the surface. Avoid that because you notice why creating this lump of flesh, I was creating that with directionality in mind. Let me do this. If I'm also smoothing this, I need to smooth this with also directionality in mind also. If I come down here and I'm just going to do a blend smooth, keeping directionality in mind, or do this horizontally. With precision in mind, so now you can see now we get better, smooth out rounded surface instead to work with instead of just smoothing randomly or creating or creating additional lumps of flesh in a chaotic manner. So that's one thing to kind of keep in mind because while I'm working on can delete this now, Let's go back to the original five. While I'm working on this, each particular region or surface has a particular directionality to it in form of a shape, C shape, rectangular shape, moving round A shape also too so you want to keep that in mind and then make sure you get your hand flowing in that same direction. For example, now the deltoid deltoid in here, you can notice in here that the directionality is flowing. Let me select that to select that sub to. Directonality is going to flow in down this way, slanted down this way. So gives me an idea that if I'm to add if I want to add additional flesh to this, I'm going to respect the detoid shape and then create something that flows in that same direction that flows in that same direction. Then when I'm smoothing that, I'll smooth that also in the same direction also to just to get something that flows in that direction. That is just something to actually keep in mind. Very, very, very important, very important. So I figured I should get that out of the way, so you guys will get an understanding as to how I kind of move my brush with directionality in mind to get a more clean surface because even though we might be doing the same thing, it's important to kind of flow in the same direction, so we get quite similar results. All right, so because this is one of the issues I kind of face while starting out, creating characters and sculpting on surfaces because I kind of get lumps everywhere. I keep wondering. Where are those lumps coming from? I'm doing exactly what the Gyorizing but I keep getting lumps across my surface. It was because I was not doing it in the actual directionality of that particular region. So yeah, that's so in the next lesson, we're going to start proper and then start using anti anatomical references and then start adding some more more structure. So this are character that's going to get this to look just like a reference image. So I'll see you guys in the next lesson. Bye for now. 5. 04 Torso height In Zbrush: Hello, welcome, but guys. So in the previous lesson we kind of worked on and we talked on also kind of showing you guys how to kind of sculpt directional flows and smooth in directionally, also, too. So now we're going to jump right into the sculpt proper. So usually for me, I like to at least for a full body character like this. I always like to start by creating the entire proportions for the body first. Once I get the proportions for the body as accurately as I can, then I can now work on the head. So that's precisely what we're going to do in here also. So let's get right into it. I will select the base body, so this is Idri's body. Also, make sure your file is also saved. I've saved this as Idri's body, just to let you guys know that I saved up already. I'm going to select Idri's body. So I would like to increase the subdivision level all the way to the S subdivision level I would possibly need for this character. So when I'm adding layers in here, I don't need to up this subdivision level anymore. Let's do that. I'll go over to geometry. Then I'll keep subdividing this. After subdividing this, I'm going to test it out to be sure if it's enough for us to work with and complete this Control D, control D to add more subdivision levels to this. So I'm going to go something roughly around one more should be fine. One more should be fine actually for this. So 55 million should be fine for this. So I've used this before and 55 million was a good number to kind of use for this to add all the necessary details I need for this. So let's test this out. So usually, I like to test this out with using some simple Alpha on the face just to be sure if the resolution is enough to work with for the phase. So that's what I'm going to do now. I'll go over and select standout brush. Then on the light box, I'll go over to Alpha. Then I have a texture XYZ, 175 Alpha in here to us, XYZ, 175 Alpha. I'll also pull this up. I think I can just use. Let me try two on here. Okay. And I'll just get close. Then it should be on drug rec I'll just draw this out here. Okay. Then I'll get close to see if it's kind of ding the detail properly, it is. So it's ding this detail properly fashion increase the intensity, and I do this around there. So I'll just check the closed of if it owes the detail a bit more, yes it does. So I will do that. I do that also. Okay. Set this back to dots. Set this back to one, then we should be fine. So now I sub I can go in and then create layers for this now. So let's go over to layers. Scroll down, and then I'll add click on this plus sign. And I'm going to name the body primary forms. Let's use all caps for this. There is no caps for this body primary forms. Okay. So now we've added that in there. I would go to the lowest subdivision level. So I would need to then put this the side. This should be here, and this should be. Okay? I'm going to open up my geometry because I'm going to be dialing back and forth between each subdivision level in here. I'll do that. So I'm going to go to the lowest subdivision level. I'll drag this all the way to the lowest subdivision level for this. All right. So one thing I like to do is to inflate, especially when it has a bigger body parts. So I would like to inflate the arms more so let's hold control side. Hold on control, select Mark's lasso. She pull up here actually. I think Opia should be fine. All right. Then around here should be fine. Okay. So that should be fine. Then I would. What I'm going to do right now is just to mark out the arm. So let's make your symmetry t down the seas. So let's mark the arm around. Let's check the back. Mark this part also. Undo that. I don't want to mark that part. Let's do this from Let's turn this on the side and mark this that in. Alright? This is fine. This will work just fine. I think the brightness for my skin tone is just way too bright. Let's dig this down a little bit more, so it's not too bright. I'm glad it should be fine. And I will invert this. I would blow out the mask all down control and then tap on the surface to blow out the edge of the mass. And I'll go down to deformation that deformation, get this in. I'm going to do an inflate. So let's go towards the positive. I can see obviously this is way too extreme. We just need just a very tiny amount, actually. Still too extreme. Okay. Let's see. Let's see if this is fine. No, this is just way too much. So I'm going to type in actual values in there. Let's do a value of one. There's the value of one in there. Okay, one seems like a good one. At least most especially for the fingers because the fingers we had in here was way too slim. So it was way too slim. So I think this should be fine. I should be fine. Just check in the arm again. Let's do a little bit more, but this time around, I'm going to max out the wrist with the fingers, blow this out. Then let's inflate this again. I'll use the value of one again. Right, so this is just going to add an overall mass to the arm, just a little bit more. That should be fine and I'm going to clear that out. We should have a bit bigger arms in here, but we need to also compensate for it also for the body type. We'll do that also. But before that, let me check my character. This my character has a bit more height to him, let me reduce this slightly taller in height so I would select This part mark this part out. Okay, go to gizmo, invert the max, drag this just very little should be just fine, very, very little should be just fine, very little. Like, so because it's little adjust meant to make for the length of this, you're adding extra inches to this, so you want to be careful with that. So I'm kind of giving him a slightly longer torso in here, slightly longer torso. Then I'm going to max this part out. Tonal symmetry for this. Okay, blow this out a bit more invert the mats. Okay, and add a littlest a little bit more also. Just a little bit more like so should be fine. So it shouldn't look too extreme. From a distance, so kind be able to tell if that, Okay, this guy is actually a tall character, so should be having a slightly longer torso and then longer legs to him. So we're going to kind of get that also, too for the um let's get that also too for the arm. The arm might be slightly thick, but we'll make it work. Let's max this part out, blow the mark the max. Let's get this in here on the keyboard, rotate this to get this on the same orientation. Then I'm just going to move this forward a little bit more like so, should be fine. No, that was a bit much. And that was slightly slightly old. So let's see if I rotate this down. Let's do that instead. Mark this part. I blow the marks. Over the mask, go back to our Gizmo, old drag this Gizmo around here, do that. All those put the gizmo around there, set the orientation we facing this way. Come on. W this here Then I'm just going to rotate this down slightly. I'm just trying to see if this is going to work, if the length for this is actually just at the center of the thigh. Which for the most part, it is. I'm just going to pull this back to the way it was before and clear this out. So we can continue on from there. 6. 05 Deltoid And Biceps Sculpt In Zbrush: I Okay, welcome bag, guys. So welcome bag, guys. So in the previous lesson, we worked on extending this character a bit more, the toeso and then the leg just to get him look a bit taller in height. So we're going to do a little bit more, and then just carry on with that. So I would like to inflate the I like to inflate the thighs a bit more and inflate the calf also a bit more. So we also have the ankles and then the toes also. So we need to inflate that some muscle. To do that still on the max lasso, let's select max lasso. Then yes I'm going to grab all of these parts. I think we can grab play this out again. Let me grab. Let's grab this part instead. No. All these parts. Okay? I think we can grab this part also. Let's grab this part also. Blow the max, invert the max. So basically to invert the mouth, just down control and then tap outside on your screen. Then I'll go to the formation. So for this, I'm going to start by looking at the toes because I don't want to overextend or over inflate the toes. So let's go into the toes inflates. Let's start with the value of one. Let us find the tools seems fine now. Those are fine, I'm going to exclude the tools by maxing it out. Add the max around that part. Blow the max. Okay? Then let's inflate this even more. There's a value of two. I think a value of two is a good one. Yeah, value of two is a good one. Okay. So add some at least some more thickness to defeat. That's fine. So kind of helps This kind of helps us work a bit faster in without having to add some flesh over the entire outin. Tough we're still going to add some more flesh with declare bio brush on the entire outing, but for now, we have overall proportions with some gradual transition in between the That's fine. So let's do for the toes excluding the arms. Okay. I also like to exclude the neck, also. Let's exclude the neck out of this. Exclude a bit more of the neck. Don't do that. Let's do this from this angle instead. Okay? Then we can add that back in around here. Okay. Inverting max. Blood this out some more. Let me do that. I think I'm missing something. Let's exclude this some more. Yeah, this is fine. Inverting max. Blood this out a little bit more. The lets done in flits. Okay? Yes, this is actually fine. This will actually work just fine. Let's clear this out. Okay. Yeah, so now we kind of added some more thickness to him. So if we begin to build on top of this now, we should be in the right spot because we've added the right amount of moresomas on top of this. So I'm going to reduce the smooth intensity, take this down, and then begin to smooth this part out. Okay? That's fine. Usually, I like to start with the so adding some more additional fleshiness on top of the especially where we need them to be. So let's go down to ply group. Go down to poly group and then let's do Shift F. Let's do poly group with UV. Poly group U should be fine. So down control shift, select this. Put down control shift, select this. Put down control shift and drag selection outside the canvas to get just this part visible. Okay. I think we can let's mark this, bring everything back out in vote the mark, blow the mark. I would like to exclude the ties, exclude this, exclude this also. Let's just get this visible lex. Then I would like to start with the detoid. I'm going to start with the detoid in here and get some more structure in here. Let's do this from the side. Let's this from the side. We already we already have the right mass in terms of the overall proportion for them. So just to add some fleshiness on top of that. So let's go on subdivision level higher, drag this down, drag this down. Let me make sure the subdivision level is shining here. Also you can see the active point in here, so we know what we are working on. Okay, enclosed. Let's go and include this one subivision level higher. So just D on the keyboard to include this one subltion level higher. Okay. So yeah, now we need to look at realistic anatomical references in here, so if I go over to, I believe have an CO chair in here, maybe I should extend this out a bit more, make it slightly bigger than it is right now. Okay? So if you look at, let's look for something that is on, this is work. If you look at this in here, you can see the directional flow to this coming down, just going downwards instead and connects around these parts. So it kind of connects around this part in here. So this is not actually accurate, but you want to keep account also of the actual apples or character, very important. Keep an account to the actual apples or re character. This is also another one we can also can also use in here. But if you notice very well, you notice that the deto kind of folds into the bicept. So that is what we also have in here for the realistic reference we're working with in here. Let me just get that This is it in here. So you can see I kind of fools into that parts in here, so basically, I'm basically trying to show you guys the anthemical accuracy of that. And the more we kind of blog this in, we will know, Okay, yes, we are doing this as accurately as we need to get it to be so. But using this mi reference, that's a good example, though. Let's blow this out. Let's go back to the Clay Buda brush. Clear Bu Du brush now will begin to respect the directionality of it and then just add some more flesh in there. Okay. For this in. If you notice the direction I'm using for, this is the directionality I'm using for this is this directionality in. Yeah. Should show you guys in here. Okay, so you can see the fiber details in here. You can see how you can see how the fiber details kind of folds into the endpoints. You kind of teasing down here. So that basically what I'm trying to do also too. Trying to follow the same directionality. Like I explained initially that why blocking this in? You want to kind of do this with directionality in mind. Direct directionality in mind, which is what you need to kind of get this to look absolutely right. So yes, keeping that in mind. So let me change this string dynamic to my dam standard brush. And then I'm going to carve a little bit more depth around here. Like so. Yes, I'm going to smooth this down, smooth this down some more. Then we come in here and smooth this down with a low intensity, increase the bros size, smooth this down, smoothes down. So you should you don't want to completely smooth everything though, but something like this, you should still have those fbight those fiber details in there, so it should be fine. We're doing this symmetrically, so we can work a bit faster in here. That's fine. Okay, so moving on moving on. Let's go back to our main reference. Reference in here. Let's see some interesting shapes in here school. So let me make sure I create some more depth around this part so. Let's see some you can see depth around here. Close to the clad starts from the clavicalbon, so all the way down under the armpitel. We need to introduce that also in every de standard brush. Okay? Blend smooth that down. Smooth that down some more. But the depth is in here a bit small, I'm going to get that depth in there. Okay. That's fine. We also have a depth just around here with this mass in here, we have a depth. I'll smooth this down. I don't need to be too obvious, but still in there. So we're basically trying to work between getting something soft and also sharp in here. So another depth in your also. A depth in her also. Okay. Smooth that down. So you just about making so two changes in there, and then you get really good realistic result going on in there. So yeah, moving on. Moving on, said this right. So in this bicept bisptin and just at the tricep also, too, there are some secondary shapes in there that we need to keep into account too. Let me show you guys another reference that should help. Show you guys because I always want to kind of show you guys a reword anatomical reference that should be in there before before blocking it in because it's important to kind of see what is happening in there before actually adding firstly adding those structures in there. So in here. So we then it gets in close. So you can see the biceps with this purple and you can see the triceps as this yellow at the back in here, so we have a trap piece in here just between the tricep and the bicep so that extra piece in here is what we need to kind of mark out in here now, so to mark that in let me take down this intensity of mydaM standard brush. Let's kind of get a marking for that in here, so just going to use the Dame standard brush, and then we can have the shape of that in here, so it should be around here. Should be around no, that's way too thick. So somewhere around here. Kind of flows, kind of flows all the way around here, so so it's always good to kind of use your deme standard brush, kind of mark that out. So once we are fleshing that in, we're going to fleshing that in with the right anatomical reference detail in there. So it's also what we kind of have in here. But mine is a bit too. I would say mine is a bit too, may be too thick for now. So let's get something more or less, like, so, something like that should be fine. So it goes all the way all the way to all the way to the back to the price septin, so let's blend smooth this down. So even though we kind of add that in, we don't want it to be too I don't want it to be too obvious and then distract my entire distract the entire shape of this structure in here, so it's just to add that to the dam standards, blend smooth that down, then go to another move to another model structure and then get that in a bit more accurately. So I'll go back to let's go back to the echo chair we have in here. Let's go back to the Echo chair, and then we compare that to the trapezsmzu. Tricep rather about to tricep so this is another example in here. Let's look for a side view. So this is a good, this is a good one. It's a good side view in here. So this piece just kind of marked in here is what we have is what we have in between the bicep and the tricep in here. This depth we have in here, so that's basically that. So now let's go back to let's go to the tricep now and then add some more defining shape in there for the tricep. I would like to do this. I like to use this echo this echo chain, should be fine. Fine in here, so you can go to the back and then add the detail in here. Okay? So this spotlight reference kind of shows us a split different between the front and the back. So we have kind of added detail for at least for the front part of the det need to go about the Tricepnum then reintroduce that detail in here, introduce more detail for the triceptu. It is also kind of separated out. You can see separation in the center part. You can see separation in the center part. Even though we try to add this mass in here, we also kind of add that separation in the slightly just to make it feel a lot more interesting. We also need to kind of extend or increase a little bit of the mass of the deltoid in here also, too. So let's go to the deltoid and then just add a little bit of additional lumpine then smooth this down. Smooth this down some more. Like so, should be fine, okay? Then let me blow this out a bit more. Let's read the seal on the clay B do brush. Let's add some detail for the triceps. But before we do that, let's get where the shape should be. Let me get this out. Get this out. It ends somewhere around here. I do that ends somewhere around here. Then all the way. So basically using the dens standard brush to block that in, get the depth in here. Okay. Then we have another one that kind of cuts through the mid in here, like so. So once you go to blog this in this way, it becomes a lot more easier to kind of know how to flesh that out, following the directionality of it kind of digs in a bit more. So you can go to the clay buildup brush now and then begin to add a bit more flesh in here directionality in mind. So you need to do this with directionality in mind. Flesh this in. Okay? So making sure respecting the directionality for it. Okay? A nos we add that in, we can now do some smooth, some blend smooth do that. Let me just add a little bit more around there, then smooth this down. Smooth this down. Seven though we kind of added this now using this echo chair, we still need to kind of go to a reward reference and then that figure out how that should be based on the realistic reference. So let's look for. So for him now, it's not too obvious, actually. It's not too obvious because it's not that masculine, if you should see. No, no alive, you see. But it's kind of add some kind of smooth. You still need to have kind of smooth transition around there though, we don't kind of completely hide it, though. You still wants to be in there, but with some smooth smoothed out transition around those parts. Let me add a bit more around here. Smooth that down. Okay? All right. So once we go to break this out, we still need to kind of make sure that we have some breakup in there based on more mass structure around those parts. Now for this part, kind of there's a bit more fleshiness around these parts. So we can also add that too, just to smooth things out some more in there. Okay? I think this is interesting, you can actually work with, add some more flesh, smooth this down. Okay? No, do that. That isn't looking right. That's not looking right. Okay? All right, that's fine. So let's compare this to so I'm basically using different references in here. Let's kind of get this to look right as much as we can. Okay? So we can also use the move brush also to go to lower subdivision level to lower subdivision level and then use move brush and then lift up the mass a bit more on this part if you need to Okay. All right, a little bit more down here. All right? Let's come to the side view. Let's extend this out a little bit more. Okay? So just small minor additional detail, fleshing out and then using them standard carve out where it needs to be. You should be getting, actually good result out of that. And ask precisely what we want. Since our main references like this, I won't say precisely, but at least this body mass structure in years is good enough for us to actually work with ins main as our main piece. So I would like to extend this out a little bit more. So once we're looking at this from this recorder view, you should have these parts on the Trist slightly elevated, which is what I want. We also come down on this let me fix this, extend this out a little bit more. If you getting something like this, which will work just fine. Yeah, it will work just fine. Alright, so moving on, I would like to calculate this parts out. Yes. Yes. I think this should actually work. Except maybe maybe a little more depth in here, but using the depth standard brush, kind of carve some parts in. So let's just see already have the depth in here based on shadow information, now you can see the depth in there. So maybe let's accentuate it a bit more. I'm just going to go in and smooth this down. Okay. Undo that, undo that. Let me do this again, goes all the undo that. Like so. And I'll smooth this down. It should just be dabs quite faint D quite faint, should be fine. All right. Yeah, I think this is fine. We add something here, do that kind of food in here. Get this smoothed out. She just resting the like sha of shadow depth information in here, that should be fine. Alright, so I think this is fine for now. So let's go to the let's go over to the pictorialis major moss, which is the chess moss in here. Now for chess moss we need to add more or add additional mass in there, but keeping in mind the directionality of it also too. A also keep in mind that the lower part, let me get the lower part of this chess moss extends out a bit more in regards to this chess moss the upper part. Keeping that in mind, I'm going to do that base. I'm going to ask some more fledge based on that. Let me show you guys the echo chain here so you can actually be on the same page and we will not start we're doing in here. It is a good one. So the most on the lower parts kind of is a bit more. I can kind of folds into the detoid in between the detoid and the bicep so keep that in mind, I'll go to my Clay buildo brush. Let's start with the Clay buildo brush. Okay. Let's start with the dams. Let's start with Move brush instead and go to the lower subdivision level. So with this now, we can just move things a bit more gently before adding more flesh to it. So let's get this up a bit higher, okay? All right, this is working just fine. So look at this from the side view. Then we compare. Let's get this on this view also. Yes, is a good view on this view, we can now move. Since a bit more around here, we can get this mask out. We can get this mask out. All right. Then we can use the Dame standard brush and create some more tighter dead. But we need to connect this to D toy. So let's extend this down, get something around here. Yeah, awesome. Awesome. That's working just fine. So we know it's kind of tightening to the detod so we can push this a little bit more depth around here. Yeah, that's fine. So now we can increase the subdivision level by just one subdivision level here. Okay, that's fine. So now we can see what we have in here now. We have a bit small mouth. We're also going to flesh this out some more though we declare the door brush. But for now, I think this is working just fine. So I'll see you guys in the next lesson will carry on and keep working on this by for now. 7. 06 Back Muscles Sculpt In Zbrush: Okay, welcome back, guys. So in the previous lesson, we kind of worked most particularly on the Deltoid, the biceps, and also on the tricep, okay? So in this lesson, we're going to work on the vectoralis major and some other parts of the model. So let's jump right into it, so moving on. So our main reference is this piece in here, but I don't really like how the chest muscle or the pictorialis major is right now. So I'm going to be using a different reference for that, I think. Yeah, this one is actually okay, but it does not have that chess mass in here that we can actually use. But from this angle, we can see something quite similar in here, based on what I was kind of explained in the previous lesson. It's a deep cut in the middle and this lower part is a bit thicker in form, or has more muscle mass compared to the part closer to the clavical so. With that in mind, let's continue on. So I'll go to the lover subdution level. I would like to get the clavicarbon a bit more of your seen there. So with the dam standard brush, I'm just going to add a bit more depth in there, then smooth that down. So it's not bio it's not too sharp, but just enough in there to know that we actually have something in there, and let's create some depth, bit more depth in these parts. Smooth that down. Awesome. So I think this should work. So actually work let's get this undo that, get some depth down here instead, smooth that down. Alright, so two changes that makes all the major difference in there. But the clav carbon actually extends all the way. So undo that. Let's create some depth in here. Alright? Yeah, that should be fine. So to continue on, I'm going to cut a deep separation in here. So if you're wondering what this separation in here is, let me show you guys think we can use I guess we can use not this. Let's just look for the Eco che in here. Let me see if I can find it on this piece. It's not really on this piece. I believe it should be let's look for something. Yeah, it's here also, but it's not too obvious, but it's quite important kind of note that in actually because the lower part extends more than the higher part. But you can definitely see the separation coming from this fiber uso fibers in here that cuts into cost into the deltoid. So let's add that in. So keeping in mind directionality also directonality is basically like everything in here, so let me increase the bro size. I'm going to add this separation in here, something like so. So it's going to be like a depth, then we will smooth out this depth. I'm not going to smooth it down all the way to the end though. I still want to keep some on the on the center of the rib cage on the center of the rip in here. So want to keep something in here. So it should be fine. Should still be slightly obvious based on shadow depth information around those parto. That's fine. But in here, I would like to know, why do I have this, remove this, okay? So just underneath the all its breast of the meal. I would like to add some more depth around these spots. So should capture a little more depth around that part. I can now use the Clay Bu Da brush now and build some more mass. Let's build some more additional mass structure in here, but keeping in mind the directionality, so it should be flowing around somewhere like so. I won't completely hiding the nipple detail around those spots. Let me do that. I don't want to hide the nipple detail. I don't want to hide the nipple details. So let me start by going to my lab Buda brush. And then make sure my Nippo detail is not washed out. So let me go to one subdivision level higher, and I'm going to kind of accentuate the Nippo detail in there a bit more. So I know it's actually in there. So I don't completely wash that out. So let's go back to the lower subdivision level. With a lower subdivision level with the clay build up brush instead now. So keeping in mind the directionality of it's very, very, very, very, very, very important. So I'm going to add mass based on the directionality of this fiber detail in here, okay? All right. All right. Let's go on sub dibution level higher. Go on subution level higher. Let's go to lower subdivision level. Then I'm going to add this in. This fiber should flow. Then we blend, smooth this down. Smooth this down. Okay? Yeah, I think should should be more or less fine for what we need it for smooth this down some more. Alright, actually going to go in there and work a bit more in there, but for now, I think this should be fine. Add some more mass in her smooon this down. Okay. Let's see what we get. Check this from the side view. Okay. Yes, they should be fine. So let's go back and look at the reference in a bit more. Okay? So a deep separation in between the bacterial is more souvenir. So let's get undo that. I'm using the wrong brush. Let's use them standard brush, carve a bit more depth in the center. Kind of separates them out a little bit more. Let's see. Let's go on solution level higher. Lets see if we do that accurately enough. If we didn't do this accurately enough, then we to redo that. So let's look at this from a distance. Yeah, let's move this down. Okay, get some soft transition on those parts. Then I need to add a bit more depth in here. Smooth that down, should not be too obvious, but just enough enough in there should be fine. Let me do this. I don't want I introduce the bro size actually before doing that smooth it down. Okay? Right. Yeah, this will work just fine. So let me smooth this down, smooth this down. All right. We can introduce, actually we can actually introduce because why? Just like a fiber fiber it we just discussed earlier. I kind of falls into the dt in there so. For him, we can see a major one from this part here, so we can introduce that in there. So basically something that goes in this way, then we can just smooth this down, smooth them down. Move them down some more. There's quite a lot of them going on in there. Let's move this down. Don't want this to be too obvious. So, so then for the center part of this, you need to create something that looks pretty much. Like, so just like those connectors for the fibers. Basically those fiber connectors are kind of which origin points from the center of this Victorious moss in a pictoralis mousse rather. So most of those get some the fits in there. We're still going to come back to that when we're working asymmetrically in there, but for now, let's just get something at least in there for now. So that should be fine. I kind of like the way this guy's neck is, so I would like to use some of this use this as my main reference for the neck muscle around here. So let's go to the lower subdivision level. Let's go to lower subdivision level for this and then use the Dame standard brush. Still on the Dame standard brush. You can create a bit more depth in here. Is it too deep, feels like it's too deep, use the brush size. Okay, so we're still working symmetrically in here, so that's fine. Sin add something weird up. Okay, moving on. So we need to add a bit more depth around these parts. We create depth in here. No, do that. Should be a bit wider. Okay. So for this, I'll go to the clay build up Boclay brush, create some depth in here. Symmetry working accurately. I think something doesn't feel right. Something slightly doesn't feel right on the neck. Okay, yeah, it's fine. It's fine. So it's fine. So with a clear brush, or with the standout brush, I'd like to add some more depth in you, increase the intensity of the brush, increase the brush size. Okay. Yeah, that should be fine. Add depth in here. Okay. Smooth this down. Shouldn't be too obvious in there. I think mine is kind of spread out way too much. Let's get this a bit closer. Do this reduce the brush size, get this a bit closer. Okay. Get some more depth in here, smooth this down. Okay. No, that is not looking right. Yeah, this is fine. Smooth this down. All right. Yeah. For the shoulder also in here, I think for the most part, this is fine. But we need to definitely add some more. There should be some depth around this part. So do that sib size. Add some more depth around here. But it's a bit too deep now, so we're going to smooth this out. That's why we're kind of working with the lower subdivision level so once we smooth, we should get something interesting enough to work with around that part. Get some more depth, smooth this down. Okay? Yeah, that should be fine. That should be fine. Smooth down a bit more. Let's look at this. This is fine. So one other thing I would like to do would be to give this guy a small slightly longer neck to him. Let's give this guy longer neck. Let's bring everything back out. Okay. I'm just going to mark out from the lower part to the neck around there should be fine. Blow the mark by holding control and tapping on the surface. It the mark, blow this out a bit more. Okay? Ton of symmetry. Let's center this. Let's drag this down a little bit more so it should be fine. Just should be fine. Bley this out. Then let's go to the neck, turn on symmetry. I'm just going to move No, with the move brush, let's move this in a bit more. Let's zoom out. It looks a bit off. Let's extend this back out. All right, so we can move this undo that. Move this down slightly. Yeah, yeah, that's fine. That's fine. So one of work on the face, it should just kind of make a lot more sense with all of this together as a single piece of. But I think we need to smooth this down to smooth this down a bit more. Yes. This is fine. This we can work with in here. But here has a bit more depth around the clavicarbon. So let's create a bit more depth for the clavic carbon. So I'm using the standard brush now. Holding out creates a bit more depth. Blend smooth. Extend this out some more. I don't do too much, though, so smooth this down. All right. Yeah, this should just about work just fine. Let's do a bit more depth in her, smooth that down. So go to a higher subdivision level. Let's see how all of these blends together as one single piece. So once you add some detail in there, you always want to go and increase the subdivision level one step so you can actually see how all of the details are coming in together as one single piece, so I think this should be fine? Though, se one sing though. So let's go to lower sublution level. I need to push this clav carbon out down a bit more more brush down a little bit more, okay? Done a little bit small. All right. That should be fine. That's fine. That's fine. So this is how we kind of block this out in here. I think we can work with this. Yeah, we can work with this. Now, let's go back to the back part of, do we need to, let's continue working a little bit more in front and maybe's conclude on them a little bit more so. Let's look at this reference for the most part, there's not so much happening in here. I think the structure we have in here has already grown enough to work with except we have some breakup in this. Let's use the echo chit kind of add that in Let's look for something better. I think, this is fine. This is fine. Let's do this from the same from the same angle. The same angle should be fine. So basically, something like this. So we have a moss that is around here. So we can accentuate that that we can accentuate. We can just go and red them standard brush, create that. Okay. That actually falls into the middle part. We have one here. We also have another one in here. So I'm just basically trying to bring them out some more. Get this in here around that one around here, smooth them down. Okay? Let's look for something with a better better view. Let's see I think this one, this is good, is actually a good one. Yeah, it is a good one in here. See, this is a good one. We can at least see structure a bit better. So we know that this let's foods from the same angle. The basement is actually quite nice because it kind of blocks out the shape a bit more rush. At least, it was actually in there. So me the dam standard brush continue on around here. We can get this in all. So basically just adding some separations in there based on the reference we have in here just to define it a bit more. All right. Yeah, this should be fine. We're going to build slightly a little bit more on that, but it should be fine. I'm going to blend smooth. Some of these lens are not too obvious but still in there, so just blend smooth down. Smooth this down. Okay? All right. That should be fine. Yeah, that should be fine. That should be fine that we can work with. Alright, so I think we can just leave this for now. Since circle back to that when we start adding some rational directional, muss structure in it's going to get those fibers a bit more ticker. So we'll circle back to that later on. Let's go back to the back. Let's go to the back. So let's work on the I think I need to smooth this down. Let's work on the tri Pasios moussu in a go to the back. So let's work in the trapezsmsu and then the tires major, and then the latissimus dorsu also. So what's that thems going on at the back, but once gonna get this major structure in there, it should be fine. I should be fine. Usually, I like to kind of start by adding some more mass too. Most especially the rhomboid. So the rhomboid needs to have a bit more height mass in there. And the rhomboid is what we have. Let me max this out. It is what we have around here. Mass. It's kind of must structure that kind of folds into the detoid also. But there are actually two layers to that. There are actually two layers to that. So we have one at the top, then we have another one that falls in in this pattern. Now, this base mesh radia kind of gives us an idea of where they are already. We are going to build on top of that, and that'll be all. So let's start by using the Dame standard brush to get the shape of that a bit more obvious in there. We have one piece in here, we have another piece in here. Okay? And I'm going to go in and then elevate the spine some more, get some more depth in the spine. Then we have the trapezomcle also. Let's see, use a bet. Let's use, no, this should be actually focused in here. So, yes, it's a good one. It's a good one. So you can see how elongated the trapezs muscle is more like a more less like a triangle. You can see it looks more or less like a triangle, so it differs from bodies to body, though. The shape of that actually, the major shape under underlining the muscle structure underlying dt is still the same, but with the reference with some references, might look slightly different. So in there, the traps moss is not that sharp or not too obvious there, so And this is like the reference we're actually kind of using, but we need to kind of blog that in structurally before making it look more or less like a reference. So that's what we're going to do. So let's use the Dame standard brush on this inner also that connects down here. Okay? This mousele let me show you guys this moss in here. So this mussle just below the trapezus mostly the tracho lumber fascia. So it's just muscle just below the tribess muscle in here. So it's what we have this strangular shape in here that goes all the way to the butt. So this shape in here, so that's for that. I need to kind of get that shape in there, using them standard brush to line it up. So I'm using them standard brush just to max or create a more ovo shape for them by kind of separating them with them standard brush. So when we're kind of blocking that in we block that in a bitt bit more accuracy. So we have this structure in here, Okay. You also have a muscle that goes all the way to the back of the neck is around here around here. Then it crangulates around here also, too. Let me show you guys a typical example for that with the echo chain here because I this kind of show you guys where that is. So we know what we are doing, so you can see this large mouse of the trapezo moslein here. So we already have that structure in here. Now, I think you have blocked out the structures in there, so you cannot begin to start filling them up. So let's start filling them up, I would like to start with the Rhomboi. So let's do the rum booi first. Let's add some more flesh in here. Keeping in mind there it directionality of it very important. So from the side vieulk kind of pop out a little bit more like so. Then let's fill up the trapezmre so. Fully tropes small zoo. Okay? Kind of feeds or kind of blocks in all the year, right. Then we will do also. Get these parts a bit more around, right? Yeah, that should be fine. Then let's separate the bot some more. Is it going to come down to the bot us in a bit let's just flesh, all the structure in a face. There's a bit more light around these parts compared to the other parts. Let's begin to smooth things out now. So I'm still on the soft smooth. Excuse me, small intensity for my smooth brush, very small intensity. Smooth this down, okay? Yeah, that's fine. Smooth this down. Okay. Smooth this down. Then we still also have like still also have let's see if we can. There's no libit for this, though, but it's a struct. Let's echo chess structure that goes all the way from a dam standard brush. It comes all the way around here, like so. So that structure is somewhere around there. But it's not too obvious, so blocking that in and then we smooth that down. So it's not too sharp. It's not supposed to be it's not supposed to be that sharp in there, smooth that down, right? So let's go on subdivision level higher just before we do, with the dam standard brush, am going to create a depth in here, smooth that down. This down. With the clay B do brush, let's get a smooth transition around here. Smooth that down. Okay. Then let's increase the subdivision level, so you can at least can actually see what we have done in here. Yeah, also, you can see how we can block the structure in here now. Structure N is not properly blocked in a bit more accurately. Let's get this in here, smooth this down. Okay? I can use the DM standard brush and create some more depth in here. Should be a bit more depth in here, smooth this down. Smooth this down. Shouldn't be this sharp, smooth this down some more. Alright. So you can say we kind of gotten good structure in there already, which is precisely what we want. So in the next lesson, we're going to carry on and then continue working on this, right? By for now. 8. 07 Abs And Thigh Sculpt In Zbrush: Alright. Welcome back, guys. So in the previous lesson, we worked on the back piece. So we're going to carry on and then keep working on this piece. So let's carry on. So still on this and would like to you can see some elevation on the sides, which we also have on our character in here, but it's not obvious yet on our scope. So let's introduce that. So I would like to shift S or shift F to bring out the control to remove that. I did a screenshot by mistake. So yes, this is fine. So I would like to Control Shift click on this. Max this out. Invert the max, blow out the marks, blo mark or more. I'll go to my MOV brush. Asymmetry is turned on. I like to extend this. No, I'm not a move brush, yes. Let's let move brush. On the lower solution level, let's extend this out a little bit more. Okay? So you look at this from the side. Yeah, it doesn't look accurate enough from the side, so you want to make sure this is working accurately, let's extend this out first, then extend this out to join that. So this should be fine now. You just need to pull out the small su structure. Let's get this in. So it's basically this model structure in here. We need to extend. So I'm going to inflate that out a little bit more, smooth this down. Okay. So from the side now, it should look a bit too much, a bit too much, a bit too much on this side. So let's move this with the move brush. Move this back in a little bit more. Yeah, right, This looks and feels a lot better now. Okay? All right. Yeah, it will be fine, but there are a few things you need to do in here, though. Let me undo that. Mark this path out again. Okay, both have different UVs. So let's drag out a selection after in control and shift to invert this selection out. Max this out, inverted marks, blood mark. Okay? So for the front now, we just get some of the module structure in here and get them as accurate as we need to be. Yeah, this is a good one. You can see major separation around here. So it's more like a dead more module structure just below the ditoid pectoralis major, and then the biceps. Still on the lower part of the waist or rather the waist top part of the waist rather. So let's block that in. So if I should show you guys another reference also so you guys can actually see, so we're both on the same page, you can see I kind of cut in there it cuts in the round out parts. We have a Okay. Let's see. Let's find the Okay, there's no specific name for that, though. The labels in her doesn't give him the specific name. Anyways, kind of nowhere, it's a bit more of your senior, okay senior so it is the lattice, mouse dose still almost the one that kind of comes from the bab with a separation to. So you want to understand that. Even though there's a major name, it's kind of separated. The more structure in there is still slightly separated, so Let's kind of get the structure in there a bit more Dem standard brush. Let's create the separation. You put this to the side. Kind of cuts all the way around here. I cuts all the way on this part. So yes, there fine. There's actually fine. So we can actually build less IDs. We can actually build structures based on the separation of those added in here now. So you can use the clay Bo brush and fill that part up. So more fill this part up some more. All right. Bring the back out. Then we can smooth. Come blend smooth just to get everything blend it down. But still in there, though. You don't completely blend smooth that down. I still want them don't still want them to be in there. Right, so moving on. We can add in here. Let's see. So, yes, we can work on the apps now, we can work on the herbs now. Let's work on the on the herbs, get the herbs in the structures for the herbs in there. So moving on, let's see if we need to the mass is already in there. Mass structure. Let me put this aside. The mass structure is already in there. Let's use this instead. So we can see the major mass in there a bit more accurretly. Okay. I see. So now let's get the let's get the oblique sculpted in a bit more accurately. But in mind, keeping in mind, we still have a word reference to actually work with, so let's just block out with the dam standard brush. I don't name knows them standard brushing. Let's just use the clay Do brush does build on top of that, so it from the side view. So let's get some more fleshiness for the oblique smooth this down. So basically just adding it's more or less like model structure that kind of folds or tighten itself around the rib cage. So that's basically that. So let's get this in also and we just blend smooth. The blend smooth for that. So you just in the then we can use the Dame standard brush and get this ship in here, get this for the lower herbs, gi down here, smooth this down, right? Then the herbs goes all the way to the vectorial is major mostly in here, so basically, we're supposed to have another additional herb around here. It's more smaller ship of herb in. Let's separate that out. Then separate this out, get separated out, get separated out. Then we have the we have our bellybutton us. Let me get the depth in bellybutton. Okay? So, so now let's go back and look at our main reference. Let's look at our main reference. So we use our main reference kind of get better structures in there. So already use deep standard, kind of blog this in like we did. So every last we need to do here just to flesh things out a little bit more. Get this. So okay. Can create a bit more depth in here, a bit more depth. I don't want the depth to be too much, though. That's I kind of doing a bit fence because for a few persons rather for beginners, they have an issue of making things too deep around this part around this part, between the obliqteen the obliques around here, and then the regular b structure you have around this part. So Now this line around here tends to be a bit too deep for some people. So I want to kind of avoid adding too much depth in there because it kind of breaks the structure too much, and I don't want that kind of drinks a lot more precision to it, so drinks a lot more precision. But this part, we need to get a bit deeper. We can get deeper. That's fine. So we can use the clay buildup brush now. Maybe when the clay brush, actually, clay brush is actually still a good one to actually use for this. So we're just going to add some more mass in here. Okay. See, undo that. N this to be around here. Or something around here. This part should be the way it is. You don't need to add too much heights on this lower part of the album, just blow the belly button. You need to keep it slightly flat as it is, something like so. Just a little separation in here. We're doing this on a lower subdivision level, so once we increase the subdivision level, we should begin to see some of the structure a bit more deeper Let's go on subltion level higher. I don't want to smooth yet now, so I'm going on subltion level higher just to see how they look like before before I start smoothing things out, too. Yeah, this is actually fine. This is actually fine. So we can smooth here. Smooth here slightly. Cause I already on the blockout in here. We did them standard with the clay brush. So you can use the DM standard brush now. I'll go to lower subution level. I go to lower subution in here, and we can create some more depth around here. But we want to avoid straight lines, though. Avoid straight lines as much as we can. So you should be slanted down this way. Yeah, slanted down, it should be fine. Right? Then we get some structures in here. Right? So we're actually working symmetrically in here, so we're not ready to we're not ready to kind of break symmetry in here yet, so what's gonna keep it quite symmetrical. Brick symmetry, begin to add some variation in terms of Musm are in here. So let's see. Let me hide this for now. Let's hide this for now. I want to just visualize this only. Let's view this from the similar camera angle that we having it on our main reference. C, get this to the side. Same camera angle should help us get this where it needs to be. I'm going to use my move brush now. Extend this out a little bit more. Extend this out a little bit more right out some more. The top part, this front part should be out a little bit more out a little bit more. Okay? Let's see extend this out a little bit more. Just sort of minor changes in there should help a lot. Then we can now go back to the clay brush, not declare buildup. Just the clay brush alone. I'm going to add a bit more ams in here, smooth this down. Okay. All right. Yeah, this should be fine. Adding a little bit more to them. All right. Okay. Then we can now begin to use this main reference now and do some more breakup in here clap a brush, adding some more lumps across this. So lumps. In here. Okay, there's one in here that kind of goes all the way here. There's a bit thick around here, right? One here, sort of. It's almost like I'm not the one doing anything, but you should be able to see the difference in here. You can see difference in here. So you want to be a bit slight or soft handed around those parts. Okay. Let us do them standard brush. Just do some slightly bit more depth around here. Alright soft, but still in there. Alright, this is fine. This will work just fine. This we can work within here. Let me everything back out. Look at this from a distance. We can see this is working. This is good enough, right? So we can also with the clay brush. Let's feel this parts. It shouldn't be too tight in years. We can add a bit more flesh in here. Smooth that down. Okay. Yeah, that's fine. That's fine. That work just fine that we can definitely work with. I can see some discrepancies in here. I'm going to smooth this down. Smooth that down. Okay. Right, add some more sums around here. Smooth that down. Just smooth in and clearing things out a little bit more. Let's go to the back. Let's see his back some more. So for this guy, he's a bit more depth around these parts. So we can use the build up brush and build some depth around these parts around close to the trips, trips just more so in here around that part. So still on the rum booi. He has a more wider robos to him. So we can just implement that smoother down. Rumbo rather. So that'll be fine. We can use the dam standard brush to sent that a bit more. Smooth this down. So we should get some more No, let me won't do that. I don't think we need. I don't think we need so much in here. Let's do. Just on this part, you'll be fine. Smooth that down. Smooth this down. All right. Okay, say this work just fine. Smooth this down. Okay. So yeah, I think we can do a little bit more now for the botches. Let's do a little bit more for the boti. So I'm gonna using the echo chain here. Let's use the echo chain. Yes. It's echo che in here. Usually, I like to start with separate separation down here. Separation we have in here, so just get this down, smooth that down, then get a Dimp in here. Get the dimpo in here. Yeah, that's fine. Though, this part is not gonna be visible though, so we don't necessarily need to spend so much time making this undo that. That would be too deep. Making this as too accurate so let's move this down. Okay? Yeah, I think for the most part, you should work. They should work for the most part. Yes, we're already moving. We're ready kind of walking quite fast in here, which is cool. Fast quite fast in here. So I'm just checking this just to be sure if I need to do something else in or I can just move on. I can move on to something else to lower part of move to legs rather. Okay. Yeah, we can move to legs. Come move to legs. So this is fine. Okay, so moving down to the leg, get this down. So for the ties now, a lot of structures happening in here for the tie. The structures happening in her for the tie, but we're going to simplify it as much as possible thought going to simplify it. We still have leverage, kind of simplify this as much as we want. I'm not going to be talking about all of what we have in here, though. There's so much labeling in here. I don't want to confuse you guys with that. So now for the tie. So one thing we need to kind of keep in mind actually start with is the sactuios band. We have that goes across from the goes across from the waistline, all the way all the way towards the nail, actually, all the way towards the nail, just lower part of the nail. So to do that, you need to use the deem stand out brush. Dem stands out brush does a very good job to separate that out. So this is depth we have in here. So depth even goes all the way back around here. Like, so once we kind of create this band, it makes things a lot more easier for us. So after putting this band in here now, we can see. We cannot clearly see the abductos largus which is this moss piece in here. So we have separated that separate that, separated that out. So we have that in here now. But usually, it's kind of like piece a three piece system in here. So let me use you can use this in here. Can use this in here. So we can just now begin to do some additional separations in here also, too so we add another moss structure that comes in here around here. The leg is not going to be visible, though, but we still want to get these structures in there. Okay? So on kind of block this in and then with smooth, it all kind of makes sense. Everything kind of makes better sense. So I'm basically just using them standard brush now to just kind of separate this out a bit more. We have Okay. Okay. Yes. Yes, we can do can carry on with this. Let me hide. Can we just, this is a lot better. Come on. I need to go down here and hod display leston on double sided for this double sided, hide this control sheets, drag intellon to reveal just this leg and the torso or the waist. So let's go up to the side here. So once you kind of add your model structure, you want going to be sure of where they kind of connect themselves to. So connecting more just to make sure everything works as accurate as you should is quite important. So let's use this instead. I think, okay, it should be this angle instead. So once we kind of adding these structures in there, they kind of form themselves automatically. So we have another module structure in here. It's moon that down. Don't necessarily need to add that, though, but let's just add that for the sake of adding something in there, window is not going to be visible. It's got login on India, though, but the most Indians kind of keep in accounts is let me go back to the echo change. This echo chi kind of separate them out. It's a bit has a more larger piece. You just to start by adding a separation around kind of flows in this direction. So blocking this out is actually important because I'm going to use that to kind of start feeling things in there a bit more accurately. So folds folds in here around these parts. So we still up the model structure that falls all the way to that falls all the way, like so. Then we go to the curve and go to the curve add this separation and yeah. There's not so much going on for the curve though. Then let's add this Control Shift click. Control click, Conti click, click. Let's bring everything back out so you can see this. Okay. Then we get a depth in a concrete de with them standard, create that depth in here kind of elevates the ankle a bit more something like so should be fine. They should work just fine. And let's come to the front. So now for the front now, just still on the curve still on the curve on the front view. We basically just need to kind of continue this on, create a depth here. We have it on the other side? Let's use the front view for this. There's quite much going on in the do but it's not too complicated, actually, so let's add this bone structure in here for the leg. So let's add this tibia bone. So to do that, I like to use the clay brush and then just do something that comes down comes down this way. Undo that comes down this way. And I'm just going to smooth that down, so it should be fine. So it becomes a bit more obvious from that angle. That's fine. Then with them standard brush, we can get this in here, smooth this down, smooth this down. Okay? There's a depth in here too. Smooth this down. Smooth this down. All right. So now we can go to the clay Bio brush. Clay brush, we can start building some more Tar forms in here, flowing the same muscle structure directionality for it. Okay? I'm not doing so much in here, though. I'm just kind of adding some extra layers should be fine. Extra layers of this should be fine. We don't need to do so much in there. Okay? Get a bit of the ankle in here. Of the new in here let's get the nil in here, a bit more obvious. Then we can just blend smooth Blend smooths, all of these down. Smooth this down, feel this part up so much, not be too obvious in there, and we can smooth this down. Smooth this down, smooth this down. Okay. Let's smooth this down down let's go to the higher subdivition level. Let's see what we have. So what we have should be actually good enough to actually work with so you can see how we kind of get the sort detail in here. That still makes a lot of sense in here, that's fine. Okay? This we can definitely work with. I think we need, I need to add a separation in here. So we deem standard brush with a separation in here. This caves in here. This coves down here. And I'll smooth that down also. I shouldn't be too obvious, so too sharp in there. Smooth this down also. Alright, so with the clay brush, I can fill this up some more. Smooth this down. Okay? Add this add a bit more in, smooth this down. Just to make sure it's kind of a bit obvious around the side view. Slight this down, smooth this down. Alright, that's fine. I think for the most part of your leg, that should be fine. So moving on, move on to the next thing and the next lesson. By for now. 9. 08 Feet Sculpt In Zbrush: Okay, we come back, guys. So in the previous lesson, we worked on the legs and the back. So we're going to carry on and then this time around, we're going to be working on the fits, there's not so much to do on defeat actually, but let's just get something descent in there. So let's go to the lower subdivision level in here. I will just go to the lowest subdivision level subdivision level one. And then let's look for a reference for the fit. So I have a very good example for the fit in here that we can just use and then block out most of the shape, and then we should be actually pretty much there. So let's do that. So ready. We sculpting is already on symmetry, so that's fine. Usually what I like to do would be to start with the D wearing on the Dem standard brush, reduce the brush size. I would like to isolate it. Let's just work specifically on the fit. Let's do the other way Control shift, tap, tap, tap, tap, drag selection sat on down control shift. Same the selection, and then we should have this piece like social to work with. That's fine. Then working symmetrically also. Then I will just increase the broad size some more. Then I will coat right through this. You can see a depth around the side. So I'm just going to coat right through that all the way back. Increase the broad size some more. So she cut all the way this way, that should be fine. You know, I need to smooth that down. Shouldn't be too intense, something soft around those parts should be fine. We have another sepreion around the egg. Smooth that down. Okay? There's a bit more depth around the smooth this down. All right. We can also carve in some more depth close to the toes, spread this big toe in here, something like that should be fine. Then we can now begin to add some knuckle detail on top of this. Just before we do that, we need to kind of separate this out. Kind of separate do some lines across the toes in here just to get this depth around there also. You just moles just to accentuate the nucleus and the bone in between those parts. I'm going to show you guys an example so you guys can actually see this with a better see this on a better view instead. So basically, let me look for something that should better illustrate. Um, we can really find something quite distinctive in use, but the general idea is still the same though. I think we can use the ECOT actually, so we can use this ECoch instead. Let's look for something close to the fit. Now, it's not even that detailed not enough to actually see what can block in there. So we're just going to go back and then stick to what we already have around here. So we can just continue using that. So now I block that in. So just to begin to add the standard brush. Let's begin to block out the knuckles for this. Use the brush some more. Let's get something a bit higher around the egg. Then we can start locking out some of the knuckle piece with the standard brush, elevate the parts, elevate the parts, getting a bit of height for the knuckles in a Okay, use the brush size, repeat the same in here, the same in here also. So we begin to get some height around those parts, which is precisely what we want. And I'll use the clay Bo brush with something a bit higher around here, something slightly a bit higher as well to high. Take down the intensity with something higher, here, here, here, also, also, here, also. Okay. Yeah, that should be fine. Then we can also continue building some structures here as well, pulling the same pattern all the way down, more or less flowing straight line all the way to the toes, right? Yeah, I think this should be fine. We can sent you it down here here or and do that. That's looking a bit odd. Okay, that should be fine. And there's one more nose we also need to do is to use the dem standard brush and create eight depths on the side with depth on the side. Let me show you guys why I'm creating that because it's a bit more obvious on with the instead on the fingers, a bit more obvious for the fingers. It's almost something similar also for the feet. So I think I should have one reference in here that should, yes. Something like this, we can see in between each knuckle. You can see in between each knuckle, we can see a depth in here, like the flesh kind of pushing in between itself, kind of compressing itself towards the bone, kind of more attracted to the bone. Let me look for a better example that should give us an idea. Okay, so regions where we have the nuc in there is a bit kind of put out a little bit more on the side. Can see it on the side, can see this on the side also. I think I have one more reference that should. Yes, it is a better one, yes. Yes. So something like this. So we just kind of push the skin towards the bone. So that's basically what I'm doing on the fifth. It's still the same idea that kind of works on the fifth also, too. So I'm just going to push this inward, put my gizmo drug selection around here instead. Maybe let's go on Subutionl higher instead. Let's go on subduction level higher. Then all of sculpting India should begin to make better sense. So you can see them now, you can see the now the India is now kind of showing up a bit properly India. So now, with them standard brush, I'm just going to dig in in here or so. Go to the Gizmo, grab all of this, and that it's no one grabbing it as much as I would like it to. Anyways, I think we can just still do that in there regardless. So this should help zoom in. This should help sell the character a bit more. I think I should use the standard brush instead. Something like so, do this on this side also. Oath and just dig in a little bit, a little bit in her, little bit in here as well. Same as around the. The down is a bit olds a bit old. Let's kind of accentuate the knuckles first. Then we get dept ear. Then we get that dept ear, smooth this down so more Look, I think that should be fine. I think we did this symmetrically, so that should be fine. Smooon this down some more. Okay. So now let's kind of work on the fingers. But for this meat to increase the fingernails rather, but for this meat to increase we need to increase the subdivision level for this first. Okay? I think I would like to undo that standard brush. Go on subdivision level lower. I would like to create some more depth in here. Like, so smooth this down. Okay? Let's increase the subdivision level for this. Increase subduion level one more. With the dam standard brush now, we can go in and then carve this out even better. Let's go on subdution level higher. I think I might need to increase my brow size also. Increase my brow size also. Alright. Okay. Yeah, I think that should be fine. Get this no. We don't want that deep a bit deeper around the. Alright, so I can do now and then let's increase the brush size. So more increase intensity, a bit more. No. S to take this down. So use the standard brush now. No, it's not give me the desired result I'm going for. Yeah, I may need to make some corrections in here, but let's just continue with them standard brush and then keep adding some more depths to this. Okay. Make it a bit more obvious. We are doing this symmetrically, so it should be working on the other side also, too, which is precisely what we want. Okay? Yeah, would you be fine? Smooon this down a bit more. I think I'll go over to stroke, Lazy mouse, take this down, increase the radius. Yeah, this is precisely what I'm looking for. But it's not looking good enough. Let's use the standard brush instead, take down lazy mouse lazy mouse radius. No. Now, intensity is way too high I take down the intensity for this, do that. Take down the intensity. This focus shift, I think I need to adjust this some more. Yes. No, it's actually good on this part, but on the other part, not too much, so I'll need to, like, so should be fine. No, it should be around like so. It's not looking too good yet, but that's fine. We're going to use the pinch brush and then fix that up properly. Let's just get it to where it needs to be first. Almost done. Spoon this out. I think we need to increase the brush size slightly for this Okay. Here as well. Then we can use the pinch brush, BPI and we can just tighten this. It's no tightening it properly. Okay? It's better now. I just tighten it a bit more. Smooth this out, tighten it some more. Okay. The smooth tighten the smooth. I think I need to increase my smooth intensity some more. All right smooth this out. Smooth this out. Yes, for me, this stand that looks a lot better now. That actually looks a lot better. So I think for the most part, I think we are kind of done with this one. We don't necessarily need to do too much around that parts. Don't necessarily need to do too much. So maybe looking at this now. Maybe, I don't think I need to extend the fit anymore. I don't want to extend the fit. I don't look a bit old. Should look a bit old. So let's go to lower subdivision level for this, increase the browse size as going to smooth this part a bit slightly. So let's get some blending in her right. Yeah, the knuckles also let's do something for the ankles. I keep saying knuckles. Ankles rather, so let's do something for the ankle. Let's do something a bit more interesting for the ankle. Let's go to lower subdivision level. Okay. Then with the standard brush, you can start by adding the depth in the smooth. Then elevating this a little bit more depth elevate some more Okay? Let's go to higher subdivision level. Let's see what we get from this. Eventually, we're going to come back and then break symmetry for this bots. Let's just leave this as it is for now. It should be fine as it is for now. It's not overally detail, just the right amount before we break symmetry in there. All right, so I'll see you guys in next lesson. Bye for now. 10. 09 Fingers Sculpt In Zbrush: Come back, guys. So in previous lesson, we worked on the fits. So this lesson, we're going to working on the hand and the fingers in here, so let's get right into into that and then create something interesting in the right. But I would like to isolate it first. We already have some interesting details in here, so I'd like to isolate this. I also like to let me just make sure this geometry is opened up so we know which solution level we're in. Take this down. Shift F. Right, so yes. This is fine. Let's see which parts we need for this. Okay. Control Shift click on this. Control Shift click, Control Shift click. Control Shift click, click Control Shift drag is selonOst inverts. We can do solo. Let's solo this out. Shift F. And I'm going to rotate it this way, get enclosed on this part. Let's make sure we have symmetry turned on. Asymmetry is turned on. That's precisly what we want. So ready have a reference in here we can use for this reference. But we're still going to use kind of similar steps similar steps to creating the fit and kind of implement that also in here. But for the most part, this base mesh already has most of the some of the features, we need to kind of get something interesting in here without having to do so rather too much work. But at the same time, we're also going to put a lot of effort in here with a bit of precision to get this look just right without having to do this over and over again. So really, the first thing I like to do is I sent youate the inward parts just in between the knuckles around here. Wever you use deformation, kind of get thickness for the finger, so that helped a lot for getting correct proportions in here. Let me send this to them standard. So with them standard activated now, I'm just going to adding some more depth around here. It's important we have depths in there. So we're just going to do this for every finger in here. Okay? That's fine. Okay. That helps sell the mesh a bit more. Someone sublution level two for this. Subltion level two should be just fine for this. All right. So can create some kind of food food in around the edges that's why I'm kind of creating these depth in here. It can also look at you and then you see the depth and food that comes adding this crease in between them, so that's fine. We intensify this on this side, intensify this down on this side, comes down. Same here. A we have another one that comes this way. Let's go to the finger thumb. Okay. Come on. Keep rotating this to the other side. Do this around your soap. Yeah, that should be fine. That should be fine. One other thing I like to do is to lift this part of this knuckle, lit it up a little bit more. Let's use the move brush and get this out a little bit more. Alright? Yeah, that should be fine. That should be fine. Leave the speed elevate this up a bit more. Okay? That's fine. So here also, too, if I act show you guys, I think the previous lesson actually showed you guys that, let's go in between. So in between each finger nail or the inch fingers, rather, we get some line up depth in here where the nerves where we don't have so much nerves in here, so something in between here around there. So nerves kind of covering up the skeletal structures of the in there. So we kind of get depth in between there. Similarly also in years, so we can see all of these just wrapping and creating depth in between all of this. So I'm going to be creating that in year, so that is what we need to kind of create in here. So I'll go to lower subdivision level subduion level one. So she did go to lower subdivision level, they will them standard brush. I was going to create let's see where this is. There's a depth around here, down here. I think my brush intensity is a bit much. Let's take down the intensity of the standard brush and repeat this again. Like, so but we want to be careful, though, we want to kind of make them kind of fold underneath the wrist. So we need to make sure they kind of fold on down in the wrist smoother less intense depth in there. Like if you go to a higher subdivision level now, you begin to see you depth a bit more, but not too intense, but just quite shallow in there. So what's you going to soften this out? Let's take down the smooth intensity, surround the value of intensity of 12 and let's soften the lower parts, soften this out a little bit more. Okay? Let's go back to the reference here. I always like to use this reference for blocking out my arm, which is very detailed, quite detailed, quite detailed reference that actually helps give us a good idea as to getting this looking as accurately as we possibly can. So I'm going to shring this now or better still, let's go to lower subdivision level. Let's go to a lower lower subluti level, should be fine. Then I can I can either use the standard brush or the standard bro but let me use the standard brush instead for this. Trying to shrink this knuckles in here, so trying to shrink this down some more. So basically just trying to shrink this in because when we inflated this part became too inflated, so I would like to shrink that in a little bit more. I'm using this standard br to shrink the edge in some more smoo this down, shrink this in. And that's basically holding out and then making this feel a lot more trangulted. That's basically what I'm doing, trying to make this feel strangulated, smooth this part out. Okay. Then we blend smooth. Smooth, smooth this down. All right. For this, not so much. I'm gonna leave that as it is. Alright? So now, what we're going to do next will be to add additional or knuckles to the fingers in here. So let's go to higher subdivision level. I think to make better sense, doing this on the higher subdivision level. I'm going to use the still on the same standard brush. I think I can increase the brush size a little bit more then elevate this some more elevate this a bitmre down here also, elevate this, elevate this. Elevate this in here, as well, as well, also. So from a distance, I'm begin to see a bit more obvious sin there. Precisely what you want to do. A few of them a few of them are a bit too high. So let's just reduce the bro size. Do a slides, Blend smooth for them. Try for those that's not looking too good. Okay. Yeah, I think it should be fine. Let's not neglect this out thumb. This one should be around here. All right. Yeah, all the way down here. Smooth this down a little bit more. We have around your so. Okay? All right, Bn smooth that down a little bit more. Check this out from a distance. Yeah, that is fine. That's fine. So now we need to kind of get some slimming of this edge is in here. I kind of feel like the flesh is a bit tight around the bone on the on the sides of the fingers. So that's basically I does the same way we did for the toes. I want to do the same thing here also. So I can use a standout brush to do that in here too. So I can just go in here. So this is going to make the fingers feel a lot more squarish, almost squarish. We should give it better to give it better structure to it. So that would give it a lot better structure in the All right? So you can kind of almost like making sure still kind of see the tightness of a little bit of the structure of the bone picking out a little bit more. So I like a general idea for this. So it's not so much in here, though, but it's actually in the actual zoom in let me show you guys, you can see how we get, like a planar change around here, like, more or less like a triangular planar shape around there. So it's been caused by trying to make the fingers kind of taper or kind of shrink itself towards the bone. So what I'm trying to recreate in here, so smooth that down. So it's all about looking at the shadow depth in there even though it's quite faint. Over time, you get used to actually seeing those shadow depths in there, and then you can actually see once you can see the shadow depth, you begin to observe planar changes a lot more a lot more easily. Then you can be sure of how to create that in a more soft and subtle way. So it just takes a little bit of a little bit of training your observation skills to be able to see CDT that an average individual wouldn't actually see. They will actually see it visually, but to be able to interpret that art as what it is like the extra or rather additional special features we have as artists to be able to read forms a bit more properly. And then being able to not just reading them, but being able to actually interpret them in our sculpt or in our art, whichever art medium you're actually use. So I'm just going to smooth this down, smooth this down. Okay. Get this in here also. Smooth this down. In year is not so much, but I think there's one year actually, so we smooth this down. There's obviously one around here. This is not kind of tightening these towards the bundle, but it's another additional there's a depth in here actually, so don't do that. Ood out a depth in here that I need to actually get in. It looks more or less like, so from this angle, here, that's fine. Because it process a little bit more. Ood out, dig in, smoothes down. Okay? So if you look at this now, you can be able to see planar changes around this that makes better sense now. Precisely what we want. Not too obvious, not too sharp, but still in there to kind of sell out our work a bit more. Make our work look a lot more realistic. So in here also, too, they undo that, like, a little bit of depth around these parts, not too obvious, also, too, but still in there. So this help kind of break up the surface a bit more. I was going to smooth this down. This is not too obvious, but just roughly in there, use the clay By doo brush, build on top of that. The smooth that down, smooth those down. Smooth those down. Right. Yeah, that's fine. Don't do that. I don't want to erase the depth we have in there. Okay. Smooth this down. Alright, interesting. So we have interesting details in here already. So now let's go to the fingernails. Let's go over to the fingernails and get details in there. So for this one, we're going to need to increase the subdivision level too. Very high amounts. Higher amounts will be fine. Let's do one step. Then for this, I'll need the dem standard brush. Get closed, reduce this down. Let's try one on her. Let's see what we get. Yeah, I think this should be fine as a base. Let's say good base. Right? Yeah, that's fine. What you going to use the paint brush, though, let's just carve out the shep in the right? Yeah, that's fine. With the mesh, the base mesh already gives us an idea of where this should actually be so. That's basically just following that guide that's giving us and then creating this in the Okay. Yeah, then we just mean just one more. There's this major thumb now. On that do that sky straight off. Okay. Get this in in in a sold out, get this out. I'm holding out now for the dam standard brush just to elevate the tip of the fingernail. So it doesn't feel too soft. It's supposed to have something something sharp around there, something that's a bit that's more like a sharper edge to it. So those holding out to the same dame standard brush. And I'm creating that in her Okay one more one more. It doesn't need to be perfect, so we don't need to make it look extremely perfect in there. So let's use this pinch brush BPI, and we can start tightening this part up, tighten these parts. So it feels like an actual actual flesh folding on this edge, folding in on those edge. Okay? Here, so you do a bit more around here, tighten this out. So it actually looks very good for me distance. It looks a lot better for me distance. Tighten this part up. Alright. Okay. I don't know if I did for the thumb. I I indicated this for the thumb? Yeah, yeah, yeah, I have, so this is the thumb. So yeah, this is fine. So if you look at this no form distance, it feels a lot more pronounced like actual finger nails in there, which is precisely what we want to do in there. So let's bring everything back out. Okay. Then go to lower subdivision level. There's something we need to do on the wrist. I need to get some crispy some foolds around the wrist. We have, this is a good one. I do some creas food around the wrist, but we need to first make sure we create a cut in there, just indicates like flesh folding in those parts. So I'm just going to start by doing something like this to begin with. All right, around that part. Then let's go on subdivision level higher. Let's go on subdivision level higher for this. Okay. Yes, yes. This is fine. Put the coat also around the edge, food around there around the soap. That should be fine. Then we need placed, I'm going to show you guys a reference for that so we better understand what we're doing in there. We can just find it in here. Okay. So it's basically in here. Yes. So it's like a depth around these parts. There's a depth around this part, so. We need to implement that also. So let me show you guys realistic reference. You can see this bone in here where it sticks out. Now that bone that part ler bone in there, I use my echo chair in here, we should be able to see obvious there. It's not obvious there though. It's not too sin here, but it's actually in there and there is a dead that comes with it tapers around those part too. Give us an idea that the flesh be sticking or pushing itself towards that part some more. Let's go to lower subdivision level instead with a standard brush. I'm not going to out and create a dense air, like so tapers in around, tapers also around. Reduce the size, the pass in year and. Then I'm going to smooth this down, get a smooth out transition around those parts. So that increases the subdivision level now, if you increase the subdivision level now, you should be able to see faint pieces of dart in here that actually helps sell this out a bit more. Maybe this is actually too intense, increase the bro size, the blend smooth. Okay, the blend smoons. Then I'm going to elevate this more Elevate this bone a bit more so it's slightly more obvious and smoothes down. Alright, so awesome. Yeah, this we can work with. I can smooth this out. Extend this out a little bit more. Smooth this out. Etend this out some more. Smooth this out. Lettend out some more, smooth this out. Okay. Mood this down. Yeah, I think that should be fine. As at least for this as far as the unstructured good, I think we did a pretty good job in there. Pretty good job in there. So while we are approaching the region partway we need to kind of break symmetry eventually. So manage to break symmetry in here eventually. Okay. I would like to accentuate this some more. Smooth this down around the parts. Smooth this down again. Smooth this down around. Alright. Let's see if that looks good. No, it looks messed up. That looks messed up. Let's do something a bit more accuracy to it. Smooth this down. Okay? Smooth that down. Yeah, that's fine. That we can work with. All right. Let's feel this part. Undo that, undo that. Undo that. I'm supposed to break in symmetry doing this by breaking symmetry, though, but I just no, no, no, undo that. Smooth this down. Okay? Not really. Doesn't look too good. I think what was there before was actually better. If we want to refine this, we can use realistic references to refine this letter room, but I think this should be just fine for now. So yeah, so in next lesson, we start breaking symmetry in here just to get this to look asymmetrical and more interesting. Okay? So we'll do that in next lesson. Bye for now. 11. 10 Torso Asmmetry Sculpt In Zbrush: O Okay. Welcome back, guys. In the previous lesson, we worked on the fingers and the end. So in this lesson, I would like to break symmetry in here. But just before I do that, I would like to make some proportional changes based on different reference just to add a little more interest to ali bit more interest to our character in here, so most especially on the toe, so I'm going to be using this reference though we already have most of the shape we need in there, but we can still kind of push this a little bit more. Let's push this a little bit more and get some more interest out of this. So let me start by, I'd like to start by increasing the boat a bit more side of the boat a bit more, just slightly a little bit more. Okay. Wide on this side, right? Yeah, that should be fine. That should be fine for now. Okay. Then I would like to increase the kind of give me more broader should undo that. Kind of give me more broader shoulder. So let's come to the side. Let's lift the shoulder up a little bit more because I kind of added more us mask the entire the arm and some molar part, but not so much on the shoulder, so let's give this guy more broader shoulder to him. Okay. So you should work. Do that. Let's do smooth blend this down some more, right? I think this we can work with. Then we need to add a bit more depth around these parts, nond that depth around the a little bit more smooth that down. Okay. Yeah, that should work. That should work. Right, so let's add some more Musso mass for his chest region. So we need to add a bit more mussom mask for this. Let's use the clay Build brush, or maybe even the move brush, actually it should be just fine. We can use the Maklaso and just mark out and do that. Let's max out the chest region. Okay? Inviting max, blow this out a bit more. So let's add some more to it. With more brush, let's elevate this up a bit more. Okay. Yeah, it shouldn't looking like kind of breasted both, that's fine. We just need to extend this down a bit more around these parts. All right. Leave the parts up some more. Look at this from the top view. Okay. Move this down on this view, extend the parts out down out a bit more. Okay. Up a little bit. Let's lay this out. Let's see if this is kind of marching. I think that's way too much. That's actually way too much, so we can bring this down a little bit more. Okay Let's see. Yes, I think this we can work with. Let's see. Yeah, we can work with this. Yes, we can work with. We can work with this in here. I need to leave this on the upper part, just leave this up a little bit small. Okay, it's a bit more rights. That should compensate for it. Moving on. Moving on in here, so I think, let's look at the arm for this. So as much as we can, we need to kind of add some interest to it just to make it feel a lot more feel a lot more realistic in here. So let's go for the arm, increase the subdivision level. Let's use this arm as a reference guide and create some more interest to it. Use them standard brush. Okay. All right. Look at this in here. We can do similar also in here. Smooth that down. Okay. Let's flesh this out some more. Smooth that down, smooth this down. So it kind of not be too aggressive in there, but just enough to sell this out. So I'm not doing anything new. I've already talked about this already. So I'm just basically accentuating on top of what we've already blocked in previously, smooth this down. Okay. Yeah, interesting. That should give us an interesting result out of this. Okay. Smooth this down. Smooth this down. All right. So for the tricept, I think we need to do a little bit more work in there. So use the clay brush, clay brush rather and flesh this part out some more out some more Smooth down. Okay. Smooth down. Smooth down on these parts. A bit more around the. Okay. I'm going got into the part where I need to brick symmetry in here though. I use the move brush. Move, let's clay with do brush. Fill this part up a little bit more. Smooth this down. Allr. Yeah, much better. Yeah, so let's do Let's do Let's see. Okay? This guy has a longer neck to him. Take this down. Let's see. We don't need to completely one to one marge this though, without kind of using this as a reference guide, kind of get some interesting structures implemented on our scoped. Let's look at this from this side view. Yeah, we have something interesting going on in you already, maybe just accentuate it a little bit more on these parts. Okay? I think we need to grab grab this also. All right. We can grab as well. Smooth that down. Okay. Get some depths on this on the oblique. Get some more depths on this oblique in here. All right. That's fine. Smooth that down a little bit more. Okay. Let's add some more fleshiness on these parts. Smooth this down. Okay. Yeah, that's fine. That's fine. It's actually an interesting reference to use to kind of create some more interesting shapes and forming here. I think it's kind of eye time, we break symmetry. I think it's eye time, we break symmetry. So let's bring everything back out. I'm going to increase the subdivision level. Create the submission level to the highest, go to the highest subvit level. Then we're going to create a new layer and then ring it out to asymmetry. So in there, we start breaking the breaking up the shape a bit more. Get some asymmetrical structures around those parts. Let's go to layers layers, put the new layer in here and I'm going to rename this to body asymmetry. Come on. Okay. I like to use all caps in here. Let's use all caps in here. By Smoky. Alright, Enter to apply that. So anyway, I can turn off my symmetry. But as you can see, with this now we get actually good results out of this. It's actually good results to actually keep though, if you need to. This we can actually keep, but for the most part, we need to break this up a little bit more or some more just to make it look a lot more interesting in here, so we can create some more interest to it with this breaking symmetry. So let's do that. Let's do that, so we can go back in here. Let me introduce some more breakup. So let's go to a lower subdivision level. Go to a lower subdivision level. Increase the subdivision level one step. Let me show you guys geometry so you can actually see what you are doing in here. Okay? So take this down, red them standard brush. You can start doing some additional breakup in a asymmetrical Okay. All right. Sort of break up here and there, using this reference as a guide. Smooth that down, use the clay brush, elevate this out a little bit more. Smooth that down. Okay. Use them standard at a cat in smooth down. Okay. Now, once we smooth all of this down and increase the subdivision level, it begins to make better sense in there. All right. Okay. Okay. Smooth this down. Should be faint in there. All right. Okay. All right. So I'm not doing anything fancy in here, just being on top of what we already have in here already. Then I'll smooth this down, smooth them down. Let's go on subdivision level, highlighting what we get in here. If this is looking good or we need to completely erase them. So let's do some erase. So I don't want them to be too sharp in there, just enough to kind of break the surface. Just enough to break the surface to be fine. Okay? Use the bro size a bit more. Okay, smooth this down. Let's go to lower subdivision level. Now we can accentuate this a bit more. All right. Okay. All right. Smooth that down, smooth this down. Yeah, this would work. Okay. Let's do for the opposite side. So basically breaking this up in here, so it doesn't look absolutely symmetrical on both sides. So this is how we kind of break this up. Okay? Let's get this belly box in accentuated in there. All right, smooth this down. Okay. Well deviate this some more smooth this down. Yeah, interesting. So these moles like the form parts where you just go in and manually break the ship and break the foam. Smooth this down because for the most part, we do not want this to look symmetrical. If it looks too symmetrical, it feels like we don't get that interest in there. There's not too much interest in there. We just look too generic. So trying to break the uniformity of this by making it look not generic. Okay? Yeah, this should be fine. Smooth this down, smooth this down. Smooth this down. All right. Yeah, this is interesting. Smooth this down. So let's go to higher subibution level. Let's see what we get on a higher subdivision level. So should get a breakup in the structure in here, which is precisely what we want in here. So now I can use the clay buildup brush and build a little more mass in here, smooth this down. Okay. Smooth this down. So this will add an extra level of fleshiness to it just to break up the entire structure of the herbs in here, smooth this down. Now for this, you can actually kind of add some a little randomization to the smoothing for this actually. Postifrin is certain sort flow in here, so too. That is going to help a lot, kind of break the surface, make it a lot more interesting. So you won't be having something that is too smooth in here. Okay. Smooth this down. All right. Yeah, that's fine. That's fine. Give them standard brush. Creates depth in here. Okay? All right. Yeah, this should be fine. You should work just fine. This should be fine. So let's go over to the chest region and continue creating some more interest to this. Let's use the clay brush. Create a bit more depth around the smoothes down. Increase the son's intensity, and do that. I shouldn't be doing this on this subdivision level. It kind of breaks this entire shape too much. I want to do this on a softer on a lower subdivision level so we get more blended transition across around those parts, actually. So let me use the standard brush instead holding out, create a bit more depth in here, smooth that down. Okay? Using the standard brush rudder to create some breakup on these parts. Then we smooth them down take down the smooth intensity. Let's smooth this part down, smooth them down. Okay? Use the standard brush. Let's use this same reference for this, so we get something more interesting in here. Create a bit more depth. Okay. Bit more depths on these parts. All right. So this helps with surface breakup, smooth this down. Okay. Smooth this down. All right. Smooth this down. All right. Yes, getting interesting looking shapes in here now. Okay. Smooth this down. Smooth this down. Alright. A lot more interest, and then we should be good. Smooth this down. Okay. Interesting. On this part also, we can accentuate this depth of this mouse smoothes down. All right. Yeah, that would work. Here, we need some separation, breakup in here, smoothes down. Okay, her Laxo should be fine. Similarly, also around the air smooth this down. Okay. Smooth this down. Yeah, interesting. Interesting. Let's get to the back parts. Let's accentuate this gap so more get this a little more intense. Smooth down. Okay? Smooth down. I don't know if you need to kind of Let's Let's do something in here, actually. Let's something for the for your thighs. Let's not leave that part empty. So let's do something for the for the ties. So that's going to accentuate or build up on top of what we already had before. So that's basically what we're going to do. I'm not doing anything completely and absolutely new in here, already have the structure, so I'm just going over them, smooth this down. Okay. Smooth this down. Alright. They accentuate this a little bit more on one side over the other parts. Okay, that's fine. We need to get this, a bit deeper. Let's get this deeper around here. Smooth. Let's get something deeper around here also. Smooth this down. Then I'll do something for the back. I'll get one part, a bit higher than the other parts. Alright. Smooth down. But for the center part, you definitely need to get a bit more depth around the air. Okay. Smooth down. All right. Smooon this down. Smooth this down. Smooth this down. Smooth down. Now, we'll get one part, a bit higher than the other part, so let's still using. We're still using this standard brush, though. Using this standard brush. Smooth down, smooth down. Just breaking the general surface of this hell lot more. Let's use another reference to another reference that kind of helps. Yeah, it is a good one. You should actually help. Actually help around these parts. Use the clay build up brush. Bit more form in a bit more form in a smooth down, smooth down. Actually even help break the back part a little bit more. Use them standard brush. We can create something in here, smooth it down, use the clay build up brush, B something around the, smooth that down as well. So this is just going to sort to break up changes here here and there. So this is what we actually need to actually sell the structure of this as being realistic, smoothes down, reduce my brush size. The process gets a bit more shape around here. Smoothes down. The add a whole lot more great depth in here, smoothes down. So all of this adding a lot surface breakup detail in here. Both in in formation and then in surface detail also, too. Modes down. Okay. All right, smooth this down. Get this smoothed down. Okay. Smooth this down. On this part, also, let's do something like soap, smooth this down. All right. So you should be a bit o, this is fine. The back ne actually fine. Need to do the same for the arm, though. The arm also needs that same attention of love. So let's use the bros size and then do breakup that kind of follows the same directionality of how the muscle is being noted or tied together and then being visible through our skin as one single piece. Let's move this down. And be symmetry to off it helps by lots. Let's get a bit out. Let's get elbows in here. Okay. Then in next lesson, we're going to carry on with this doing the same thing over and across the entire surface. I'll see you guys in next lesson. Bye for now. 12. 11 Arm Asmmetry Sculpt In Zbrush: Cumber guys are still on this. In previous lesson, we started working on asymmetrical structures of the body. And then after doing that, I noticed an issue. So I don't know. I don't know, honestly, but this finger got messed up, but we're kind of adding details to asymmetry details to the body, I would like to fix that. Let me show you guys how to fix that. We can use the move bros to actually fix that. So now, it's actually on this particular layer. So if I turn off this layer, we should lose all the asymmetrical detail we've added in here, but that's fine. So once we do that, I would like to go down to move targets, store move targets. I'll stop this as the moth targets. Go to layers, turn on this body asymmetry layer. So it's visible now then let's records. Let's start recording. See recording is tight now. So it'd be M. Let's use the mouth brush, select the move brush. I'd like to move this back to the original shape, so you can just use this to move this back to the original shape or to to the stored move target we had Okay, no symmetry for this. That's fine. We don't want symmetry for this, obviously. So let's just get the shape back to the original. And since we're not adding any details on the fingers yet, so that will be cool. So let's get all of this back all of this back. Okay. Yeah, that's fine. So that's how we kind of easily fix that. So with this done now, I believe I can go into more of targets and do deletes. So we should be, I should be back to normal now. So go back to move. Yeah, so we're back to normal, so we can continue continue on with this and then keep breaking up the surface detail we have in here. Isn't our reference. Okay, so let's see if we can find something interesting for the arm. Thus to break up the surface dt in here. Let's use this instead. Yeah, I think we can still use this. But basically, what using the clay be brush now, it's asymmetry in here. So doing this asymmetrically, let's go to lower subdivision level. So this on lower subdivition level instead, let's set this around. So we can actually see which subdiviution level we are in Okay. Take this down. Let's go to lower subdivision level. All right. T subdivision level should be fine. So you can use the clay bio brush now, and then just continue adding surface breakups to this. I'll take down my smooth intensity, and I'll just smooth this down. Smooth this down. This would kind of break up the surface tension a bit more. I mean I think we have got to soup to let's turn of this paint icon in here. So you can see this sound great. This is fine. So basically, I'm just building on top what we already have before. Nothing too fancy. Take down this smooth intensity again, smooth this down. Okay? No, let's rotate this to the other side. So I'm just going to flow the same directionality for it, so flowing the same directionality for it. And I'll smooth this down. Smooth this down. Okay. So that would add additional surface breakup to it. That's exactly what I need. Flowing the same directionality downwards, this way, downwards this way. Then smooth this down. Smooth this down. So this is adding additional surface breakup to this. Smooth this down. All right, smooth this down. Look at this one. Distance that's actually looking good. This is actually looking good. This we can work with, no doubt. Okay. Moving on. Let's add one around here. Smooth down. Smooth down. Okay. Smooth this down. That should help with break up even more. Use them standard brush, add some more depth here, smooth this down. Physically, build up brush, build some more structure around the air. Smooth down. Okay? So yeah, this is how we kind of gently separate out and break the surface out some more. Go on around. Smooth down. Okay. All right. Interesting. Around here as well. Okay. Smooth down. Okay. Smooth down a bit more. Let's dig this in, smooth out. Okay. Yeah, like so smooth this down. Smooth this down. Smooth this down, feel the edge. Alright, smooth this down. Get a bit more around here. Smooth this down. So it's just going to build the same repetitive process across this. Zoom out. Smooth this down. Okay. Then we come down here, flow the same directionality. Smooths the edges, smooth this also. Yeah that's fine. Okay. All right. Just a little bit around a year or so here as well. Then smooth down. So this is going to add another addition layer, like I said before. Additional layer of breakup in the Actually increase intensity a bit small. So we do a bit more. The stone is going to blend with the skin a bit small. So it's not too sharp, but still in there to cut some cool shadow detail around those parts. Okay, I think we need to smooth a bit more. More in the same directionality. Okay. Yeah, that's fine. That we can definitely work with. So we'll do for the other parts of the also. Let's see. Let's do a breakup around here. He also flowing the same directionality of the muscle fiber structure in there. Very, very important. You kind of do that with the same directionality, very, very important. Very important. Smooth. So from a distance, you can see breakup in there, which is still what we need in here. Let's do some more breakup around the air. He also smooth. Smoothes down. Smooth smooth around you also. Get close so. Yeah, just sort of repetitive process across this to make this look more alive. Smooth down, smooth down. Because we're trying to avoid getting a surface that is completely smooth. Because human skin and human surface is not too smooth. Most especially for guys that are slightly muscular. So we want to add that no, want to add that fib breakup detail in there to help sell this a bit more. I'll do a bit more around here. Then connect this around here. Okay. Smooth. So I'm basically smoothing the edges instead. So the edge I'm more concerned about with the smoothing. Okay? Put the same directionality for this. Okay. Smooth down. Though, for the most part, most of the details are not going to be visible bots. It's always good to kind of add this in there regardless. It's always good to actually add them in there. Smooth down. So it's great some fiber break up in here, just like we anticipated and just the right amounts we need. Okay. Smooth down. Getting up close, smooth down. Okay. Smooth the edge, get a good blend in between. I would like to carve in some more depth. No, undo that. It's not supposed to be straight line. Carve bit depth in here, like so. Alright, it should be fine. Okay. We can go back to clear bit or brush. Okay. Yeah, like this smooth down. Smooth down. Yes, this should work. Let's do some sentina the blend smooth this down. Yeah, that would definitely break things up a whole lot more with some shadow depths in there. Alright. Smooth down. Then standard brush, create any indention in smooth down. Okay? Go back to clay Build brush or build something that cuts across this way, this way and smooth this down. Alright, bring everything back out. Okay. Yeah, this parts a bit disjointed. So let's fill that part up. Smooth down. Okay. Yeah, interesting. Now for the this, not too sure, though, but let's just do something in there. Let's just do something in there. So once we are looking at this on this gray scale, we should have at least a good amount of uniform breakup look in there. It'll smooth this down. Okay? Okay. Smooth this down. Right? I'll use this damn standard brush. I'm going to add a cut in a in a smooth down. Okay? Alright. Yeah. Just simulate something, I look more, more or less, more like a knee cap in there. All, Saving out. Okay. Moving on. Smooth that out. Go back to the clay bed or brush. Add some clearing on the part, do the last piece. Okay? Okay. Smooth out. Smooth out some more, smooth out some more. Alright. Yeah, that should work. Yeah, interesting. That gives a more interesting result to it. Do the same around here. Okay. Smooth. Smooth this by lots around here also. Similarly here also. Okay. All right. Yeah. Yeah, we need to do some break up. Smooth this down. Smooth this down. Okay? For the back, we need to actually some interesting detail in here also, too. Get this in here. Okay. All right. Smooth this down. Okay. Smooth down, smooth down. Right. Yeah, I think we need some, not necessarily for under part, though, those parts is going to be covered up by shoe in the shoe in the, so I don't think I necessarily need to add so much any detail in there actually. Smooth down. Okay? Smooth down. Sort to break up that makes cool interesting detail in here, Smoll down. Okay? Okay. Yeah, that was a mistake, Dub We can keep that we can keep that mistake. Don't do that. Let's dig in instead. Let's dig in instead. Then smooth. Smooth that down. Do some digging, digging around these parts. Okay, then we smooth. So the surface detail gets broken up even more with some planar changes in there which we can definitely keep. That makes the character who lot more interesting at least on this part of in adding the surface break in there. Alright. Let's do for the Bpiece also. I don't want to neglet the bapiece because it still needs to have at least some detail in there also. Smooth. Okay. Right. Smooth. Smooth this out. Smooth this out. So more some more also on these parts. All right. I won't do too much in here because it's not gonna be visible on a fire render, so let's smooth this out a lot more. Okay. Let's add some more dimple on this side compared to the other side. So one parts, you'll have a lot more dimple. Smooths out. Smooth. Okay? Let me dig in on this part instead. Let's down the brush size, digging smooth out. Just to add variation in there, nothing too fancy. Okay. Smooth this down, smooth this down, adding some more breakups in here. Alright. Okay. I think I need to fill this part out. I think I went overboard in here. Let's fill this part out. Sm down. Yeah, this is fine. This should be fine. Let's do for the broad shoulder in here. Smooth smooth this out. Them stand out brush, create some more depth in here. Smooth this down. Let's create some fiber details on these parts. Smooth down. I don't want to neglet this part, so breaking that up is some more fiber mostul detail underneath the skin but smoothing this down to create effect in the Smooth this down. Okay. All right. Smoothes down. So with this now we kind of created variation around that parts. Since we need Adam's apple in here smooth down on the edge. Alright go to the opposite side, dig in a dig in a smooth. Okay. Surface breakup is looking fine. H. Right, smooth out a little bit more around the smooth out. Okay. No wrong place, smooth this out. Zoom out a bit more, get up in close, Blend smooth. Okay. Yeah, as I would kind of go back and forth, breaking up the surface, making it look a lot more interesting in here, smooth this down. Yeah, I think as far as this goes, I think we did a very good job in here. We'll come to the actual let's come to fingers in here. Okay. Smooth. Smooth. Okay. Smooth out. Smooth this out, smooth out. Smooth out. I need to have a variation surface breakup on the fingers. Very important. So smooth out. Get this in, smooth out. Okay? Smutn shouldn't look too symmetrical. That's the general idea. I shouldn't look too symmetrical. Okay. Et's get closed, smooth out. Okay, smooth out. Smooth out. Alright, I think we can we can move on to the other part. Let me smooth this down. Smooth this down. Smooth this down. Smooth down. Okay. Let's go to and do that. Okay. Smooth down. I'm basically focusing on smoothing down the edges of this. So the edges of this based on how I created them initially, smooth this down around here. Let's get close on these parts. Smooth out. Smooth out, get some more depth in here. Okay. Smooth out. Smooth down. Well, that's fine. I think for the 13. 12 Nipple Sculpt In Zbrush: Should should work just fine, for the most part. Let's do something around the air. Come on. Smooth smooth. Smooth. Let's do more around the smooth. Yeah, use a some details in here. Shouldn't neglate smooth. Okay? Sm down. That one looks old, so I won't do that. That one looks old. I won't do that. So it's looking slightly old. Reduce my brow size. Okay. Smooth out. Yeah, so get in close. So it should be fine. Okay. I just want to add some ris in here. Just need to add some ris in there. Okay. Get in closes. The smooth that down. Smooth down. Add some more depths in across, smooth out by lots. Okay. Yeah, that's fine. That's fine. I think for the most part, this is quite nice. We can definitely work with them standard brush. Get something around here, smooth down just to add a little more interest to it. Okay. Yeah, that's fine. That's fine. So now, let's create some detail for the Nipus in here. So let's start with doing this symmetrical let's turn on symmetry in here. So asymmetry turn on. Undo that clear brush. Now, we need to go to the higher subdivision level, so you can reduce the bit more accuracy to it. Okay? Smooth down, get in close. Smooth down some more, reduce the bro size. Let's go to much higher subdivision level. So I should be showing you guys the geometrie so you can at least see subdivision level I'm actually in. Very important. So let's drag this down the higher subdivision level now. Okay, it should be fine. So let's use the DM standard brush now, and then just carve out and you put structure in here. Zoom out. Let's see where we get. Okay. I think we can use the move brush and go to lower subdivision level and move this back into cut the t is a bit undo that. I think the t is a bit much. The for this is a bit much. So let's get this back down a bit more. And let's go to higher subdivision level. Let's see what we get. So I'm just going to increase this to the highest subdivision level. Okay. All right. I is the highest subdivision level for this. Let's do agent smooth. Okay. Let's see. Yeah, this would work. This would work. This we can definitely work with. Okay. Turn asymmetry with the dam standard rush. Feel like I undo that undo that. I feel like I should have a bit more depth around this parts. Let's go to lower subdivision level to do this. Let's go to lower subdivision level. Okay. Smooth down. Smooth down a bit small with the clay brush or add a lump around there, smooth this down. Okay. Yeah, that's fine. That should be fine. That should be fine. Smooth this down also. Okay. Smooth down. Use the standard brush. Let's say we elongate this. No, nope, nope, nope. Signal is looking a bit off. Yeah, this should be fine. We don't need to do too much. This should be fine. I should work just fine. All right, so, so let's move on. And then in the next lesson, I think I need to smooth this down a bit more. A bit more. I don't want to be too aggressive in there. Yeah, that's fine. So next lesson, we're going to move on to something else. Okay? So I'll see you guys in next lesson. Bye for now. 14. 13 Facial Primary Forms In Zbrush: Okay. Welcome bad guys. So in the previous lesson, we worked on the asymmetrical structure and filling up of details around the mesh, and then we created the Nippo. So in this lesson, we're going to start or rather continue on on top of this character design by working on the head. So I would like to go to the higher subdivision level and then create a new layer. And this layer will just be specifically for the head. I'm going to be using this character in here. This is the character design character head, I'm going to be using for ASCOps. So with the subdivision level active, let's go to layers. Let's create a new layer. So I'm going to create a new layer. This layer is going to be named as Ed primary forms. So let me just give it a moment. Okay, is there now. So on caps. So head primary forms. Okay. That should be fine. That should be fine. I'm going to zoom out. Let me check if there's any issue on this again on the end again. On the fingers, just should be sure there's no issue in there, so that's fine. No issues in there so far. So now we're going to isolate the head. So Shift F to go to poly group, then Shift click on the head. So we can select this. We can just work on just the loon let's go to the lower subdivision level. Let's go to the lowest subdivision level for this piece. So let me make sure the geometry is open in here so you can see the subdivision level I'm in. So, good. So this is the subdivision level I'm supposed to be in Shift F. All right, so bet anything in here, I'd like to look at the I always like kind of get the silhouette of the head in here. So let me just get it straight on. So we can see let me see. I think I should be able to let's use this inset. So based on the structures of the head in here, you can see sharp line around the jaw. You can also see a more obvious molar bone structure in here, just beneath the lead cheek, and then we have the Nasibar foods in here, but Nasib in here. But originally the slow should be a bit ungod especially on the jaw around there and around here. Then we have the chin bits not too broad, though, not too broad, but more or less for like an average male structural face, but he has a wider lip. So the up lip is gradually a bit higher in here. So you can see, actually higher in here. Then obviously, it's an African face, so it should have wider nose risk to him. So these are all the structures, I'm going to be looking at before blocking that right into my model. So let's start with the jaw line and then get that in first, and then we can work on other parts, right? So the move brush is our major friend in here, so the move brush is our main major friend. I don't know met in here. So I would like to start with the Mark card grey. So the mark card gray is mostly I think for just starting part actually, it's actually good kind of use this kind of start out. So I would like to Let's do find a reference that looking sideways so we can get a bit more accuracy on the jaw line in there. Let's look for a good side reference. Yeah, this is a good one. So we can use this actually. This we can use and try and get the jaw looking as accurate as we need it to be. So'm going to move this undo that. I don't need to affect too much of the, so I think this is the Mx lasso. Let's use the max lasso I'm going to max out these parts. V the maxblow this a bit more. Use the brush size. Move this back up, move this down. Okay? Come on, increase the bros size, then move this down a little bit more. Like, so not too much though, you want to be careful you move that, so I think this should be fine and a little bit more. Then around there, we can push this can push this up a little bit more up a little bit more, just to get a better transition around there. I think that should be fine. Okay. Let's clear that out. Then we need to flatten this. Let me smooth this out first. We need to get the cheeks pinched in some more. So let's let's pinch this part in a bit more. But there's a part la region to it and just go to push. Well, let's just start by pushing this in a little bit more, okay? So the idea is just to do sort changes to this. All right. Get this in a bit more. Okay. Now, let's look at this from the silhouettes. I think, yes, yes. I'm getting something in here. I'll come down around. Come on. No, below the cheek bone and just move this in. So more. It looks like I'm not moving anything, but I'm actually moving something in there, so I think this should be fine. And I think this should be back this way. I'll do some smooth. Okay. Okay, that's fine. Let's look at this from a distance. Let's see if we're getting the shape in there. There's still a lot of work to do here, though, but I think we are getting the shape that we want out of this. Let's go back to the soda referencing here. So it has more of a has more of a box like fist. So that we're trying to that's what we're trying to recreate in here this box. I keep moving this. I should just use the airs instead to just skill the brush instead. That would be a lot better. Okay. So I'm going to adjust the temporal edge of the face just before the temporal line. Let's push this in. Let's get this temporal parts bone structure in. Okay? A bit more, a bit more. All right. Yeah, that seems fine. That seems fine. Let's push this in some more. Yeah, this we can work with. The nose is not in there yet, but that's fine. So the lower part of the lip, we need to extend that out also a little bit more. To do that, I can use the come on. The center is I going to control and drag a selection here. Like so. I'll give you a different polygroup Control W to give a separate polygroup. Then it W on the keyboard to go back to the Gizmo, select the Gizmo, Shift F, invite the max. Okay, invite the max again, blow this out. I would like to bring this part of the lip down a little bit more. Okay? Because it has a bigger lip to him. And this, let's get this up also a bit higher. Okay? All right, like so. Yes, I think this should work. Yeah, this should work. So what we need to do now would be undo that. Let's bring back the max. Let's get this down some more, okay? Invite the max. Lift this up a bit more, clear the marks, increase the bro size. So we're not going for aute likeness in here, though, but just something good enough should be fine. Extend the lips out a little bit more on the side. Okay? Okay, that's fine. There's still a lot of work we need to do in here, though, but piece by piece, we're going to capture the essence of this character a little bit more on our scope. Moving on. Let's see, let's do for the nose. Let's get the fructure of the nose in there as accurately as we can. We're just going to widen this on this side. A get a African nose in there. Okay, and come to the side. We need to push this down some more, okay? Obviously, it's not a male vocal male, so it's not supposed to have more pointing nose in there. So let's look for ano side reference that should help. Okay? Let's look at this Look at it from similar angle. Let's see if there's something else we need to push in here. Okay. Yeah, I think this is in the right place. It's in the right place. So I'll use this damn standard brush now. Let's carve indentation in here, let's move that down. Okay. Yeah, that should be fine. That should be fine. Zoom out. Let's see again. Okay. So now let's use this anatomy reference in here. I think we can look at this from the side. This is anatomical reference now to begin to compare this with our original reference and then get some more structure going on in there. So now, this molar, the molar in here, so the molar is just this bone you have around this part. So using the an actual core structure in here, you should find it I think I have this co structure in here somewhere. Okay, use should have one in here. I think I do have one. Glad just use this echo chain here to illustrate that skele. So the molar bone is just this bone you have in here, so for him, it's not entirely protruding out, though. But just to give you guys an idea that's actually there, we also have this piece or this part around the jaw, this flesh in, then there should be a depth around there. Then the naso label should be around here. So all of these are those structures that we face that we keep account of before locking that in on our scope because that would actually make our head look a lot more realistic, a lot more realistic, like a real human head, so all those structures we need to actually account for on our scope, so let's get that in, but still keeping these our main reference in mind. So let me just get this down around this way, move this out. So with this in here now. So with label food in here for him is not very obvious. So let's smooth this down a bit more. You don't have to look like he's too hood, so tune that down. Let's see. Then we can start carving the structure here. We can use the Dame standard brush. The Dame standard brush now, I can carve out where the shape should be around the should be fine. Okay? That's fine. Then the molar we need to accentuate, we need to accentuate a bit more. That we need to accentuate a bit more. Well, let's start by using the clay brush. I think the clay brush would do a good job. Before that, just before that. Just around close to the net label, we need to create a depth around the air, little depth around the smooth that out. Okay. Then smooth this out also. No completely though, don't completely smooth them out. Just want something to want something to actually be there. Want something there that should kind of help to help us know that Okay, we kind of maked out the region. Then we kind of kind of fill that parts out a bit. So I was saying here, let me look for something that's more of a profile view. I need something that is more like a profile view to him. So it feels like his face is kind of coming out more because look at this, looking at this now from the side and I feel like I need to kind of bring the face out to be a bitmre. So I'm going to max out this John. Like, so blow out the marks, invite the marks, blur out the marks a bit more, okay? I think somewhere around there should be fine. Then let's use ton of symmetry center front center, this. Let's get his face out a bit more, rotate it this way. Bring this forward a bit more. Okay? O a bit more then some more. Let's see what we have. Let's see. I think I push this way too much. I want something that's not too aggressive in there. Let me turn on symmetry. Let me use the move brush instead, see if we can capture the essence of this a bit more with the move brush. Okay. All right. Now, that's a bit much. Let's push this back in. Okay. Clear this out. Let's see this from the side. Yeah, I think this should be fine. Here this we can work with. This we can work with. All right, so yeah, moving on. So we have that in place now. We have that in place now. We can leave that that we can actually keep. Let's look for another reference of the side view also too that we can use, this is also a good one. Okay. Let's try using this and get this similar apples also. Get this similar apples. Move this way. G symmetries don't on. Okay. Maybe there's way too much, get this down this way. All right? Still only move brush, I would move this out a bit more. Okay? Get this in some more, get this out. Push this back in some more. All right, okay? Yeah, there's still a lot of work to do in here, though, but I'm just trying to get the general proportions in the fast before doing any major work in here. Okay, yeah, let's leave this as it is for now. Then we'll work on something else. So let's go let's go to the brow and get the temporal line in there. So you can use this standard brush. We use the standard brush. Let's get the temporal line in. Let me use the edge polish first. Let's use the he polish and then polish this edge in a bit more smoother down. Okay, smooth this out. So with this now, we can get the temporal line in there for free by using the He polish brush. Then I'll go back to the standard brush. This front front fronts colline is the forehead, actually. So I'm just going to create mood out and create a depth around the air. Smooth that out. Let me take down my smooth intensity, smooth this out. Okay? Out a bit more. Right. Then I'm going to use them standard brush, cap out a depth around the air. Probably that's way too much, you see, but I think that should be just fine. Smooth that out also. I think that's way too much. I think we need something a bit thinner. N something a bit thinner around that part. Let's get this around the instead. Okay. Smooth out. Smooth out. Swan this part out again. We use the clay builder brush. Let's build some additional structure around here. No, undo that. Undo that, undo that. This is the standard brush instead. Okay. But structure, and smooth that out. Okay? No, that seems a bit smot That seems a bit sm Let's do that. Do that. Back in here, smooth this out. Okay? Yeah, so let's look at another one. Let's see this from the side view. Okay. Fair enough. I think I need to bring this chin down some more down a bit more. Okay? Up, some more. All right. Maybe that's way too much. Maybe take this up a little bit more. Okay. So there's a lot of structure around the face or the head that kind of makes a character look a lot more human like. So there's still a lot of work we need to do in here, though, we're kind of getting it in piece by piece. So it's still going to take a little while to kind of get the proportions and the structure completely right in here, but we're getting something, definitely getting something in here. So let's just continue in that same fashion, fashion and then keep working on this to get the face to look not entirely like him, but something good enough in here. With that in mind, I would like to create another depth, carve this in, smooth out, smooth this out a bit more. Okay? No, no, no, that's a bit too deep. So that's a bit too deep. Undo that undo that. Okay? Let's get some more shape for this temporal line. I mean, the more line here, let's get the small live bits slightly exaggerated in here. So let's get this slightly exaggerated. And I'll smooth this down. Smooth down, okay? Here something like so, right? All right. Yeah, this is fine. So back to the move brush. Move brush, I can still move this in some more Alright. Okay. Let's see. So it's all about using shadow information and then try to capture the essence of your character a bit more. I think I made the nose a bit too big, so I'm going to reduce this on this part a little bit more. Okay? All right, so it should be fine. Smooth this part out. Okay. Smooth this part down. Let's use the DM standard. I'll create a shape in here. Because the same shape we also have et show you guys the shape also in here. Same shape also have around the lip around the lower part of the lip, so I need to kind of get that in. Also looking at this also from the side, the forehead, I think we need a bit more depth also in there. Still the standard brush. No, that's way too deep. That's actually way too deep. Okay. Smooth out. I feel this is even way too much. I feel that's bit too modular. Let's see. Let's see. I think I think we are the right amount, so we can use the clay brush now, and undo that, undo that, undo that, undo that also. Let's smooth this part out, increase the brush size a bit more. Here, smooth out. Yeah, this is fine. So in the next lesson, we're going to carry on and then keep working on this. 15. 14 Facial Refinement In Zbrush: Welcome back guys. So previous lesson, we started working on the head. So in this lesson, we're going to carry on and then keep working on the head. So let's continue on instead this to the standard brush. Yes, so Control Shift click on Condo shift click, Condo Shift click, Condo shift click, click. Then we can invert this. So still on the face. I noticed something a bit of on let's see, I think this reference. As much as this reference is actually good to work with at least for some other parts of the face, it wasn't as accurate as it should be based on the fact that more or less the camera lens is for this far out. So the zoom into the face and then zoom into the face with that. I'm not entirely sure which focal lens is used for this to actually zoom into the face, but created a more wide face to him. But this particular this part lar reference in here kind of gives us a better idea as to the proportions of his head in here. So I'm going to continue on with this instead. So there are a few things we need to adjust in here. So let's go back to the move brush. So I'll go to the nose. So coron need to met the nose. So I'm going to extend this part out a little bit more. That should be extended out some more. Maybe that's way too much, okay? Then this will move undo that. Okay, let's get close. Reduce the broad size. I'll extend this in some more. Let's start by extending this up a bit more. Then I'm going to push this inward this way. Okay. So if he's very, like if he's very mot like his own nose in here, so let me smooth undo that. Take down this moon's intensity. Still on the move brush. Okay, smooth this down. Okay. I think I need to fill it up a bit more. Let's use the clay buildup brush, fill that part out, smooth out. Pretty much like so. Fill this part, undo that. Undo that. Fill this part out some more smooth out. Okay. I think most likely this tip of his nose should poke out a bit more. Let's use this move brush. Move this out some more, increase the brush size. Get this in a bit more. Yeah, something pretty much like so. I was going to smooth it out. Let's use the clay brush. Feel the parts out. Alright? Yeah, I think, this is a good place actually. Then move this okay, back to the more brush. I'll move this reduce the brush size. Move this in a bit more. Okay. Yeah, that's fine. Alright. So I think that should be fine. For now, we'll move on to let's move on to another piece. Let's see. We need to look for a side reference for this though. Let's look for a side reference for him. Okay? Yes, it is a good one. Let's turn to that side. Let's see how we can make this work, the clay build up brush. I was going to fill this part up a bit more and smooth that down. Okay? So let's go back to let's go back to this. On this polar reference, it has a more longer facial structure to him. So we're going to try to replicate replicate that in here. So back to the more brush still on the lower subdivision level, increase the brush size a bit more. When I once I kind of noticed in years that he has a shorter hair to him. So an ear in here is quite long. But before we fix that, let's get this pushed ins a little bit more. Okay. Then I'm going to shrink the size of the year. I'm going to leave this part up a bit more. Yeah, pretty much like so it should be fine. Then also for the lip, the side of the leap in here is actually too much, go to the gizmo control, click on this poly group. So the lower lip kind of made its way too big. So let's get this back up, get close. Just push this back up a bit more. Okay. Yeah, that's fine. Then I'm going to raise this up a little bit more. All right. Yeah, that should be fine. That should be fine. Let's do something for the hi. Let's get something for the high. Let me just declare do brush and build something on here a little bit more. Smooth that down. Okay. Yeah, that's fine. That's fine. Still a lot of corrections we need to do in here though, but I think we are getting what we need in here. I would smooth this out. We that in previous lesson, so let's smooth this out. Let's get that a bit softer also. Then I would like to shrink the size of his jaw. A little bit more Let's look for a good angle for this. Let's do this from around here should be fine. Poduce the bra size. C back to remove brush. Move this a bit small, way. Okay. Let's make it slightly angled. Let me smooth this down, smooth this down. Here I think like so should be fine. Let's kind of visualize it from similar angle, also. Let's see, there's something else you need to do in here. Here there is. I think we can with more brush, we can push this back in a bit more around the air in a bit more. Okay. Yes, I think we are getting something in here. And I think I can move this up the jaw up a little bit more. Okay? Up a little bit more. Up a bit more. I think I should be using this smooth bros. Is instead instead of using space, but that kind of messies little for me. So let's look at this from the same similar angle also. So looking at it from the same camera angle, then make corrections based on that. So this part, I'll need to lift up some more condo that wrong angle. I see. Come on. I think I need to move this get in a little bit close, move this up here instead. Okay. Up a bit more. Up some more. Let's look at this from the same camera angle. Let's see. So I think I need to increase intensity for this. Okay, that's too intense, reduce that down. Let's look at this from this angle instead up a little bit more. I think that's a bit too extreme, get that back down a little. Yeah, something pretty much like so should be fine. Let's look at it from the same camera angle also. Yes Okay. Let me reduce the size of his lip. Undo that. Do this from this angle, undo that. Reduce the bros size. Okay. Yeah, something like, so it should be fine. Reduce the size of his neck a little bit more smooth down. Yeah, I think we can let's see Let's see. Yeah, I think the leap, I would like to make that a little bit put out some more. Let's get this forward a bit more. Okay. Yeah, that should be fine. See if there's something else we can do for the job before we move on. Okay. Let's see. Let's jump to the high. Let's jump to the high. So I'm going to use the max lasso. I'm going to max. The brown used to be a bit higher than weight is right now, so let's max the spats around the edge be fine. Blow this some more remove brush, increase the brush size. A bit more okay so it should be fine. Then we're going to leave this up. I'd like to get that a bit higher. I think that's actually way too high. Let's get let's get it down a bit more. Yes. Somewhere around there should be fine. That should be fine. Okay. I want to use them standard brush, create some depth around here, smooth that down. But I think this jaw just knife doesn't feel right to me yet. This jaw doesn't feel right to me yet. Jaw doesn't feel right yet. I want to mark this part out, load this down. Lo let's go a bit extreme. Let's go a bit extreme. Let's see. Let's see what we get. Nope, nope. That is quite odd. That looks quite odd. I think we need to kind of ned this based on the most soft to transition. Most soft transition. Let's look at our anatomical reference. Let's see what we can get in here. Okay. Crease the brush side some more push this down a little bit more. Okay. So I'm basically trying to capture a more longer fiscal structure to him. So that's basically what I'm trying to do in here. This face long enough. Let's clear the marks. I think this we can work with except we do something like max out this region, blow the mark, inverte the max, blow it out a bit more. In this, get this down slightly. Okay. Yeah, I think it should be fine. You should be fine. Yes, this we can work with. I think I would like to extend the brow up a little bit more. Just a tiny amounts so should be fine. Yeah, that should be fine. Up a bit more. Okay. Smooth this out. Yeah, let's do a little bit more. We can do a little bit more work on the, this part, this nasa bell looks a bit off. Let's get it down some more. Yeah, like that should be fine. Okay? Yeah, so now we can begin to add some more interest to this. But for a male character, I think we need to have a little bit more sharper ang here. You know, do that. Sharper angle should be pushed this way, okay? Get it more sharper going in there. Not too sharp though, but something just to create a good illustration around those parts, okay? Yeah, that should be fine. So let's create the so let's make the eye bag in here. Then we're going to create the lead chick. The eye bag is what we have around here. That's the eyebg. Then the lead chick is what we have on these parts. It's more like two layers in there, let me show you guys a good example in here. If you come in Zoom can see the eye bag, then the lead check in there, Let start by creating creating use them standard brush grating. Separation in between, so let's separate this out. Go in here. Okay. Like so. Then we'll have another one that comes across. No that's a bit too much comes across around these parts. All right. Then I'll smooth that out because it's not supposed to be this obvious in here, so let's blend smooth that down. But we should still kind of sit underneath that based on so soft shadow in there. So here, that should be fine. Smooth out a bit more around here. Okay. I want to use the move brush. Extend this down a bit more. Smooth that down. All right. So just a faint example of something in there. So back to the dem standard brush. Let's create some more depth on the brow, smooth it down. Okay. So this is are we kind of start creating and blocking now the structure of the O face a bit more. Keep adding these structures piece by piece. It begins to make a lot of sense in here. Now, I also want to kind of use your reference also based on the reference you have kind of create some more shape in there. Marks part out, invite the marks, blow it out, use the move brush, move this up a bit more. Okay? Okay, that's fine. I think for the nasulbel we need to create a bit more depth in here. So just around the nasolabel, need to create a bit more depth around here. That's a bit too deep. Let's take down the intensity. Let's do something light in there. Okay? Just to separate that out from the nasolabl and the molar in there. Then smooth that down, smooth this down. Okay. So all of this will begin to make better sense where we add reflectivity to it. Let me get this at an angle from the top. I'm going to use the Clay Build brush get close. I would like to build undo that undo that. Let me use my inflate brush instead. So BIN. So I'm going to use my inflate brush instead to inflate this molar bone some more. So inflate the molar bone a bit more. This one has a small smooth transition undo that. Is a bigger brush. And Okay. We use the brush size, then smooth that down. Is soft smooth. Okay. That soft smooth in there. Still on the inflate brush. I would like to inflate this place. We use the brush size, get close, do that. That's a bit too extreme. Let's just de clay Bow brush instead. Build a shape around here. Here like so, then smooth that down. Zoom out. Okay? So once you add those ships in there, you also want to kind of check if it looks right. You also need to kind of check if it looks right. If not, we're just going to remove it. So I just want to check if that feels or it looks right in there. I think for the most part that should be fine. Go to the standard brush them standard brush rather. It's actually good in there, but it kind of creates it's like a Let's see if we can find it. It's in there it's in here already. So it's a shape where the structure of the nose kind of the bone in ja kind of books out and then creates like a dent. So the n should be around. Let me show you guys in here. So is this ship in her separation in there. That what we're trying to recreate also on our scopes separation in there, but using our main reference as a guide, you can see the same to also in there. So use them standard brush. Think let's smooth this out also. Do I need to smooth that out? Yes. Yes, that's fine. So I'm going to create the ship in there undo that. Undo that. Okay. I think, so should be fine. The brows size. Then smooth soft smooth. It should be just india should be fine. Yeah, there's a depth also around this part. So let's create increase in dense a little bit small, a little bit more depth around. No, no, that doesn't look right. That wasn't looking right at all. So let's do that again. Okay, around here. Okay. Then we smooth that down, use a smaller brush size. Smooth that down. Okay. Zoom out. Yes, that's fine. Let's look at this from the same similar go. No, around the Nasul be, we have a folding here. It's like a folding here, so let's use them standard brush and then carve out a shape around here. No, do that. I should kind of connect to the Nasibe folding here, so something around here. So block that in with a then standard brush, then smooth that out, smooth out. Smooth out also. Then I'll use the clay Buda brush and then build a shape around that part. Smooth that down, smooth down the edge. Yeah, something like that should be fine. If you do create this shader information in there, that we can definitely work with. Okay. Let's say there's something else we can do. So basically building this bit by bit, which is what we actually need to do. I think I need to smooth looking at this. Let's smooth this out some more. Use the standard brush. But something, smooth down. Okay. Should be a bit obvious for now. Should be a bit obvious for now. That's fine. Use the move brush. Extend this out a little bit more smooth down. Okay. Let's go to our blink material. She begin to kind of see some of these structures, a bit more in here now. Okay? Now, de this depth we have in here, I need to kind of fill that up. Let's fill this up. Let's fill this up. All right. Smooth that down. Okay. Yeah, that's fine. Just check in to see if there's something else you need to add in here. W obviously, the obvious les. Most especially around this jaw. You need to do pretty broad side to, like, a fill it in here, then smooth that down. Okay. We feel it also around, smooth that down. All right. Okay. Yeah, that's fine. So, yeah, we continue to keep working on this in the next lesson, also. So I'll see you guys in next lesson. Bye for now. 16. 15 Facial Secondary Forms In Zbrush: H right well comb guys stick on the fragment of this head. There's still quite a lot of smaller tiny facial structures around around the head that if you don't capture the essence of downtnoscopes, you might not get something looking realistic enough. On that note, let's just continue working on this. I see some features from this reference in here. Another idea is that once you get stock, you can't really find another additional reference to actually use or another feature block in, change your reference and then if you have something to work with with a better reference different reference from a different angle from a different time and different lighting also to begin to expose some of the facial structures that you kind of miss in your previous sculpting. So keep that in mind. So I can see some features. Yeah, I can elevate, like, smooth this down. Okay. Let's see what we get. That's slightly odd, slightly odd. So I'm going to use the move brush and then move this down a little bit more. Yeah, so it should be fine. Okay. Also, you can see this part is on the nose is kind of thinned out. Nosy is kind of thinned out, so let's smooth that out and get something a bit softer for the noses. Let's get something a bit softer. Here, that's fine. Then the general proportion of the general proportion for the nose, I like to do some more corrections to that. So let me just show you guys, let me use this instead. Let's look for a nose structure in here that we can use to better illustrate what we need to do. Believe I should have one in here. Okay, so this is a good reference for this. So I wonder even oh this is like an African nows, the structure in the t needs to kind of show a bit more. So to do that, we can use the DM standard brush to kind of elevate that a little bit more. Yeah, more or less like so. Then I'm going to smooth that down a little bit. Just to get an angle in there because we need to get an angle in there. Then we have something that goes across down here that cuts across this part. Okay? No, do that. You need to do this properly with properly from around down here, should be fine. Okay? There should be fine. Then smooth that down. So you should the shader information in there help help us in there, just flow kind no. There's something actually in there. Let's see. Let's see what else we can block in here. Yes, we can go and create an indentation. Yeah, that is fine. Elevate this a little bit more. Okay. Let's actually see his nose from the side view. Because I feel like the nose in here is a bit kind of too flat, flattened out way too much. So let's see, so we need to kind of elevate this up a little bit more. Actually, on these parts, the mid range part needs to be elevated a bit more, okay? Around your house, a little bit small. Yeah, something like that should be fine. I can see based on the shadowing in here, it gets closed, gets enclosed. Okay. Let's get it similar to the angle we have. We can see Let me get in closing here. You can see a separation around the molar region. So we can also get that in. We can get that in. Let's see. Yeah, I can also see a planar change around a planar change around this part also. So that I can easily do with edge polish. You can just polish this edge slightly, just something soft, smooth that out. It's a bit too sharp. Mine is a bit too sharp in there, so I'll need to undo that. I see the same he polish but reduce intensity. Let's get a planar change around here. Okay, and I'll smooth that out. Here, like so. Smoothing that out would be fine. So just a soft planar chin, smooth this out also around the air. So that soft planar chin should actually help. So this is how we start breaking up this head a bit more. So now we can see this. Let's get this at an angle. Let me soften this out a little bit more. We can see this separation around the molar. Is also on bring this out around the ears fine a good. Reference for that, but in here, let me use this instead. It's not obvious in here. I think it should be, it's more obvious around. It's more or less like this line we have more or less like this separation we have in here. So we need to kind of create that around here. It's also what we have on the reference. We just decide. Let's get this around here. It's also what we have kind of separating this part out some more. We need to introduce that also too in our scopes. So this is having various reference image of the same person from different camera angles and different light setup actually helps by a lot to get some good interesting detail around that part. Let's create a separation there. But we need to smooth it out. Before smooth it out, let's. Let's I think I think my browse size is way too big, so let's use the bro size a bit more. Let's get some thin thin around that part. Okay. I do one step. We need to do this just once on the same line naturally. So then we can smooth. We can smooth, but we should we still get that shadow information should actually help us know that there's something still in there, so I'm basically using my shadow there to my advantage. So let's go on subduction level higher let's see what we get. Let's go and stop the iron so we can see what we get out of this. I need a bit of time to kind of jump to, okay? It's in there now. Let's see if we get that in. It's not too obvious in there, so we can use the same dame standard brush can repeat that again and do that. Okay, then smooth out. Okay. She should just be barely in there, but still in there too. Stay in there on kind of look at it from a different angle where we have more light in. So yeah, that's fine. So I'll blend smooth this down again. I like to tighten it to use BPI pinch brush, tighten it a little bit more, tighten it to a more. Okay. So we get something tight in there, but see catching the right amount of shadowing in there, so it's still very much in there. So let's go to the lower subdivision level and keep working on this. Let's see if there's something else you need to do in here based on this camera angle. See, most of the shape are blocking in clay brush, move this to the side, move this down here. I would like to create something in here, then smooth that down. Zoom out. Let's see, smooth that out some more, right. I think that should be fine. Okay, I'm going to use he polish now. I'm going to polish the corners of the nose. Basically trying to create a play ner change in there. So trying to create a play n changing there, that should be fine. Let's see. Let's go towards the forehead, a bit more. Let's go towards the forehead a bit more and create some more interesting shape on these parts. This is west that's west lowest obvion level. Let's use the dam standard brush, increase the brush size. Okay. Okay. Let's see. It's a separation around the frontal skull. So I would like to implement something similar to that around that part. You can see this part is slightly also elevated. But let's start by creating the dense ear first, create the dense ear, use the brush size, smooth that out, smooth that out, a bit small. Okay. I should still be there but faints. Then we can use the clay brush and increase the brush size and create a lump on the part. And smooth that lump out a bit more. Okay, get close zebra size, zebro size, smooth out that lump some more Ar. Okay. Then still on the same clay brush. I can see a shape that comes across this way. Zebra size, elevate this part some more Okay. Smooth that down. I down my smooth intensities, smooth this down, smooth this down. Alright. Think that's a bit too elevated, get it smooth around that part. Use the dam standard brush, create a dense in here, zoom out. Okay. Zoom out a bit more, increase the brush size. Let's get more dense in here, then smooth out. Okay. Use the clear build up brush, fill the spot up some more smooth that down. Smooth down, smooth down, zoom out, gets enclosed, smoothes down. Also, Alright. So should be quite barely fenced in there. So you should see it when we look at this from similar angle. Looking at this from this similar angle now I see I need to let's use the standard brush instead. Put out, dig in here, smooth that out. Smooth out some more. Yeah, that should be fine. That should be fine. Then go to this dam standard brush undo standard brush, create a depth in here. Yeah, let's give him some more character to him. So that's fine. Let's find out we can work with. No necessarily bare food. I think I need to get that a little more should be a bit more obvious in there actually. So redeem standard brush. Okay. Yeah, that's fine. Yeah, that's perfect. We definitely needed that all the while. So smooth it slow up or down. I'm going to use the pinch brush now, use the pinch brush and tighten it a bit more. Okay? Tighten it a bit more soft smooth. Smooth, again, all right, that should be fine that we can work with in there. Let's see, look not this from the same similar angle. Let's see. Yeah, we also need a separation around the lip, around the top part of the lip, create some dent in her let's look at this, mood this down. I shouldn't be too obvious in here but just to get a shape in there. We need to do that. That's fine. Then let's go over to the lip. Wedcee the bro size, use the bro size. Let's increase the bro size. Let's get this leap in here some more Okay. Let's get a ship for that lip. Undo that. Let's just essen it upon what we already have in there, right? Then undo that. There's a depth around the edge. Like so. Yeah, that's fine. Gets close. There's a depth also undo that. Let's start by elevating the lip like, so, right? Then we can reduce the bro size. Then there's a depth around this undo that. There's a depth around this part all the way in all the way down here. A. Yeah, yeah, something like that should be fine. So it just kind of captures something in there. So so I kind of adding these minor secondary details in here. I begin mode is beginning to become more alive. Yes, it's becoming more alive. So now let's go over to the eye. I think we need to make some more corrections to the eye. So I need a bit more ebb in here. But I have a better reference for that. There's another reference we are adding here that kind of yeah, this spot long angle kind of elevates it a bit more. So we're going to use before doubtless, the directional Sizo the angle for the eye, actually. Need something. You need to kind of get the angle of the eye a bit more accurately. So let's see let's kind of compare. Let's compare. Let's look for something that's more front on. I kind of facing a bit more front on. Now, it has an expression in there do, but if you use this and then just line this up, let's line do something straight. Okay? So if we do that for our scops, I'm not sure. I'm not sure when you writes, please. We still need to make some additional corrections to it. So let's do that. So with the move brush, the move brush gets close, put it to the side. I think all I need to do is to use the move brush, and then on the lowest of the vision level, that's fine. Remove brush, increase the brush size a bit more. I'm just going to elevate this up a little bit more. Yeah, so it should be fine. Then bend this down a little bit more, just a little. Okay. Yeah, that's fine. So now we can the eye is a bit the lower part of the eyelid is a bit is down way too much. You kind of shrink that need to string that a little bit more. But before we do that, before we do that, before we do that, I think, let's go back to, you know, this reference. Okay. I think I believe this reference. Let's get something just below for the eyebag. Let's mark so this lower part of the eyelid, blow it out invert marks. Then we can let's do them standard brush, blow this out some more, get this at an angle. Let's look visualize it from a similar angle to the reference we're using. All right. So I'm just going to make this a bit more obvious. But I think mine is way too high. It needs to be a bit tighter. Use my bro size. Play on the same damn standard, bro. Use my bros size. I think there should be a good place. I think that is a good place. Get this in here. Zoom out. Let's see what we get. All right. Here, this should be fine. I should be fine. Let's use the clay brush and add a little bit more flesh in here then smooth that down. Smooth that down. More or less, I'm trying kind of create some kind of tired high to him in here. So trying to create some more tired high to him. Go back to the move brush. Use the brush side I think I need to move this up some more. You should kind of connect them standard brush gets close. Should kind of connect all the way here. Like so. Like so smooth this down. All right. Zoom out, play the max out. All right. Let's look at this from the same similar angle. Let's see, smooth this out. Okay. Yeah, I think we can actually, we can work within her. So now let's max out the lower part of the eye again of the eyelid, lower part, blow this out invade the mark. Move brush, I'd like to get it up a bit small. Let's look at let's look at it without too much of an expression in there. Something like that should be fine. Let's get this eye closed a bit more because I don't think I don't think my eye is actually in the right spot, so with more brush, get this up. Alright, get this up. Up some more. Okay. I think the thickness for the lower part of the eye is slightly too much so Let's smooth that out. Reuse my bro size, increase intensity of the bros. Let's smooth it out some more should not be too aggressive, something like so should be fine. Okay. Let's see. Here, I think we're actually in a good place. Actually in a good place. Yeah, that's fine. So you can see on now on your top eyelid, you can see this creasing here should be a bit closer down here, so we need to push that a bit closer, so let's max out this part, blow the marks. Okay, no no undo this. We do one step. Let's just repaint this again, actually. So I'm not going to go around here. Down. Okay. I'm going to max out this part also. Blow the mat. Then with the move brush still on the move brush, we can, I think we need to do a bit more maxing in there. On do that. Let's add a bit more maxing on these parts. Okay. Blow this twice. Then we can now easily push this down. So a bit closer because for our main reference, this is a bit closer. It's down a bit more. Undo that, I don't think I did this accurately enough. Okay, so let me increase the bro size a bit more. Get this down. Get this down. Down a bit more down a bit more. Yes. Yes, I think around there should be fine. Yes, down around there is fine. Around there is actually fine. So the dam standard brush, I can create another gap in here for the brow. Something faint, not too sharp or too obvious in there, something faint. Then blend smooth that out. So you need to do up some shadowing in there. So it's the shadowing we need actually for that part, so that should be fine. So now for this jaw, I think I need to make a bit more adjustment for the jaw. Okay? Yes, we can add, for the job, we just need to create. I can just use the clay brush or the standard brush instead. I'm just going to do, and I'll put it dense in a separation in here should be fine. Smooth that out. So there should be a slight shift in planar changes and just smooth it out a bit more. Yeah, so it should be fine. All right. So we'll continue on the next lesson by for now. I think there's one more thing I would like to do. There's one more thing I would like to do. Just to add a bit more interest to it. I'm just going to separate this out, so this down. So just to add a bit more bit more additional feature to him. Okay, with the clay buildup brush, we can build something smoother down. All right. Fell this part up, smooth that out. Okay. Here, I come in around here. That's coming around there from the top view. I'll use my move brush now coming around here. With move brush, I can move, increase the brush size at the brush size. Let me just push this in a little bit more, a little bit more. Here. That should be fine. That should be fine. Okay? That we can work with in here. Alright, so I'm going to carry on in the next lesson and then keep doing some more work on this. Sin I can let's use inflate brush. Inflate brush, come to the eye, inflate this a little bit more and do that. Let's do something soft. Smooth that down. Alright, so continue on the next lesson. Bye for now. 17. 16 Ear Forms In Zbrush: Okay, we come but, guys, the previous lesson, started adding some minute facial secondary form details into our head or the fish. So we're going to carry on with that? And then this lesson we're just going to scope something for the year. So at least for the base mesh, already almo the structure for the, but we're just going to add something in there regardless. But looking at this reference, nice, it's something just below in between the lower part of the lip and then the chain. So I like to block that in. I'm just going to use the clay brush instead. I think this should be Let me increase the Bus size a little bit small. Is going to undo that something around undo that, something around here, use the bro size, and then I'll just the smooth. Smooth again. That should be fine. Yeah, something around there should be fine. So we're going to add let's add something in here. You can see on this smaller album in here. The small depth around here. So let's see if we can introduce that with the clay brush, dig in. Okay. Then we smooth brush smooth it out. Okay, that should I think that's actually too deep. I think I made mine too deep. Mine's actually too deep. Okay. All right, smooth it out a little bit more. Then come to the side, reduce the brush size. Let's see you want to reduce the intensity of the brush and then just dig in a little bit more, then smooth that out. Yeah, so from the side, you should be getting something interesting in there. Yeah, this work, smooth it out a bit more. Then I'll go to the theme standard brush. Increase the brush size. So let's add wrinkle slight wrinkle tiles and I need the neck around here. No do that. Do something around the, or. Okay. Now, do the last one. Do the last one. Let's go on subduction level higher for this. Subduction level higher. And then we will do that again. Okay? On do that. That's not looking accurate enough, so let's mount it out. Let's do another one. Yes. Come on. Okay, don't do that. Let's use the math cap gray instead. Okay. Undo that. N to be Okay, that's fine. Yeah, that's fine. Uh I don't know. Maybe maybe we can keep this. Let's just smooth this out. Shouldn't be too obvious in there. Let's smooth this out. Alright. Smoo that out. Yeah, that's fine. That's fine. Moons out. Alright, now let's go to the Let's use this character in her to create for the year. Yeah, this is a good one. It's a good angle in her. So let's go to the lower subdivision level. With a lower solution level, I'm going to using the move brush, Starp using the move brush and move this up a bit higher, bring this out some more up a bit higher. I don't think we need to do so much in a dense standard brush, create a dent in more depth in depth in a year or so that elevate this out some more Okay, create some depth around there, right. Depth undo that. Reduce the brush size. Dig this in in some more, use the clay brush. Accentuate these parts a bit more. Put the standard brush. Okay? W digging in a Okay. The smooth. There's not so much in here, actually. So put or dig in here, smooth out. I think for the most part, they should for the most part, they should be fine. Okay. So let's go on subdivision level higher. Let's see what it gets. Yeah, yeah, I noticed there's something else also need to do. So I think where did I see that? Where did I see that? Not in a Not in the Okay, I think for this actually. So on the brow, let's go on subdivision level lower. So I would like to use this. Let's go to the stroke first. On the lazy mouse, let's take down this lazy step. Create Oh, whoa, that's way too intense, reduce the brush the intensity of the brush, hold out, dig in the air, smooth out. Most likely, let's use the clay buildup brush and then build some more depth on these parts. Smooth down. Let's see what we get. That's slightly too extreme. So kind of blend smoothes down some more. Smooth this down. Let's see. Smooth this down some more. Okay. I think this should work. Just the same standard brush. Let's see if we can elevate this smooth out. Yeah, I think this should be fine. Let's look at it from an angle. This work just fine. Let's blend, smooth this down. Okay. Smooth down. Yeah, this is fine. Let's visualize everything. Let's see what we get. Okay. Now, this would actually work. This would actually work. Yeah, this is fine. This is fine actually. Let's go on subution level higher. Let's see. Next lesson, we're going to start breaking the shaping here by sculpting asymmetrically for the face and then start breaking up the surface of the face a bit more. An asymmetrical fashion. But I think all of this should work just fine for what we need it for. We already in a good place for the head, so we just to keep working on this breaking up symmetry on the phase. I don't know how feature we can add in here, we can do that also. But I think at this point, we're already in a good place. I say detailing here, we can add. So let me undo this. Let's go back to where we have the isolated. So let's add a bit more depths. Just where the structure of the nose is starting from on the skull. I think we can use the clay brush. I'll just fill this part up some more then blend smooth that down. Okay? Use the them standard brush. I'll create a separation there. Here, so should be fine. Smooth that down. Yeah, that's fine. That's fine. That's we can definitely work with. Smooth down a bit more. So I'm just basically trying to see if there's any other feature. We can. Let's look at other references in here. I see if I can milk this as much as possible before we start breaking symmetry on the face. Okay. Now let's actually look at realistic three discan data instead. Let's look at three discan data. Let's look for something that is similar to the face, and then we use that scan data to add some more refinement details on our scuptThis a good one. This is a good one in here. Let's see. Let's see if there's something we're missing that we can introduce on the scoped. Let's look at the side view. Okay. Just look outside view. Alright. Well, I think we're in a good place. It maybe just a matter of training years kind of pick out details that you can add on your record. But for the most part, I can't really see any major detail in here I can pick from this scan data that should actually help. Most of the structures, we kind of did a good job getting blocking that in as much as we could. Let me use something else. Let's use, I don't actually have it here. I don't actually have it here, but that's fine. Let's look for see if we can find something in here from the main refresh in itself that we can introduce. Yeah, most likely, the depth around the brow region and then get into more fleshiness on the nes labor food. I think that are good examples. Okay. So let's re them standard brush, sensate this a bit more. Don't do that as a as a bit off. Okay? Maybe make it a bit more thicker, then move this out, move the side on the forehead. This is the separation in here, make it a bit more obvious. Undo that. A little more time around there. Okay. Smooth that down. Tap smooth that down. Yes, I think we in a good place. Yeah, I think when you're actually in a good place, there's something else we can always add. Just a matter of taking a rest. Rest your eyes and then probably when you come back to this, you should find something else to add. At least for the most part, the general proportion of the shape is actually in there, and we can I think we can actually move on with this. So yeah, I'll see you guys in next lesson. Bye for now. 18. 17 Strong Facial forms In Zbrush: Okay, welcome but guys. In previous lesson, we're trying to refine a bit of the shape on the face. So in this lesson, I would like to kind of push the design a bit further by making him slightly by getting him more stronger. More stronger character face in here. Okay? So I have a reference in here I can use. So I think it's got a reference in here I can use, so I'm going to use this reference kind of push the design a bit further by making it feel a lot giving him more stronger characteristics to his face. So to do that, let's go to the highest subdivision level. So I'm going to create a new layer for this. So I would have two variation. This is actually completely fine to use if you want to actually keep this, that's fine, but I'd like to push the iving forward and create a more stronger feature for him. So just so we have something that looks more cooler in terms of more interesting character characteristics, so character fats to him. Okay. So to do that, let's bring everything back out. To conclusi and tap out, everything back out, and then we're going to create a new layer to have these strong feature forms in there. So this is actually very fine. It's actually very fine. We can keep this, but let's push this a bit further. Let's ph a bit folder. So I'll go to layers. I think we have Okay. Just decide. So I'm going to create a new layer in here. It's kind of creating new layers. Let's just give the same moment to create. Yeah, let's fine click Okay on that. Then it's going to pop out a new layer for us. So for this layer, I'm going to give it a name. Let me name this to frongFas that should work. All right? That should work. Then I'm going to isolate the phase again, so D Shift D, go to the lowest abibtion level. Control shift, click, click, click, click, click, click. Old and Control Shift and invite the selection. Let's put this to the side and we get in close. So this is the lowest abribution level for this, go back to the move brush. So one of the strong facial structures around the face is close to the nauseolabel, and the molar, we have a bit more depth in there, we have a bit more depth in there so you need to push that in some more around here, we put this in some more. Yes, so interesting. That should give him a more interesting facial form to him. Then we're also going to think we have this to decide decide. We need to push this down here should go in a bit more also. In some more, right? So, that feels a bit old. On to do some gradual transitional process to this. So what I did before was just way too strong, so let's do that. Do that again. Needs to be carefully put in the right spot. So here around there should be fine. Okay. Here, this we can work with. So for the molar, I'm going to push this in a bit more smooth this out, push this in some more. Okay? Yeah, that's fine. Yeah, that's fine. So we're kind of pushing it more kind of creating some more stronger facial relevance to him. That should actually help buy lots. So that should be fine. Then we can use the Dam standard brush. Use them standard brush, carve a bit more shape in here, a bit more depth in there. Yeah, that's fine. I'll take down this smooth brush, blend this down a bit more. Okay? This is not too sharp in there, but see in there actually. What's he going to go back to kind of break sit in here, we're going to go back and then smooth that out some more, putting some more interesting variations out of that. But this is fine for now. Kind of getting getting more stronger facial structure to him, which we definitely keep. So let's come up around here, W move brush, use move brush in here. Dak down the bros size. I'll push this in some more. This in some more like so. Okay. Yeah, that should be fine. Then we'll send you this molar bone in malar bone here. Let's get something sin out around the e. Let's get this thin out. Okay. I'll smooth this down. Smooth this at the air. I'm basically smoothing this at the edge. So yeah, that should be fine. Okay. Would break symmetry here and then do a little more. I'll now surface breakup in here, but it should be fine for now. Okay? Then I'll push this in move brush. Move brush. Take down the brush size, push this in some more. Okay? Yeah, that's fine. So basically trying to create some stronger facial forms in here as much as I can find them. So we have another one around here. I'm going to hold down. Let's use the standard brush. Hold out, dig in here, smooth out. Okay. Smooth out undo that smooth out, right? Okay. Yeah, that's fine. Yeah, there's quite a lot opening around around the forehead, on the brow. There's quite a lot of bit lapening in there. But we'll come back to that. We'll come back to that, let's just keep working. Let's work a little bit more on the chin. So I'm going to use them standard brush instead this time. Let's see. Okay, no, let's use the clay brush instead. I think the clay brush should be fine. I'll build something here. I comes down, smoother down. Okay. Yeah, that's fine. That's fine. We use the standard brush now. Pull out, dig in a bit more, smooth that down. Okay. Yeah, that should help us create some more stronger forms in there. Okay? Smooth down. Yes, interesting. Yes. And a strong form in here that should help. Let's see. Add a bit more undo that undo that.creeze the brush a little bit more. I think I went overboard in there actually, but that's fine. We can always use the smooth brush and then smooth this down. Okay. Smooth that down some more. All right. Yeah, I feel this is a lot more interesting compared to what we had before. We have more stronger structural forms to him. So once we be stimmt, you should have a lot more interesting result going on in here. So yeah, that's fine. This we can definitely keep. Let's go over to let's see. Yeah, this is fine. This is already something in here already. Smooth this out. All right. Yes, this we can keep, go back to the Dam standard brush. Okay? H. All right, this should be fine. Smooth out. Okay? Yeah, that's fine. So we have more stronger faces to him. More stronger fires to him. Yes. So now let's go to the forehead. There's a lot of detail going on on the forehead in there, so lot of wrinkle and full detail in there that I would also like to implement in my sculpts. So I think we can do this with the standard brush, really brush size. Okay? There's another one in here, here also, elevate this part out some more. Okay? Actually creates a lot more interest to it. Ton of symmetry for this actually then do a shape in the center, smoother down. Okay? I think at this point now, it'll be easier for us to it's much easier for us to brick symmetry and then continue doing some work on this, okay? Wood dig in a shape in your air, smooth this down. Okay. Alright. Yeah, this is fine. This is fine. This is definitely fine. It's a more stronger facial structure to him. I believe I can merge two layers together now because this I would like to definitely keep. I'll definitely keep. So didn't do too much, though. We just kind of accentuated some forms a little bit more just to give him giving a lot more character to his face. Right? So, um, this is still be an African face, African nose. I like to extend the nose a little bit more. So let's use the more Botnel asymmetry, extend the nose a little bit more around you also. Let's see, I think this might be too big. Let's undo that. Undo that. Maybe only extend it at this part alone. Yeah, that's fine. And I want to lift up the expression a bit small. Let's lift up the expression. I was going to lift this expression up a little bit more. Like around it should be fine. Okay. Now, let's go back to gizmo. Mark this part out. Invite the marks, blow this out some more. Okay? With the move brush. With the move brush, let's close this down a little bit more. Okay. The max. Close this around here. Okay. Yeah, that's fine. This is fine. This we can definitely work within here. Yeah, this is fine. So now let's see for the eye, something I need to do for the eye actually. So for the top part of the eyelid, top part of the eyelid, max out these parts. Blow it out with the move brush. Let's get in close, increase the brush size. With the move brush, let's bring this close yeah, I think, se should be fine. Clear the marks. Alright. Yeah, that's fine. This is fine. This is fine. We can work with in here, go back to the Dam standard brush. Let's quit separation here. Due to separation, that should be fine. Okay? Alright. Okay, so I think we can now comfortably break symmetry in here. But before we do that, before we do that, let's go to the higher subdivision level. Let go high subdivision level. I believe I can merge these two layers eight primary forms I can merge them. I believe I can merge them together. Let's go down Control Shift and tap out to bring the entire body back out. Yeah, this definitely feels a lot better. I definitely feels a lot better than what we had before. I have a much stronger facial structure to him that should actually help. Lots, this is fine. Okay. So let me just sent you with this more rhythm standard brush. Okay? Let's carve this in. All right. That should be fine. We use the standard brush, add some more thickness on these parts. Okay. Smooth that out. Smooth out. All right. Yeah, I think that's fine. That's fine. That we can keep. Okay. Moving on. Let's do, let's go to the highest subibuton level. So going back to the highest subibution level for it. Then we can merge some layers together. I believe we can merge some layers together. It's long I mese layers together, cannot get them in one single layer, but I think I have merged layers before now, so let's turn of the recording for this to of the recording. Of the recording, starting off. Okay. Then we have let's select this Ed primary form. Eight primary forms, yes, I think, let's see, it should be merged down, is it? I should we are men merged down awesome. So let's just merge this down. So you don't want to merge down to the layerizedblud, which is precisely what we want, so I cannot merge that now into one single layer, so that's precisely what we want. So we can that we would keep. So now the head kind of matches a more stronger body from now. So the head matches it a bit more accurately. So that's fine. That's fine. So the next layer, we're going to work on next is to now actually break symmetry here. So we'll do that in the next lesson. Bye for now. 19. 18 Facial Asymmetry forms In Zbrush: Okay. Welcome back, guys. In the previous lesson, we made this character a much stronger feature structure to him. So now we're going to start breaking symmetry and then move on from there. I'm going to tur on the recording for this primary forms. Let me turn this off. So you can get this dark sheded version. And then we would also need to create a new layer for this. This layer is going to be facial asymmetry. Let's create a new layer for this and name that facial asymmetry. Name these two caps in your facial SM. All right? That should be fine. That should be fine. But I notice something for the eye lid. Sin the eye is a bit widen the d. So let's go down to lower subdivision level. Select all of these via the selection. Go to the move brush, increase the brush size. Let's max. I don't think we need to max. We don't need to max, though. Let's see if we can just capture that without having to let's move this in, and do that. I think we can do this from this angle instead. Okay. Let's see what we get. Now probably not. Just getting a bit closer. Come from an angle move this way. Okay. Okay. That should be fine. Okay. Let's see. Yeah, I think that should be fine. Yeah, this should be fine. Th should work just fine. Let's do this tail doct in here. Let me reduce the brush size, increase the subdivision level and then we'll do something in there. Let's do something in there. You can use the clay brush and then just put additional form in there. Undo that that was not done accurately enough. Undo that again, undo that again, okay? Let's see. I think this is actually fine the way it is though. Let's just reduce the brows size a bit more. Okay. Zoom out. So now breaking symmetry in here, obviously, we're going to turn off the symmetry ine. Let's go to lower subdivision level. Go to lower solution level. I'd like to decrease on your forehead. I would like to get that in a bit more. So this is actually two los. Let's go on solution level higher dem standard brush. Pretty brush size. Get in more depth, more depth around here also. Okay? The depth should fat underneath these parts. Okay. Similarly with similarly also this. Okay. But now we need to generally move the fam, because it's kind of frowning, so with the move brush, you need to move the fam. Let's don asymmetry for this, actually. Let's move the form With the move brush. Let's move the brow down a bit more. Almost like it's kind of frowning, sort of a bit tighter, okay? Yeah, yeah, that's fine. That's fine. So ton of asymmetry now. Let's continue on and break up the shape some more. So I'll go to lower solution level for this. Then I would use the standard brush. I'm going to hot dig in here. Okay? That's a bit to be. Let's use the brush size. So let's dig in here. So more smooth that out. Okay? Them standard brush, carve this down, smooth out. I'm not sure if that's looking good, still looking good. But that should definitely help break the foam, though. So certainly help break the fam. I think we can keep that we can definitely keep. Okay? Yeah, else What else can we break in here? We can use the dam standard brush, create a gap in line in there, smooth that down. All right. Yeah, that's fine. Can create shape in here, smooth this down. Okay. I actually breaking this up now. Breaking this up now the way we need it to be create a dense in here also, smooth down. Okay? So st sto change this nice way up, break up the entire surface a bit more, get this shape in here, smooth down. Okay. I tight in this part. No, undo that. Create depth in, mood this out. Okay. Out out, push this out, Moot this out a bit more. Okay. Here that's fine. Create a denton in her, smooth out. All right. That's fine. That would help. He I brick symmetry in here actually. So let's use the, I think the inflate brush would be better one. Inflate. Let's inflate one side of the nose. Let's inflate this side, smooth it down. So smooth down, okay. Alright, yes. Let's do a bit more around here. Inflate that out, smooth down. All right. Smooth down a bit more. Okay. Yeah, that should help. That should help. Flatten this part out, yes, that should be fine. Okay. Moving on. Let's see, yes, we can create, can accentuate. No. Let's go one solution level higher for this actually. I think we can go one solution level higher. We can make this line in a bit more obvious. Don't do that. We just need just one step. Yes, we can keep this let smooth this out. So you should be faint in the las fine that can still work. Smooth this out a bit more on the lower parts. Okay? Yeah, let's tighten it out. Let's use the pinch brush. Pinch, pinch, pinch brush, increase the brush size. Let's tighten it a bit small. So it's not too broad, get us fine. Yeah, let's go to lower subdivision level. To lower subdivision level. Get us lower subdivision level. Let's go to the move brush. Increase the move brush. Size. Let's bring this closer. Okay? Okay. Then we can get this higher than the other opposite side. That helps with the breakup also too. You can tell the nose a little bit more this way. Okay. Yeah, that would also break up the surfacing here also that helps reduce the brush size, smooth this out a bit more. Get some softer edge around those parts. Nasal Bel food. Let's get one part, a bit thicker on the other side, what can we use in here? Let me max it out actually. Let's do a xing. Let's do a proper xing. No. Let's do this this way instead. Mark this part out. Also, I undo that. Invit marks, blow out. Blow out some more. Come on invite the mark, blow out some more. Let's use the standard brush. Let's see if this actually works. But basically trying to add a thickness around here. Okay? Smooth that out. Yeah, that's fine. That's fine. That would actually work, smooth this down. Okay? We them standard brush, creates a bit more depth. Clear the marks. So one p be having a bit more depth on the other side, which is precisely what I want. But that doesn't mean we still had additional thickness to this though. So standard brush. Okay. Alas fine. Smooth out, smooths out. Okay. I think I need to undo this. Let's Let's mark this out a lot more precisely. Below the marks with a move brush. Undo that. Let's get this, no, no. Get this folded in a bit tighter. Let's see. I think from this angle looks a bit rather odd. Let's use the pinch brush and then tighten it more tighten it more then smooth. Okay. Smooth this edge. Alright, that should be fine. Right. Smooth out some more. Smooth out some more. Okay. Let's make this top part of the leap a bit more of your no, not dots. So we them standard, but you just dig in. OO, tonal asymmetry, we can elevate this out a bit more. Yeah, that's fine. That's fine. That would work. So we need a crease in here. Let's go on subduction level higher. One subduction level higher. Let's get increase in your tono symmetry. Get a rise in here, push this in. Okay? In some more. Okay, gets a rise in here, line in here, gets up close. Okay. Yeah, that's fine. What else can we do here to break symmetry? Yeah, so the eyes should not be as operators. This one eye should be bit higher than the other part, but most especially for the lower eyelid, for the lower eyelid, we need to pull one down and leave one at the same size. So let's do for the eyelid on the left hand side. So I'm not going to max at the lower parts. Via the mouse, let's go to lower subdivision level. Go to lower subdivision level. Okay, then blow this out some more. We use the move brush and then just pull this down up down a little bit more. So if it's like one eyes one of the eye is more open on the other side, so actually quitate under additional level of variation in yes, that should work. So you can also create Let me let's say some indentations. Also, that should help. So let's just use this create some four had almost like some four head wrinkle in here. Let's go on sublution level high. Let's see how that looks. It's almost like I didn't do anything in there, but I actually did, so we're just going to go in and break this up some more. Okay? All right. This should be fine. Let's use the pinch brush, tighten this pinch brush, paint brush, let's tighten some of these a bit small. Okay, then the tap smooth around that parts. Alright? I'd like to add some scarring on this part here. Let's do them standard brush, take down the brush size. Let's do some scarring around here. So it shouldn't be too sharp. I want to soften this out. So that actually does kind of break up the uniformity of the facil, too. Let's do one around here, so this out. So she kind of add another extra level of break up on the surface in here, so let's see. Let's see what we can still in here to use. Okay? Yes, we can do I can do. Let's take this to lower subdivision level. You can use the Dame standard brush. Dame standard brush. Dame standard brush. Let's do a carving in here. Am I doing that? Yes, I am. Well, I think that seems rather too far. That seems too far. Let's getting closer around here. Okay, smooth that down. So just sort in the bots. As a lot of difference in here, smooth that down a little bit more. Okay. So yeah, that's pretty much how you can break this up to make this look a lot more interesting. You can use the move brush also. Take down the brush size. Do a pinch in a gentle pinch in there, so it should be slightly different from the other side. That would also help too. Okay. Let's get into the side. Let's say we push this in a little bit more, so we get slide. No, I think that's way too much. That's way too much. Let's do something elsewhere instead. I already have this indention unit, so that's fine. Yes, yes, yes, yes, yes, yes, yes. Okay. Okay, let's get let's do them standard brush. Undo that. Let me dig in a bit more undo that. Introduce a bit more precision to it smooths out. So one side should be a bit more deeper than the other side. So this would also help. We can do a dense in, smooth this out also. Okay. Yeah, that's fine. Yeah, so we'll break, creating shapes in between as we can find them. Depth in a smooth it out. Okay? All right. This is quite interesting. Getting interesting ships in here. Let's see, this is fine. I think, even if we don't plan to do too much, we have good detail in here. Let me use the clay BD brush, smaller brush size. Take down the brush size. I'll get close. Let's create some surface detail in here. I'm just going to go over this, then smooth this out. So let's actually create an extra level of surface breakup around those parts. Okay? We can do the same also around here. Okay. Then smooth that down. I'll create on that surface, break up in there. Let's go to higher subbtion level actually. So on a higher subbtion level, we can do this bit more. It's a bit more accuracy in here. Okay? Let's say I flesh this part out like so and I do it smooth, so you should have no, no, no, no, that doesn't look right. I think the clay build up there is a bit too intense. Let's do something quite subtle. You shouldn't do it on the nose, actually. Shouldn't do it on the nose. We can smooth this out, okay? We can put dig in in a bit more. Dig in a bit more smooth this out. Okay. Smooth this out. Smooth out. Okay. Yeah, that's fine. Here, we can do a few more in here. We can build the smooth out. Okay, smooth out some more a bit more on the edges, that should help also smooth out some more. The S, smooth out some more. I think we need to smooth out a bit more also. So I just want it to be faint in those parts. That'll be fine. Okay. Let's getting close to the dam standard brush. Create a dent in another one around her, a bit longer one. Smooth those down. Okay. Alright, that's be fine. Okay. Yeah, I think for the most part this should actually work just fine for what you need it for. Because let's do a render shift arrow. Let's see, this is fine. Yeah, this is fine. We get two shadows in there. It's more stronger facial structure also two in there. So should all of the should work just fine. All of the should work just fine. Okay, Smooth this down. Alright. Okay. Let's add wrinkle details. I'm going to reduce the bras size, increase the subdivision level actually for this. Let's add rank details around the eye. They always like to do this Let's turn I always like to do this one over the skin polity, but let's just add. Let's start by adding do that. Let's start by adding one there first. Let's add something there to begin with and do that. Okay? All right. Yeah, that should help. Let's do one around here. Okay? Let's do one around here also. Yeah, so it should be fine. Okay. Yeah, this is good. This is good. Okay, let's do wrinkles around the neck. Canton asymmetry for this. Okay. All right. Undo that, undo that again. Okay, I think we have weird for mi ton asymmetry, smooth this out. Okay? All right. Can do another one around here. Okay. Let's see. We can smooth them out. Let's do some randomized smoothing for them. Okay. Yeah, that's fine. That's fine. Bring everything back out. Okay, so I think at this point, we can easily and safely skimp on top of this and then we'll continue building up some other structures to this. So I'll see you guys in the next lesson. Bye for now. 20. 19 Surface Noise In Zbrush: All right. Welcome back, guys. So in the previous lesson, we kind of worked asymmetrically on the facials of our character in here. So in this lesson, we're going to start adding skim detail into our character and then work our way up from there. So let's do that. But usually, first, I always do like a break a breakup of this surface in here using the noise inside of using noise inside of Zbrush. So I'm looking at this. I'm trying to see if I something I need to fix. I'm looking at this brow. I feel like I should thin that out some more, so let me set this to them standard. And then just use the pinch brush BPI come in to the head. Let's bring this down. And I just tight undo that. Brose is way too big. So I'm going to undo that and then I'm going to douse my bros size and then repeat that again. Okay. Yeah, yeah, yeah. That's much better. That's much better. That should work just fine. Let's do the same around here also. Okay? That's fine. Okay. Let's do a little bit more around there. Alright, so yeah, we can move on now. So I'll go over to layers. Yeah, let's make sure on the layer ablution level for this cause I need to create a new layer in here. ED again to go to the ublbution level. So now can see a layers in here now. I would create a new layer. Look okay? Yeah, that's fine, so I'm gonna rename this layer to noise surface. No surface. All right, break up. That's fine. Let's go down to surface surface, and I'll open up the noise modifier. Let's get enclosed so we can see where we get out of this. Okay, so I'm going to be doing some variations of this though. So there's going to be a few variation of this, but let's check this round. Let's see if there's any stretching anywhere. Let's say this to UV, it's messed up on UV. Let's set it back to three D. I kind of like this, though, so I'm going to be using this like Bsinsurface dit in here, but not this yet. I'm going to I'm going to increase the let's see, strength is fine. Let's increase the noise skill. Increasing noise scale, a little bit more. Trying to see if value that should really work for this. Yeah. This seems like a good one. I'll click Okay. The only thing I need to do in here would be to go to the lower subdivision level and go to lower subdivision level. So that was going to, I think subdivision level three seems fine. Yeah, that seems fine. So let's go back to our noise surface. Let's modify this a little bit more. So clic con edit. Okay. I'm going to take down the strengths. I don't want this to be too aggressive on the skin. This is looking fine. Let's see if we can do some adjustments with this. Is there any major change to it? Is those are interesting ones of create patches across the skin, but this is not what I need. Let's just put this back to the average already have had there before and adjust the scale a bit more, increase the scale some more. Okay? More bigger scale should be fine for this. All right. Though it's kind of eating up most of these tight edges. That's fine. That's fine. I think we can click Okay on this. It's looking rather odd messing since up by lots. I'll take down, let's leave smooth for now. Let's leave smooth for now. Let's see. Let's go back in there. Let's see how we can fix this crack on the edge, Two, take down the strengths. Okay? All right. Click Okay. So this is just going to break up the surface or more. So let's apply this now to our mesh, so I will just click on. I think I can keep this smooth. Let's start by keeping this mood first. But let me take down the smoothens intensity. Let's put this down to three. Then let's do apply to mesh to apply to mesh. I'll give the moments, okay? So it's been applied in here now. This actually helps to break up the surface and then smoothing down based on the subdivision level we're actually in, which is precisely what we want. But for the moment, is a bit too intense, should say, it's slightly too intense. That's fine. We can always go back to the Subdivision level then we take down the intensity for it, go to the Subdivision level. One more step to go to absorption level now. So it's actually still in there, breaking up the uniformity of the surface, which is what I want, but it's likely to intense. We can go back to layers. We can turn off recording. Turn off recording in here. Then we can take down the intensity. Let's say this to a value of 0.6. It's enter on that. So you're going to soften out that little in here. So I had been softened out, but it's still in there though. Why? Because if you turn this off and on, you should see you see a good difference in here. B on go to say I just breaks up the surface. I have some more texture breaku variation on the surface. But I still feel like I need to take this down a little bit more though. But let's look at this from a distance because the idea is we're going to be view this at least from a distance. Let's see at least from a distance, so we can tune this down a little bit more. So let's do a varie of 0.4. Let's do 0.4, let's see. I don't want it to be too intense. At 0.4, then let's turn it off and on. Let's see what we get. Turn it off. Okay, turn it back on. Let's see where we get. Yeah, I think, this is a good place. We can actually keep this. I think we have this as a good place now. I just make the surface look quite uneven, which is what we want it to look like. That's fine. So let's put a new layer now, create another layer. Crit another layer for this. So on this layer, I want to name this layer too. Let's name this layer to noise, noise, pause. Okay. Yeah, that's fine. So yes, you guessed it right. What's it going to go back to our surface noise? What's our surface noise? Let's add noise, edits. So for this pler one, I'm going to tighten the skin pause a bit more. I be a bit tighter. Let's see let's increase intensity a little bit more too intense. All right. Let's tighten this some more. One is quite tight on the surface. Let me zoom out. Let's see what we get. I still feels too noisy, so I need to take down the skill some more. I want something that is actually quite tight. Something that almost simulates some kind of skin pore in there. Let's increase the strength, increase the strength, some more. Okay. Zoom out. Then let's see what we get out of this. Now, I still need to take down the scale some more. Make it quite smaller, quite small. Okay. Yeah, this is small. It should be small enough. It should be small enough. Yeah, this is fine. So let's increase the strength some more. A little bit more should be fine. Because I'm increasing this higher so that when we apply this to the mesh, now we can now tune it down. We now tune it down some more. I think, let me reduce the skill even more, a little bit more. A little bit more. Yes, like so. Let's zoom out and check the body out again. Okay? Let's see. Let's look at this from a distance. Yes, for me distance, this actually work just fine. So we're going to need to increase the skill a little bit more. I mean, the strength for this a little bit more. That ten may increase its strength. I kind of have you need to kind of tune down the intensity of I mean, you kind of tune down the skill. But I think what is this let's apply apply apply let's see. I'm guessing I'm managing to take this for me distance, actually, it actually looks fine for me distance. I think we can work with this, but we need more strength for this. Need a bit more strength for this. So I'm going to put these two more more of an aggressive side to it. Then we take down take down smooth. Then let's do apply to mesh. So apply this to the mesh. Let's give this a moment. I should run through. Oh. Is it done? It's done. Okay, it's done. So now we can always do what we did before by tuning down Oh, oh, oh, I'm supposed to exclude the lips, undo that. Undo that. And let's exclude the lips. That's this detail on the lip, actually. I don't want it on the lip around some part of the eye. So let's go back to before we apply this. Then we use the mark pen with cemetary turned on, increase the blood size. Let's max out the lip. You don't want this to be affecting the lip. So cling this out from the lip. Okay? All right. So you can see how this is being cleaned off now because I wouldn't want this to applied on this region of the lip, so let's clean it up some more. I think I'll do a little bit more also on the eye. But this skill for this skill for this, I think I still need to work on this scale for this a little bit more. So let's remove some more of this on the eye here, also on the eyelids. There's a light stroke in here actually, so that's fine. I think I need to adjust this scale some more, make it even tighter, click okay. Okay Let's see. Yes, I think we go Let's do for the ear. Let's clean some part of the S. And control the maxing. S max out some part of the. It's not too aggressive on the air. Don't just to the side, do a bit more around. You also. Okay. Yeah, yes, yes, one more thing here. Yes. The fingers, definitely, we need to remove this from the finger. We don't want this to be applied to the fingers to the finger nails most particularly and on the palm also. So we need to kind of clean that off. So we need to do this gets in close. Okay. Then let's start maxing this out. Mark this out. We're working asymmetry in here, so that's fine. Okay. Get enclosed. Mark this out also. Okay, clean this off. Okay, that's fine. Let's Come on. Let's move to the next next piece. Clean this off. All right. Yeah, I think that's fine. Let's move to the next finger nail and then clean this off from this fingernail. Yeah, this is fine. That's fine. Let's move to the next fingernail. Let's clean this up even more around the edge around the edge. Just trying to make this careful though. You want to make this as neat as you possibly can. Okay? Yeah, that's fine. I'm do it symmetrically. Okay. Okay. Now, let's do for the palm. Let's see, there's something else. Now for the palm for this, we need to kind of find a better camera and go for this. And we're still working symmetrically, that's fine, so we can do this as quickly as we can, increase the brush size, hold down control, and clean this. But I wouldn't like to go too intense on you, though. I would still like to have some surface texture in there actually. Let's just go a bit light handed, so we don't completely erase the entire out. Okay? Light feed. Light feed also. There seems like maintenance is quite strong. But that's fine. That's completely fine. Come to the edge. Okay? I think you might need to hide a few of these parts though. Might need to hide a few of this. A few of these two kind of get better better cameraunf getting this right. I'm just going to completely hide completely hide the fits. Okay, Cro Shift click again. I think mind to go to lower subdivision level first so we can work a bit faster. Higher subdivision level might begin to slow down bit too much. Let's just side this. Then we can hide the we can hide this also. Yes, we can hide this also. Hide this also hide this also this here and this. Okay, that's fine. Then let's low this so up to the lone then we can go to the higher ablution level for it. Yes, we can go to a higher sublution level, actually, so Let's go on sublution level higher. Then we can continue painting in the now, something feels odd? Did I lose my maxing et? I think I lost my maxin so let's do that. I need to bring the maxin back. Let's go back, bring everything back out and then get a maxin. She get the Maxine now. Come on. Oh, Seems like that's just the end. Seems like we be able to get the marks in back. So we'll just have to do this again. But that's fine. Let's just do this again. Look for the other. We're going to select the other out, then invert the selection. Then draw let's do this out again. So take down the bro size. You can just do this here now, so we can just clear it out. Get in slightly closer. Okay. All right, rotate this. I do symmetrically I'd like to any symmetrically, that's fine. Okay. Move on. Okay. Well, that's fine. Okay, move on to the next fingernail. Okay. Now let's go into the palm. Grizz your bro size. Let's move a bit faster. Okay. Go around there. So Okay. Grizzy bro size. Okay. Go a little bit on the edge around your all should be fine. Okay. Get this closes up. Let's do for the front part first. Okay. Then let's go to the edge. Let's go to the edge. I think that edge that edge should be fine, actually. That ghould be fine. That should be fine. Because we're you going to pull this very low intensity from the layer. So we can just get this fitted on the edge. So it's just going to blend blend pretty much down with the skin itself. Especially when we kind of add actual Scan the actual scan to the skimp alpha. We're going to apply on this later on. So let's just get this cleaned out, some more. Okay? Clean this out some more. F to the side, clean this out even more. We also need to do for the fifth. We need to do for the fifth also. Clean this off. Okay. Come on. Undo that last step I did, getting close, clean off some more rights. So now let's go for the fifth. Let's go for the fifth. So I'm going to invite the selection. Let's get everything back out. Hopefully, I still have my marks in there as I do. Let's come to the fifth. I shouldn't take too long. Get into the toenails. We're still working symmetrically in here so we can hold down control and clean off. Okay? This shouldn't take too much time to create, clean off. Working with this symmetrically, that's fine. Let's do a bit more, get a bit more accuracy to it. Okay? Yeah, we need to do for the under part of the fits. You can just increase the broad size for this. Then we go around symmetry tone down just to help us move a lot faster in here. Okay? That is fine. All right? That's fine. So now we can go to go back to the highest subdivision level. And we can now apply this to the mesh on the higher subdivision level. So we all of the details on the highest subdivision level. So we get better refinements better visual refinements on the surface noise in here. So now let's apply this to mesh so I'm not clicking on apply. Then we now going in and then zoom down the, you can see right off the battery just kind of smoothing things out a little bit small. But that's fine. Let's zoom out. Let's get in close. Let's get close. Even closer I'm basically trying to look at it also specifically. Then check the face also, too. The face is fine. Okay. Yeah, this is fine. So now we can now go back to layers and then we can tune this down. So I'm not renaming this. I'm not renaming this. Let's turn off recording, and then take down the intensity for heat. So, let's do a value of 0.5 value of 0.5 should be fine. 0.5. Okay. Let's see what that gives us. Yeah, it's perfect. So this will work just fine for what we need it for. Okay? So come on. So in the next lesson, we're going to work on applying actual chimps Alpine here. It's much more realism to it, but this should be fine for now as a good bis. All right, I'll see you guys in the next lesson. Bye for now. 21. 20 Surface Skin Pores In Zbrush: Okay, come back, guys. In the previous lesson, we kind of added or use the surface noise to add surface skim pole, and breakup details to asked. So I'm going to working our way up from there. Adding actual skim pos. But looking at this, I feel like I should tune this down a little bit more so. Let's do a value of 0.3. Get something lower than this. Okay? I think this is a good one. Let's compare, let's check around. This is fine. So now I'm going to I'm going to hide this. Let's hide this for now because now we need to apply actual skim polls now to the entire surface. Like actual scans Aha to the texture in here. So let's go back to surface noise. Okay, no, let's create a new layer first. Let's create a new layer first. Then I'm going to name this to Flip Ops. Let's use caps for this. Skin. Come on. Not using no cups. Ops. Skin, pause flip. Because I'm using a flip normal skin pause Alpha for this actually, so let's go surfaces noise, edits. Then before turn on, UV, let's apply, let's bring this in. So go down to Alpha on and off off and on and off, select that. I'm going to go to the directory where I have that installed. So let's go down to that directory. Should be rows Alpha Philip, skin table, that's the one. Then is this for 02, select that. Select that. So she would have something a bit of that we need to adjust settings for. So first of all, this is way too intense. Let's take this down. Let's turn on UV. Turn on UV. Let's see. Let's take down this mix. We don't need to mix with the base noise. We don't want don't just to mix with the base noise let's start increasing. Oh, sorry, that's the wrong skill to increase. We need to increase the Alpha scale because we're using Alpha as in here now, let's get this smaller get this a bit more intense. So now we're getting something in here now. Okay? We need enough tights in this some more. Should be quite tight in there. Though want to keep in mind also too that you want to kind of check this all around the model because based on the UVs for this, depending on the textile density you have on the mesh, it's going to kind of create some weird some weird variation on the stretching on some part. You might need to redo this a couple of times on various regions to just get it to look right, so I'm going to start I'm going to start with doing this for the head. I'm going to start with this for the head then we work our way down and make all of this look good. So let's tying this up a little bit more. Let's increase the strength. So it's a bit stronger, something a bit stronger so you can see it a bit more clearly in there. Zoom out. Yeah, it needs to be tighter than this. So let's take down the ha take this down instead. Down downwe too much. Okay. This seems one time I release release this just something else happens. Zero, 44. Okay. 0.0 044. Seems like a good one. Let going to check again. Okay. Yeah, this is actually tight enough. Let's look at this from distance, we can see that this is actually tight enough. Getting close. Maybe a little too tight, but I think we can actually work with this too tight, but we can work with it. Now let's check the other parts of the body. Let's see. Now, it looks too tightly around here. A mine to we tweak the tilien a bit more. From this partner, we can see separation in terms of scale for that, so that's one thing to actually keep in mind. But let's check for the rest of the body. Let's see. Okay? I think for the rest of the bodies, actually, I would call it I would say too tight. Yeah, probably maybe just the that's the right amount, actually, so I check this before applying this to the merge to be sure, okay. This is how we like this to be finally. But I think for the most part for the most part, the only issue we're having is around the clavicarbon regions. Let's check the herbs. Let's check the herbs and let's see if this is tight enough around there. It is, I think it looks good on the herbs. But the issue we have is around around here. Though it might not really be major issue, though. Why? Because for me diste, can't really see that much, but I would still like to I would still very much like to get everything blended out a bit more accurately. Let me check the back, so it goes all the way to the back, okay? To this you can work with the we need to do is to tighten this increase the strength of it. Es increase strength. Let's make it are a bit more obvious. Should be a bit more obvious. I'll just do a little tweaking for the scale. So instead of 0.004, let's do 0.005 instead. So that has to scale out the pause a little bit more. Just a little more should be fine. Okay. Let's click Okay in here. All right, no, I need to go back in the increase the skill. So more a bit more skill, a little bit more aggressive in there. Yeah, I think this is aggressive enough. Okay? I think for the lower part, that seems fine. Yeah, it seems fine for the lower part. It's just the chess region that is just looking a bit old. Let's do a fix for that and then we would reapply that on just the chess regions looking a bit old. Let's get this closer again. I understand. I kind of feels a lot. It bit it's tight on because the scale welding for this is quite small. But that's fine. That's completely fine. Let's see, you can see the region where we have issues. Just go to figure out where that stops and then max that part out. Okay? I see where it is. So now I can use the Max lasso. So I want to use the Max lasso get this around here, symmetry turned on. We're just going to marks out these parts. Like so. I think, so it should be fine. Mark that part out. So we should not have anything applying on those path now, which is precisely, that's precisely what we want. Then now we can exclude the skin pads from the fingers, just like we before. Let's isolate these fingers and then the palm also. Okay? Come on. Taking too much time is kind of flow. I think I need to go to lower subution level, so we can actually do we can actually do this a bit quickly. Okay. Let's go to lower subdivision level. Since we have not fully applied this on here yet, so let's go to lower subdivition level and then isolate them so we can work on them specifically. Okay, let's do that now on the lower sublution level now, so we should be working a little bit faster in here. Grab this out. Grab this out also. I think we can look for defeat. Let's grab this part out also. Then invert this. So it's nice to applied to the mesh in itself, so we should still be seeing we should still be seeing the actual schemes in there eventhough on the lower one, the lower ablution level. Want ablution level higher. So once we are painting our marks, our mark will be a little bit more accurate, cually on the edge. So, undo, undo that. Let's use the mark spin. Okay? Now, let's raise this. I need to also raise it for the Oh, come on, undo that. Clear that out here as well. Okay, move on to the next one. Let's try and reduce as quickly as we can. Move this to the side, clear this out as well. Mark this out. Okay? Mark out. All right. I think this is the thumb now. Gets close. Okay? Mark this out. That's fine. We're still working with symmetry on here, so that's what we need. Let's go in, increase the bro size, do a lot more maxing out in here. Okay? I think I'm okay. Yeah, that's fine for the edge, but I need to be a lot more careful in there. Okay? Muss around here, increase the browe size a bit more. You do bigger shapes in here for the pum. Okay? The reduce the brow size. Mug this out. Okay. That's fine. Mark this out. Okay. Max out here also. Alright. That's fine. Around here as well. Okay. Yeah, I think, yeah, that's fine. This is fine. This we can definitely work with. Let's go to the Let's see. Let's do a little bit more around here. Okay. Around as well. Let's go to the fits. Let's start from the under part of the fits, increase the brow size. Mark main part for us us will just be for the toenails and then the lips and then to around the eye, and then we should be good around as well. Okay? Now let's go to the fingers. Right. Erase this here as well. Yeah, well, also, also, clean this up a bit more. Okay, fill it out some more. Yeah, I think we should be fine. Let me get this back out. It this. Let's get this for the lip. We think it's going to blow out the edge do but let's do for the lip. Getting close. Come on. Let me just mark this out and invert the marks instead. So we have this. So basically, repeat the same to also, too. For the lip, just marks out the lip. Don't read for the lip. Okay? Because we're going to kind of specifically create alphas or drag it alpha for the lip. So I don't necessarily need this lip to have this aggressive skin podytail in there because there are no actual skin actual tiny skin podytail on the lip, so we want to kind of make this as realistic as we possibly can. So let's just clean this off. Okay. On the nose, I'll do a little breakup, soft break up around this, just to make it slightly uneven. Make it slightly uneven around here also in inward also. Then for the eye, I'll do something lights around the eye. I still want this day I'll do, but not as aggressive as it is right now. So I'm going to do something light on those parts, getting close. Light also. Okay? All right, a bit more. Do and bring no, do that. I think, that's fine. That should be fine. Now, I like to reduce the intensity for the year, also. I don't want this between things on the year. So let's increase the brush size and do some maxing around it. Okay? So you have something soft in there shouldn't be this strong. So we have symmetry ton down, so that's fine. Because I can see how aggressivity is in this part, and then we are getting some stretching in the right? Okay, this should be fine. Around the Zoom out. So now let's bring everything back out. Let's bring everything back out. Let's make the entire body divisible again. Then we would blow the edge, blow this edge a bit more. So we have soft out transitions around those parts, so get more soft out transition, blow a bit more. So now we can now apply this to the mesh. But let's make sure you're in the highest oblivion level before applying this. So let's go to the highest subdivision level. Then we can now apply this directly on the mesh on sublon level higher, almost done. Okay. So now we can now click on Apply. So let's get close for the face. Let's make sure you turn off smooth. No melon, just to kind of smooth it out, then we can now apply this in the mesh. Let's give you a moments and it should load up. So it hasn't applied now, since it's been already applied to a surface. I think this is actually good. This is actually good. This we can work with. So we would clear the marks. So yeah, this part we don't have anything. Yeah, that's fine. We'll bring that back in. But for now, I think this should be fine. So let's go in to about layers. Let's turn off recording for this and then create a new layer and then apply the same thing on this part of the chairs where this stream was a bit off there. So let's turn this off. Turn that off for now, then create a new layer. Okay? I'm going to give this a name out, because I'm going to merge this down with this simple detail. So let's go back to surfaces noise. So you should apply the same one that was there before. But this time around, we would let's do so I'm going to ignore the upper parts. I'm just need to work specifically on this part but before I do that, I would like to I'd like to max that part out again. So let's just do no, no. Nope. Let's do the Max lasso instead. Max lasso. Get this in the middle. Then we can grab those parts. All the way, should be fine. Okay. Then we invite the max so we really want this applied on this part. So we can actually refine this a little bit more actually. We can find this a little bit more. Let's go to Max pen. Increase the browse size. Let's continue the maxing on these parts. We should be fine. Okay. Yeah, I'll ignore the back parts. Yes. Okay. Let's max out this part as well. Okay. No, undo that. Undo that. Undo that. Let's do something light handed instead. Light handed should be fine. Okay. Let's see. Let's go back to edit. Then the idea for this would be to increase the scale by a lot, just to march the order, to march the order scale for the body. So let's just decrease this a little bit more. Let's getting a bit closer. Let's see this que we have for this. I think this que should actually work. This que would work just fine. Let's increase the intensity a little bit more. Click Okay. So yeah, this is fine. Then we can click on Apply to Mesh. So apply to mesh now. You mean to actually apply to the mesh. It doesn't apply to the mesh. Let's get in close. Let's see what we get. So it's just one issue there, though. Let's undo that. To make this a bit more intense. Let's undo that. Need to go back in and then make this more intense. So let's increase the strength for this a bit more. Okay, a little bit more. Something stronger, click, okay. Let's apply it to mesh again. Okay? This is definitely going to soften out but should kind of give us similar to the skin pots and your regions of the Is it done? Motr calculated. Okay, still working on it. Almost done. Okay, it's done now. I think should be fine naturally. We can actually work with this. So now I can zoom out, clear the max. Then let's go back in two layers and then turn on the original one we did. Let's see how all of this kind of blends in as one single piece. I think should turn it on. Should be on now. Yes. Okay? Oh, I can see an issue around here. On the lower part, there's a gap in there. There's a gap in there. There's also a gap around here, so we need to go back. We need a little bit more than we need a little bit more. Kind of spread this out a little bit more, just to compensate for this empty part so Let's undo this do it again. Let's undo this again. Oh, we're at the end. We're actually at the end. So I think we need to redo that just so we can get more of it, so we need to actually redo that. I'm going to delete this to actually do that? Because I kind of lost the marks for it. We've lost the marks for it. I said with Viconos yes. I think better still we can increase this bro size. We can max out. Come on. Is the max Dentin. We max Denton. No, do that. So I'm not going to use the max last actually, use the Mx last and max out grab more than we need actually, like so. Let's do a bit small around there as well. Okay? There coming close to the neck, I'll grab this also. Okay? Let's grab this as well. And I'm going to blow the edge a little bit more. Now with the edge blow out now, I'm just going to undo that. Invert. Come on, do that. Start to invert that. Then let's go back to the ubution level. Then I'm just going to apply the surface noise again. Let's apply the surface noise again. Noise. Intensity is already there. Intensity is already what we need, s can apply to mesh. S's there and applied, then we can clear this and then go back and then turn on the other skin pow so this is fine. I think we can actually This we can actually work with. You can turn on the other noise pause. Then all of this together. Now, getting a good blend and we can play in between in between each one and then figure out the rest intensity to use to kind of get all of these blended out quite nicely on top of themselves. So I think they should be fine we can work with. So yeah, so I'll see you guys in the next lesson. Bye for now. 22. 21 XYZ Skin Pores In Zbrush: Okay, Walcob guys, so in the previous lesson, we kind of use the surface noise to add different types of noise specially the flip normal skin pause, tib alpha in here. So now we have the seniors just a matter of blending all of this as one single piece. So I'd like to start by merging the skin pause, flip with the lower one down here. So let's do merge. So let's do merge down. So it should be taking up the name from the layer that's actually above it. So I believe that is what should happen. Cause I'm merging down. So it's kind of taking this time to merge down. Let's give this a moment. Okay, so it's merged down now. So we have all of that now's one single layer in there. So we cannot tune this down. Let's tone this down. The intensity, let's do a value of 0.6 there's a value of 0.6. So those strengths cannot get a pad blend between all the skim or surface detail we've added in there. So most especially on the face, my main kind of area of focus is the face. So once I get something done for the face, the rest of the body should kind of be at similar visual quality also. I think it should be fine for the face actually. So, this will definitely work for the face. Let's check the body. Yes. Yes. This is really good. Let's go a bit lower, check the arm. I think as far as details go for this, this is also fine. It doesn't need to be too intense. Maybe maybe you can crank the intensity a little bit small actually. So let's crank the intensity of the skin pause a little bit small. Let's do a value of 0.8 instead. Let's go to value of 0.8. Let's see. Okay. So once you get here, this is a good blend. This is a good blend. I think this we can keep. So this is what we would definitely use, except otherwise because kind of use the texturing XYZ phase alpha to kind of get some skin directional skin pole detail going on in here. But for now, it is actually fine. We can definitely work with this. So let's carry on. So I'm going to create a new layer. This layer, I'm going to be working with the texturing XYZ, five ski poles, texturing XYZ Alpha for it. So let's create a new layer. Let's create a new layer. So before creating new layer, actually, let's Let's idle this surface noise noise pore and then this skin pause. Let's id of darts. Okay? We're actually this clean. We need the clean surface to actually use the texturing XYZ one round 75 Alpha for it. So it's important to get a clean scheme for this. So yeah, I will go over the high solution layer that's what we want or create a new layer in here. Let's create a new layer in here and then, let's create a new layer in here. Let's just that's already in there. So I'm going to rename this so cups, should be all caps. For car texturing. Oh, no. Let's just do XYZ instead. Let's do XY Z purse. That's more shorter way to name that, so yes, let's get enclosed. Let's see, everything's working correctly. Think good place. Yes, we are. So now I can actually isolate the head now, so I need to isolate the head. Head needs to be isolated, so let's go to a lower subdiviton level and isolate this. So we should be able to work faster on the lower sublution level. Again, Control Shift click. Okay. It that, I think, yes, this is fine. This is precisely all we need. So now after we apply this in, let's go to the highest subdivision level. So remember, initially when we starting the project, we kind of tested the texturing XYZ scheme for p. So it was good enough to work with on the face. So now you need to Okay. Let's go on subduction level higher. I believe you should still have yes, you still have one more. We still have another one another piece. Let's go all the way. Let's go all the way. So for this, we have this at 24 million, well, this is actually a lot, but that's fine. We can definitely work with this in here. This is what we need. Let's go into our, let's make sure you understand that brush. Let's go to light box. Let's go over to Alpha. Then I'm looking for the 175 skin Alpha XYZ, 175 skin, open that up. I want to be using the let's use the 2001, double click on that. Local conducts. Let me just do a brief explanation on how to actually use this. I think we should have it here and drag this out. Basically, for each face basically for each region of the face, you should have a corresponding number for that region. This is the face flattened out. For just the top part of the brow, we have this value number four in here. This region, this part is going to be number four. Open this up. It's going to be number four. I'm going to be using that to start with. Let's double click on that. Double click on is in here now, standard brush, say this to drag rec let's go and modify the Alpha to go to modify and then the come on. Let's go back in the outfit should be radio outfield to be ten. Mid value, we can do 50 for that. So that mid value will help us avoid us extruding out the mesh. So we want this outfit to be applied on the surface without extruding out the mesh. So I'm going to turn off, do I need to turn off? No. Let's leave symmetry on for now. For the most part, symmetry is actually going to be turned on. It's going to be on. Let me reduce the brow size. And I'm going to drag something around. But minus is a bit too broad. But one thing to be very conscious about is the directionality of the skin pause. Very important. Directionality of the skin pause is quite important. So I won't do that. Let's do it again. Increase intensity a little bit more, I get close around. Okay. Here I think around this should be fine. That should actually be fine. Let's get close. Let's see, you can see we're getting very good skin por detail in there. And that's going to continue on the value next number we can use for this is two. So let's go I think let me make sure. I knew something was off, so let's do that. The mid value I applied in there did not actually apply. So let's go back into because my mesh of extruded out. Let's say this to 50. Say that to 50, then we can drag this out again. Let's do this front facing. Can drag this out around that's a bit too broad. That's a bit too broad. I'm going to take down the intensity a little bit more. Let's do one with direction tive pointing downwards, so it should be fine. Let's get closed. Let's see, rotate this to the side. Yeah, I think that is fine that we can work with. Let's zoom out. Okay? Now, let's go and use the value of two. Yeah, but before that, I think we still need one more around here also. We need one around here. Turn off symmetry. Let's turn back symmetry. The drag this out around here as well with directionality in mind. Because we look at this mic zoom in here, you'll notice based on this directionality skin flowing in this direction downwards. That's why I scoped also we have something similar. We also have something similar in here. That's general idea for that. You want to do that with some directional flow it's very important. Directional flow for it is quite important. Just to get it to look right Let's go to the value two. Let's go back to light box. Let's use two. So double click on that. Double click on S. Then it two should be just above the brow, somewhere around there, I believe. Do that, we're supposed to Set the values for that. Let me increase this bit more. No, that's way too much. Let's get this to around 30. Alpha radio fed should be around ten mid value. I'll do 50 for this. Okay? So we can now drag this out now. So with directionality in mind, very important. So you get the directionality as accurately as you possibly can. Think it should be flowing in this direction. I also feel, this is actually way too intense. Actually way too intense. Let's take this down to 25 inch. 20 cs, that's fine. C should be fine. I would like to shrink this some more. Okay? Move this out this way. Yeah, this is a good angle for this. Let me zoom this out so you can actually see the region of da a bit more accurately. Then drag this out This is good. It's a good intensity for it. Rotates this way, kind of straight on. Yeah, so it should be fine. Auto symmetry. I'll repeat the same thing on the center parts, but making sure the making sure the directionality actually matches that properly. That's fine. I can also use the same can also use the same in here. So we can just go also in here with the same directionality. This way, yes, that should be fine. I'll continue that also around. Directionality should be in the same direction. So. Let's go on down the eyebrow. I'll flow the same directionality also in here. That's fine. This we can work with. Okay? Do asymmetry, do the same to nos around. We flowing in this direction like so, that's fine. Moving on. I can actually use this quite a lot, so just feel undo that. I just going to make sure we turn on symmetry. Let's turn on asymmetry. Now, for night seem like it kind of looks a lot kind of too busy actually, but once we blend this with the old once you blend the d alpha, we should begin to see something interesting coming out of this. Okay? Let's see do we need to use three? Yeah, let's use three for the top part now. Let's go in and use three. Come on. Okay, selected now. Let's go in and adjust the Alpha settings. Ten is should should be fine. 50. Around 45 to 50 is actually fine. Let's drag this out. Here, it is actually fine. But a little more intensity. So let's crank intensity a little bit more. Let's get something a little more intense. Okay, here, this is fine. Do another one also to flow the same directionality to it. That should be fine. Think I can continue this on actually. You can just continue using this around the forehead with the directionality in mind. S here also. Okay? Let's see, yes, we are getting the directionality. I don't connect a lot of time, so I have a good idea for the directionality for it. But we need to feel this part a bit more. Go down on that part looking empty. Okay, that's fine around here also. This part looter has a very good directionality to it. So I do that need to do this a bit more accurately. Yeah, so let's get closed. Let's see, that's fine. That's fine. You can continue this on keeping the same directionality also in mind. Okay. Let's get this way flowing downwards. This way, I slanted 'lluld be fine. Yeah, also, should be fine. We take it this way. We'll take this this way. This way around there also. Let's calm down. Let's see which other values numbers we can use to continue on the working. So we're doing a very good job in here. So let's let's carry on. Let's carry on. Okay, yes, I think we can before we use ten, let's fill this part up a little. Okay. Yeah, that's fine. So now we can let's use let's use nine. I think we're actually supposed to use nine. No, that's fine. That's fine. I think we're actually supposed to use nine here instead. Let's use nine. On doo that. Let's use nine instead. Okay. So back in to light box, let's use nine. Okay. Let's go and set this up. It's just the same repetitive process actually. Once can understand where the flow should be, the process becomes quite repetitive. So let's come in. Let's see how the directinity of that is getting close. Okay. Yeah, that is fine. Also as well. Okay? I think we can use this across all these parts. I would actually work. Okay? Yeah. Yeah, that's fine. We do symmetrically, so it should be affecting the other side, too, which is precisely what we want. Okay? Yeah, we can get in close also around here. Let's zoom in, fill this part up also. All right. So we're going to be using eight for this part, then seven for the eye. So let's start with eight. Let's start with eight. Okay, let's do a little fill up around the. Okay? That's fine. Let's go over to I won't be using 77 has a bit of weird artifact around it, so I'm going to avoid using that. We can use the opposite side. The oppose side is a is a lot better, so 24. So let's move to 24, 24. Okay. Then let's adjust this. Adjust radar ten mid value, 50, Alright, so now this one gets a little bit tricky. So we just need to make sure we do this as accurately as we can. Usually, I like to max out these parts. So those parts doesn't become affected by it. Then low blow the edge a little bit more, so we get kind of soft out transition around it at the edge. So, right? So now let's drag this in here let's get the directionality in here first. Then I'm going to drag this out. It's going to bleed this way without but that's fine. No, no, the direction is wrong. Let's do it from the opposite side instead. Let's do it from the parts where we kind of using the numbers from. Okay? Yes, yes, pretty much, pretty much around here, should be fine. Extend it out a little bit more. Yeah. I think this should work. Yeah, this would actually work. This we can Keep though intense for now, but that's fine. Intense for now, but that's fine, because we're still going to e's clear this. We're still going to take down the intensity of the entire outing and get the proper blend to it. So moving on, let's let's now go to height. Let's use eight for this now. It already created some details here that we can actually keep. That is also fine. That's fine. That's fine. I think I can continue I can just continue on with using nine. Let's just use eight instead. Let's use eight instead. Let's use eight instead. Come on. It's applied now. Then let's go over to Alpha, S value to ten, mean value to 50. Drag this out, pull this out this way. I believe that the same directionality for it, so that should be fine. But I feel like I'm not looking at intensity, though. If intensity is right one or is way too intense. I think it's right one. That's actually fine. We can actually work with that that we can work with. Yeah, that's fine. Uh down here, let's see, we can use ten. Let's use ten and then just feel the lower part down. Okay. But I think this butler should work around here. I should work around less getting close so we can see the directionality for it. Let's see undo that intensity I think density for that part is a bit small. Let's take this down lower. Okay? Yeah, I think that's fine. Let's continue on down here. Okay? This we can work with. Let's do around here, that's fine. Okay. Yeah that we can work with. Let's use the value ten for this now. Let's use ten for this. Maybe we won nine. But let's just do ten. Let's do ten instead. Let's do ten. So 1010. Okay. Applied. Let's go and modify the setup in the radio fit, ten, mid value, 50. So it's just going to that's just going to flow down around these parts, okay? Okay, around here. I think this you can actually use across this. I don't think I actually anyone need to do anything else again. I can just repeat this. I can definitely just repeat this around these parts. Okay. So this would actually work just fine. Okay? Get this way flowing in this direction. This direction also. Let's get close. Okay. Do this with directonality in mind. Let's get a good camera angle just on Oh, come on. Zoom this out. Okay? We can do something here, flow the same directionality for it. Okay, here as well. Make this this directionality should be fine this way. Okay. Let's frame out. Let's frame out. Okay. Get close. Let's look at this from the under parts and then fill the parts up. I think directionality is very important extend this out, rotate it out this way. Yes, so should be fine. Okay, around there. Make sure afro the same directionality. I won't go all the way down though, but I think around this part should help us to have some textures in there. Treat it this way. All right. Get this down here also. We can actually stop around here. Stopping around there should be fine. Okay, that we can do. Yeah, this should be fine. Let's get close. Pull this down. Let's do some fill up around here. That should be fine. Now your nose. For your nose, you can just use the same Alpha three. We can use Alpha three for this. Let's go in here and use Alpha three. Then we just extend this out this way. Let me get close. Can you see it properly, that's fine. Extend this out some more. Okay, that's directionality we need. Okay, as well. All right. Yeah, that's fine. Here, as well. Then let's do for the ton of symmetry and do for the center. Okay? This will as well. Yeah, this we can definitely work with. Ton of symmetry, let's just fill this part of something in here as well. Yeah, that's fine. We should be good, okay? So in next lesson, we'll let's go and then start blending all of this down and see what we get out of this. I'll see you guys in next lesson. Bye for now. 23. 22 Knuckles Details In Zbrush: All right, so welcome but, guys. So let's see, we kind of use the textion XYZ, 175 Alpha on the face. So what I see some things we need to do around the body like adding wrinkles and then using the same using some one particular ideally, one particular Textion XYZ map kind of create a modtil for the. Let's do that. So let's go to the highest subdivision level. Let's go to the i Subution level. Okay, select them standard brush rather. Go back to the highest subdivision level again. Okay. I've not done that before. On the highest subdiviption level, now we need to open up layers in here. Then, you have textion XYZ selected in the XYZ pus selected in there. That's fine. So yeah, I'm going to I'm kind of thinking in between. Can I just apply the nuface? Let's apply this napace let's go over to Light box. I have a particular It's in a XYZ. Okay. Yeah, so I have this and XYZ and skin. So basically, the Alpha for that is from this female face 200 and I'm using this Alpha three. So basically, I'm using the Alpha teres because the Alpha Outer is what we have to go over to go over to the pace the Alpha three is what we have there's paler straightforward pattern to it, so that will kind of use on the top part so I'm going to be using that also on the arm. So on the arm and on the arm also. So let's do that. I would symmetry asymmetry is turned on, that's fine. Let's go back in there and select it. Select it, drag rec. Let's adjust the Alpha setting in here. So modify radio outfit to be at ten, mid value 45. Okay, that's fine. Two years now, we can now use that on the arm and on the end. So let's, this should be fine. Let's start dragging this out. Directionality should be flowing in this direction, so I lo. Let's get close. Let's see what we have. Yeah, that's fine. That's perfect. Then we'll continue on. Flow the same directionality for it. So, rotate this to the side. Let me smooth this out. I'm not sure where this is coming from, though. Smooth that out some more. Okay. Yeah, that should be fine. Then we'll just carry on with this. Around the is fine, also. Around the fine. That'll work just fine. Here also make sure we're kind of fueling the directional flow for it. Very important down here as well, rotate this. We're still obviously going to blend all of this back down and find the right balance for it. But for now, let's just keep creating this around Okay. That is fine. That blends where to the side. Okay. Let's go up a little higher around there as well, rotate it this way. Okay? Good. Why do we have these shapes in here? Let me go to lower subdivision level and smooth this out. Not sure why that is, though. Smooth that out. Okay? Let's go back to the higher subdivision level. So you want to be very careful, though, so you don't get shapes your lumps in some where you don't need them to be. Okay? So let's carry on. Around here, as well. Let's do something small, here. Okay. We're doing this symmetrically, which is precisely what we need to do. Okay. Yeah, well, rotate seats. We'll just go up a little bit higher, and then we should be done with that around here one more on the side. Okay? Well. Then let's come in to the backside because we need something around. Definitely need something around here. And you can see, we didn't turn on Breakfast max. That's why we're having some of the details bleeding around here, but that's fine. It's not too far off from what we actually need to be actually in there. Do one more around there, as well. Okay. All right. And I'm going to go over to brush, I believe then automaxin then Bfix Maxine, turn that on. All right, so let's before we do for the palm, we need a few more on the fingers. For these fingers. Okay, let's just use the same intensity for it. Same intensity should should work just fine. Okay. Directionality should be the same, so you should be mindful of that the same flowing horizontally. Okay. Rotate this, get one also around here. I can see that we've even added knuckles in here. Knuckles are fine here, so we need to add that also in here. But I think we'll do that when we are adding rinkle detail on the wrinkle details, so that should be fine. Okay. Rotate it this way. No, do that. You can see it's kind of bleeding towards the fingernail. I don't want this bleeding towards the fingernail, so I won't do that. I won't do the last one. We did. Let's do this a bit more carefully without it bleeding into the fingernails. Okay? That's fine. Yeah, also Alright, that's fine. Come in close up around here, repeat the same thing. Yeah, that's fine. That's fine. Yeah, as we can definitely work with. Okay. Yes, this we can work with. Now, let's do for the perm. Let's do for the palm. I'll I'll take down the intensity to begin with. Then I'll out. I'll do something that digs in instead. You're just going to create some prints pattern in the Come on. Now, you don't need to be too, it can be a bit loose in here by not being too precise with the directionality for it. But let's make sure the directionality for it is not awkward. So I'm just going to feel I'm just using that just feel this part up so it doesn't feel too empty. Okay. So something in there should be fine. Holding to do this. You got to give us an inverse of what we were doing before without holding the out. All right. So it's not too strong in there, something light around there should be fine. Okay. Almost done. It's not too aggressive. We're going a bit light handed around these parts. We're not trying to do something too aggressive in there, going light handed. Light handed should be fine. Okay. Still we do that as we're adding wrinkle detail, obviously. So let's just continue on this. Alright, I think it should be fine. I think now I can create a new I can create a new layer and then add my nucle Alphas in there. So let's create a new layer. On this art layer, we'll be adding my knuckles alpha on this. So yeah, we can do that. Let's go over light box, Alpha. Knuckles, knuckles, knuckles, knuckles, knuckles, knuckles. We don't use our fingerprints. Could have used those bots nah. Come on. Where's my knuckles Alpha in here, knuckles alpha.Fund it. So just ignore this question no. W was going to be using most of this. Let's start with the pinking. So let's double click on this. Okay. Another thing we need to do we need to tune this? Yes, we do radio fit ten, mid value, 50, then we increase intensity a little bit small. Let's go to the pinking here. Then we're going to drag this out. Here, like soap should be fine. Around here also. That one is a bit old, so I was a bit old. Let's get in close. Maybe we don't do that. Let's do something a bit more aggressive in there. Let's go a bit more aggressive 31. Okay. Yep. We do the in something lights. And let's go over and then change this up. Yes. Okay. We are the middle finger, then we should be using this. Okay, 01, pinky then we should be using this. Double click on that. Okay, let's go over set this to ten. Set this to 50. Then we come over. Yeah, yeah, that's precisely what we want. Do that. Let's do that again. Let's do that again. Something a bit more broader for those knuckle region, should be fine. Okay? I think I can go but let me take down the intensity and use the same alpha in here with a lower intensity. That's fine. Increase intensity again. Then let's go and use the one for the middle finger. This for the middle finger, let's go and adjust the Have you actually I don't think you've applied that middle finger. Yes, it's in here now. So let's change this ten. Mid value should be 50. Then we'll go over. Yeah, that's fine. Reduce the intensity and do something in here. Yeah, we can repeat the same thing. No, undo that. Undo that. Let's do that again with a higher intensity. Okay? No. No, not as we tense. As way too intense, take it down a bit more and drag this out again. I'm going to rotate it. So it feels slightly different, then we take down the intensity. Let's do something like around there. Should be fine. I can just repeat the same thing here also increase intensity. Let's use the same one around here. That feels like it's in the wrong place. Let's see. Do that. Let's do it again. Yeah, I think repeat this. Nope, no. I think you need something broader for it. You should do something a bit broader for it. Sometime going to repeat that, find a good angle actually for this, that from around there. That should spread abroad. Nah, no, we're not getting it right enough. And I believe is the camera angle we're actually using for this. So I think at this point, this is fine. That we can definitely work with. So if I add knuckles to this, which we can definitely keep. Well, right now, I'd like to do to go to the Dame standard brush and then add some more wrinkle breakup detail around there. Yeah. So just basically adding additional wrinkle breakablty. So that's basically what I'm going to do just to make it feel a lot more lot more interesting. Eventhough for the most part, we're not going to be doing close up of this, but it still helps kind of add them in there. It helps to add them in there. Okay? We're doing this symmetrically, so that's fine. We can get them symmetrical. It's completely fine. Okay, we need also additional ones around here also. Okay. Carry on. All right. We also need to do the same for the pump also. We need to do the same for Come on. Since I'm moving out my camera angle so let's repeat that. Yes, then we can do the same also around the. Undo that download is a bit dd. Undo that. Okay? Yeah, this is what we definitely need to do. Okay here also around the just below the thumb. Add some more around the ear. This part needs quite a lot actually. So that should break things up a little bit more around there. Yeah, that would work just fine. Yeah, that's fine. That's fine. Okay? That we can definitely use. I think I can just carry on with this. We can have all of this in this same layer actually. I'm supposed to rename that. So let's just carry on and then continue with the additional adding wrinkles on top of this. I'm also going to add let me kind of turn off the tection XYZ layer first. Let's turn that off. And you're also going to add evens. So yes, let's first of all, rename this and then turn it back on. So let's name this to Nok NoksRinKs. Yeah, that's fine. That will work just fine. So let's just carry on. I'm going to turn off symmetry for this now. Then, oh, yeah, we need to record. Lets go and turn on the recording for this code in there. Okay? Awesome. Won't do that. Let's just a smaller brow size for it. Smaller brow size for it. I shouldn't be that aggressive in there. Okay? So basically, I'm looking for regions where we have folds and depths in there, and I'm just going to add wrinkles around those parts. I also, I also need details in here. But that's fine. We can use. Let me just be be on the keyboard standard browre coming here, let's use and Alpha, we can drag this here actually. So I'm going to turn on symmetry because new something for Elbows. So increase in tense to a little bit more. So it should be slightly more tense, drag it out, like so, that's fine. I allow this save out. We also need to do the same not too for the kneel. We can still use the same alpha for the knees also, that will work just fine. So let's go back to the nil. Let's go to the nail and repeat the same reuse the same Alpha in there. Okay. I same horizontal directionality to it. Okay, that's fine. That works just fine. Yeah, that works just fine. So you can go back to the dem standard brush and let's continue wrinkle detail across this. Okay? Take down the bros size. Imagine the symmetrically, I think I am total of symmetry for it, okay? Yeah, that's fine. Most of the most of these details are not going to be receivables. It helps to actually have them in there. It helps to have them in there. It helps break up the surface a little bit more, make the surface a lot more interesting. Though we're still going to be having garments covering most of these bots. At helps this detail on there. We use the brush size a bit more. Okay. All right. Okay, that's fine. Yeah, we need quite I would say a lot for the herbs, though. So I'm just going to take down the bros size. Taking down the bros size. No, that was a bit old. Undo that. Undo that was a mistake. Undo that. Okay. So I'm basically looking for regions where we have folds and creases around there. So then I'm just going to add this almost like leathery wrinkle detail around those parts. Was when we add sub what's that called again? Subsurface scattering on this is going to break up the surface even more. It's going to kind of soften out most of this wrinkle detail, so it's okay that we're kind of adding a little bit of pressure in there and making them a bit more obvious. That's completely fine. Okay. All right. I think this find more around here. This part is not going to be visible, but let's add something in there. Okay. All right. Let me zoom out. Let's see what we get. For the face, we need special wrinkle details for the face, though. To do that to do those wrinkles, I'll need to actually have the other layers visible skin players, visible. Get the perfect blend I need for it, and then I'll start adding can now easily start adding wrinkle details in there. Okay? Alright. Move this side. Okay. Out. I'm only going to do this for the front side because the back side is not going to be that visible. Maybe it does the little around here though, especially at this side at the back at the center of his back. We need some wrinkle around those parts. Come up a bit higher around here should have some crease. Okay? Right. Yeah, that's fine. That's fine. Let's see on some wrinkle detail, fin wrinkle detail around there also. Yeah, I think we can live with this. Yeah, I think this we can actually work with. So in next lesson, we're going to get the perfed blend and then we're going to start adding more wrinkles around these parts, okay? Well, I think, there's a lot to actually do on the face. A lot of wrinkle on the face. So the next lesson, we're going to carry on and then continue adding more rink around the face. So I'll see you guys in next lesson. Bye for now. 24. 23 Lip Details In Zbrush: Cucumber, guys. So in the previous lesson, we kind of worked on adding knuckles detail wrinkle detail around some parts of the body. So in this lesson, we're going to add more wrinkle or wrinkle details on the face. So let's get right to it. So I'm going to turn on other layers and then find the perfect blend for the skin pulse and noise pause detail have been adding on this. And then after doing that, you can now go back into the knuckles and wrinkles and then add wrinkle detail for the face. So for detection XYZ, I would like to tune this down. Let me start by tuning this down a little bit more. So let's do a value of 0.6. Let's tone that down to begin with, 0.6. Yeah, I think that Come on. It's taking some time. Okay, it's in here now. Okay? We need to do some blend between these, though. So now let's go back to Alright, then let's go and then turn on the skip dative layers in here. All right, turn the soft nose in and then turn on the noise surface. So we can see a blend of all of this together as one single piece. Okay. Now you might see quite noisy. So lily just find the right blend for all of this. So just to find the right blend, most especially on the let's see getting close.'s see. I think most of the noisiness coming from the tectron XYZ, but layer in this. Let's tune this down a bit lets the value of 0.4 and intensity of 0.4, let's see what we get. Okay? We're getting something interesting in here already. So if you turn that off, we'll see some difference in there. Let's turn that off and turn it back on. Okay? I think I need to crank up the flipnomals pause. Let's crank that up. Let's use the value of one. Let's see what we get. Let's use the value of one for it. Okay. Yeah, yeah, this is actually much better. We have better detailing in here. Yeah, this is fine. This is just fine. This we can work with. So now we cannot begin to add our wrinkle detail on top of this, so we able to see it a lot more better in here. And we know the right intensity to actually use for this. So let's go back and record the knuckles and wrinkle, turn that on. Then still on the same dam standard brush. But the lower intensity this time, we can now go in and then that adding more wrinkle, tiny wrinkle detail across this. Okay. Here, something like that. Let's go over to the other side. So I'm doing this asymmetrically. Asymmetrically, which is precisely what you need to do. Okay? Add wrinkle just underneath the nose also as well around there should be fine. Yeah, that's fine. Now we have we are using now the intensity for it and knowing that also blocking this in we can at least see it a bit more obvious. That's precisely what you need to do. Yeah, that's fine. I'll come around the word, all around here. Yeah well. Come underneath this. You need a bit more around the chin. That's fine. Yeah, you need asymmetry for this actually. We do that. Do that. Let's do it again. Okay? Some smaller ones that comes across this. Alright. Yeah, I'm pretty much like so it should be fine. Yeah, that should be fine. So carrying on. Tn symmetry for this. Add some wrinkle detail across here also. Okay. Moving on, let's go over to the eye, bring this down. Now for this one, it should be fine. Yes, this is fine. Right. Let's zoom out. Let's do for the other side as well. Okay. Around the edge of the eye. You need something also in there. Alright. Yeah, that's fine. That should work just fine. Let's come in around there as well. Get enclosed, find a good angle for it. Yeah, like so now, this photo, this crest on the forehead, we need something in there as well. Okay? Let's get our camera down. All right. Same also around here should be cracks in here food in her around here as well. Okay? Yeah, we need something for the forehead, actually. So let's create some variation in here. I think, no nothing that's way too thick. Undo that. Oh, we can actually, that's fine. Reduce the bros size. Okay? Just a little break around there should be fine. That should be fine. I think we're basic there's somewhere else need to add this. Just checking to see if we add a little bit around there. Okay? Yeah, I think we're in a good place, but definitely in a good place, really add on regions where we needed to be. I don't think Let's just check the back. Let's see. Yeah, you'll need wrinkles around the air. Move to the other side. Around the as well. Okay. Yeah, that's fine. Zoom out. We can just for the fun of it. Let's add some around here. All right. Oh, we need to do for this. We didn't do for the other side of the. Let's do some more depth in here around here as well. Okay? Create a lit around here. Yeah, that's fine. That is fine. Okay. This we can work with. Let me use the standard brush. I think we need some depth in here, ton of a ton of, let's use the clay brush instead Os, create a dense in here. Okay? All right. Here, that should be fine. Doesn't need to be too intense, that's fine. I think also while we are in here, we can just create some alphas or work on the lip instead. We'll create a new layer and this delayer is going to be for the lip detail. So let's create a new layer with a new layer, and this would be for the lip. So come down, let's rename this. Let's name this lips for this lip details. The tails, right? So I'm not going to do too much in your Y because I have there's an Alpha that we can actually use for this. So let's go to standard brush, light box, go back out. On the flip skin, we have yes, we have lip Alphas in here. So we have the We have a leap bottom lip top. Let's start with the leap bottom going to double click on that. Selected let's adjust the values for this. Radio field ten, mid value, 50. So Autonosymmetry for this asymmetry for this actually. Let's zoom in zone in. Drag this down. Okay. Unless drag Oh, I'm holding the wrong ki. I'm supposed to I'm not supposed to hold out for that gets in a bit close. We can go to Gizmo Max this out. Come on. So I'm basically trying to max this I think better still, let's go to lower subltion level to begin with. So we get better precision on this. So down control, select this, blow the mark, blow the marks, more or right, that is fine. Let's go back to the highS subdivision level. Then we can freely draw this out. High subibtion level for this up a bit more. One last subdivision level to go higher. Yeah, we're in there now. So let's drag this out. Okay. Out of more, that is fine, that we can definitely work with. Let's do one more. Okay? Yeah, I think we can work with this. This we can definitely work with. And I'm going to reduce the intensity for it, reduce intensity. And I'm just going to add some smaller ones on the lower parts. That should help break up that surface some more, ton of symmetry for this. Okay? And I'm going to smooth these parts. Basically trying to add some variation to it. Okay? Smooth this part out. Invert the max. Let's go back in a unless you the laptop. No, no, no. Just before we use the laptop. Just before we use the laptop. Let's use the same increase intensity. Let's use the same one for the midpoints. I shouldn't be too big, though. Undo that actually. Let's do specimetyturn on simmer return on I think around, no, no, no, that is not going to work. Let me turn off symmetry for this actually turn off symmetry and let's do I need to use something else for that. I need to see something except if we turn on symmetry and then we do one year, then we do another one here. Nah that's a bit too noisy. That's a bit too noisy. Well, I have another. I have another we can actually use another we can actually use. But let's first use this lip top first so lip Okay. Selected now, adjust the Alpha set up in 1050. Okay? Is it at 50. Let me make sure it's at 50. Yes, I at 50? Okay? So we will do this from the side. I think I need to rotate this Okay. That's a bit too extreme. Let's see. That's definitely a bit too extreme. I also like to take down the intensity of it down a little bit more. Let's find a camera and go around there. Let's go from the lower parts. Okay? Write this out a little bit more. Let's see. Now, it's not going to work. It's too wide. It's actually too wide. Let's repeat this again. Okay, let's rotate this actually. Probably my rotation is not accurate enough. Okay. Yes. Yes, this we can work with. This we can work with. So I'm going to use another Alpha now. I have specific lip Alpha in a zit. Lip lip Alpha, open that up. A few ones in here. So let's go over to main No. Let's go to transitions instead. Transition, laptop, lip, let's let's use this instead. Do click conduct. Go over to Alpha. Let's set this up, ten, mid value, 50. Okay. We can drag this around. You need a little more intensity for this. So let's increase intensity. Still not intense enough. As California is not intense enough. Yeah, much better now. Okay? Like, so All right. But I'm going to kind of take this down, take down then if it down a little bit more though. But just for the most part, this would be fine to begin with. I would turn up symmetry. Then let's begin to smooth some of this out. It's a bit too intense. Smooth out. Okay? Then we use the dam standard brush with them standard brush, starts adding my own cats in the add more coats in there. No undo that. I think my brush size is way too big. Take down my brush size. Okay? That's fine. Let me zoom out, clear the marks, then add some coats some deep cuts across that across the lip. I'm still going to go over this with the inflate brush just to inflate some part to create unevenness on the height information of this. Okay. So let's use inflate B I N. Let's zoom out a little bit more. Okay, rotate this weight, and I'm going to inflate some of the detail. Get some detail inflated, reduce the brush size a little bit more create eight variations with this, rotate upwards. Okay. Increase intensity a little bit more. So you're just going to reduce the bro size, create some inflations here and there. Okay. Rotate this down. Increase your brush size a little bit small. Let me find it good, okay. This number should be fine. Alright. Let's zoom out. Let's see what we get. Look at this from a distance. I think we need to actually blend or take down the intensity for this down some more just to get a perfect blend for it. So let's take it down. So I'm going to turn off the recording layer. Let's turn that off. So where are you coming to a close of all the details you need to add to this character as far as skiing detail goes. As far as king detail goes, I think this is actually in a good place. Okay, so let's take down the intensity for it. Take down the intensity. Let's use saving up, let me give you some moment to save. Okay, so let's take down the intensity for this. One. Nope. That is so at the extreme on negative value. Let's use the value of 0.7. Zero point sensing positive. We don't push you towards negative. So 0.7. Yeah, I think 0.7 seems like a good one. Zoom out a little bit more. Let's see. We can see take this down fine. Let's take it down a little bit small. Let's use 0.5. 0.5. Let's see what 0.5 gives us. Okay. Yeah, I think, this is fine. Yeah, this is fine, actually. This we can work with. So just to round this up, we can try and create some Let me go back and record the wrinkles detail in here. Let's add some kind of pimps or imperfection on the face. A little bit more. A little more should be fine. Also, I'm going to be using the flip noomal. I think flip normala some imperfection in here. So we have holes that we should have, we have spots in here. So let's start with this. Double click on this. Okay. So let's go in and we're going to drag this take down the intensity for this crazy brush size. Oh, we definitely need to come back in a less off increase the mid value rather, increase the mid value and create some breakup on his face. Okay? Take down the intensity, kind of create variations in a sometimes smaller, bigger shapes and you increase intensity a little bit more. All right. Take down the intensity. Okay. Let's come down at some more around the egg. Okay. Take down the intensity. Okay, this should help should help break the surface a little bit more. Take down the intensity. Okay. Let's do something for the nose. Alright. I think around the parts where pimp poo is supposed to be, that's where I'm drawing this out, so that should be fine. Okay? One more round here, something bigger. Okay? Take down the intensity, try and create some larger ones in around these parts. It might not be too obvious, but you should just be in there. O, do some that kind of digs into the flesh, increase intensity, at, do something that digs into the flesh. Okay. Yeah, that should be fine. Do some that digs in digs in your house as well. So let's turn this turn on the recording and let's get a blend for it. Let's get the blend for it. So I'm just going to use something small Let's a blend of 0.8. That's going to affect the rink also, too, but that's fine. That's fine. So let's use 0.8. Let's see what we get. Okay? So this is 0.8. 0.8 is actually a good value for it. It's not too intense, just in there. Alright, so that's fine. So this is like I believe we're done we're done with yes. I believe we are done with everything that has to do with the scheme for detail in imperfection. So next lesson is just going to be about the other assets on our concept reference. So thank you guys for watching now. I'll see you guys in next lesson. Bye for now. 25. 24 Scar Details In Zbrush: Welcome, bad guys. So in the previous lesson, we kind of finalized on the details of the face. Now we need to do one more thing to wrap this up. So there are some scarrings in between here, so you can see some scars we have on the body, so we need to kind of replicate that on our sculpt. So that's what we're going to do. So I have some references here already, so these are some references. Can see how unique they are not completely the same shape across. So we're going to go free and on that to create all of those. But before we do that, I would like to map out where I want them to be before creating that. So I think the best brochure actually is for this would be the inflet brush. Well, let's start by creating or I'll go to the highest subdivision level and then we'll create a new layer to accommodate that. So on the highest subdiviution level now come down here. Let's create a new layer. And this layers going to be called scars. Yeah, we're going to name this layer scars. Let's go over, rename these two scars. I like to use caps, so is all caps, these scars Okay, that should be fine. Alright, so now, I need to map out where I need this to be first, then I cannot start creating those scars in there. So I'm going to use the Let's believe the mark spin. Mark spin should be fine. I will increase the intense bro size. Let's see what we have in here. Bro sizing. Let's use this dynamic bro sizing here so we can actually have better sizing for the bros size. So with this num that's going to mark out, so this is going to be the first where the first scar should be in. Move this this way. Okay. That's fine. So the second one should just come just beside it. Okay. Then the third one should be beside that also to around here should be fine. Okay. So now we need to turn on symmetry for this. Turn on symmetry for this now. Let's turn on symmetry for this. Then I think let's see where this actually stops. So we can, no, do something else, undo that. Do that. Do something else. Sometimes undo that. Okay, so let me get a good angle for this symmetry is done, that's fine. Get in a bit close, reduce the bro size, hold down control, and I'll drag this out this way, connect to the first one. Okay. Then let's go over the second one. No, undo that. I'm not doing that accurately enough. That is not accurate enough. Get closed. Okay. Right, doing this better now. All the way here should be fine. Then we can do the last one. So I'm just trying to max out where I need this to be. In here, it should be fine. Here that's fine. So symmetry turned on for that. So I'm going to do I need to do trying to see if I need to do on the other side, I'm not sure we don't really have anything in there. So I think stopping at this part sh be fine. So let me turn off symmetry, actually. Then I'm going to do all the way all the way here, should be fine. Okay. So now what I'm going to do is to invert the max, so I'm just going to invert the max. So now I know precisely where I need to add or read these cars in here. So let's look for reference for it. Let's see. Okay. Let's see, they're quite tightly close to each other. Okay. Yeah, I think we can do this. Let's look for another reference in here. Okay? Yeah. Okay. Let's see. Yeah, it's a longer. I think we need to create something longer actually, so we're creating something longer. See spacing between them. All right? Okay. Yeah, so now we can start creating this. Let's start from the lower parts, then work our way up. Let's let's put these two dots. Let's say this this 401. Let's try and create this in here let's. Let me increase intensity of the brush. I'm trying to standard brush first. Let's see if that give us good results in here. Okay? Almost. Almost, I think we need to turn off lazy mouse for this No, it's kind of cool, though, but it's kind of having some broad edge. I don't want this broad edge. Getting broad edge, using. I don't want that broad edge. Let's see if we can let's something a bit sharper. Let's try this on. Yeah, this looks like a better one. This actually looks like a better one, but we need to increase the intensity of the brush. Yes. Perfect. This will work just fine. Okay. I try to see the intensity is way too high for this. I think intensity is way too high. Let's take that down. Let me reduce the intensity and then we'll do that again. Let's do 23. Here, I think we can work with this. This we can work with. Okay? I don't do that. Don't do that unless increase the brush size a little bit more. Come on. Increase the bre size, zoom out. Take down the browse size. Then we can no, no, no, no, I was way too high. Reduce the browse size. Try this again. Still not the right browse size yet. Reduce the browse size again. Yes. I think this should be fine. So now we can do this now across the surface. Going to leave gaps in between. Undo that. Undo that. I think pressure on adding to it is not accurate enough, so I'm not creating gaps in between, though. Okay. Let's just from the opposite side instead. Let's see. I think this we can definitely work with. Let's go over what I created before. We're not looking right, you can just go over them again. Yes, this is actually working. Now, we don't need to be precise with the sizing for all of them, so we just need to create something in the Yes, this should be fine. Okay? Moving on. Okay. Well, since you kind of go over them, though, you need to go over them. So let's go over them and then make them a bit sharper like we did previously. So this would would add additional detail into it. Okay. Change the camera angle. Okay. Yeah, so it should be fine. I think at this point, we can I think we can turn no, no, let me not turn. Let me just do this full on asymmetrically. That will give us better results. Okay. Then go over it again. All right. Come over to the other side. I'm going to do one strip first, and then before we move to the next one. So that makes better sense. Alright. Let me go over the entire them first, then I'll come back into them piece by piece and accentuate them a little bit more. Okay. Alright, now, let's go over them again. You can add if you want in between, also. Okay? Yes, this is working just fine. Maybe we won't reduce the brows size a little bit more, create something sharp. Okay. Yeah, this is working just fine. We can introduce new ones also in between. Right. Yeah, that would work. This would work. So I'll move on to the next side. Next strip in here. Okay. Getting a bit faint. Come on, undo that. That wasn't look I isn't looking good enough. Is not looking good enough. Okay. I'll skip the Nippo. I don't want any detail on the nipple parts. Alright. Let's come over and then I'll send you with them some more. Okay. Yes. It doesn't need to be perfect. That's just genders just a general idea. It doesn't need to be perfect. We just need something in there. Imperfection is even what we are going for here. All right? Come to a better camera angle. Okay. H. Having issues with my pain pressure. It's feeding itself out on the air not precisely what I want. I think we need to find once you find a good angle for this, your pain or draw withdraw or the pain pressure begins to work a lot better. So just a matter of finding a good direction or good camera angle for it over this. All right. That's fine. Get in close. I think we are doing just fine. Get in close. I think the closer we are, the better we can get that detail in. I was thinking to go over thinking to go over them a little bit more dog. But for now, I think we're in a good place. Okay. So now let's go over it. Reduce the bros size. Go over it again. Okay. All right. Gets close. Undo that. It's not in the right place. Yes, much better now. Okay. Yeah, that should be fine. One more. One more on the right hand side. Okay. Increase your brush size a bit more. Find a good angle again repeat this increase the brush size. Maybe will increase intensity a little bit more. Okay. Yeah, this is working just fine. Alright, let me go over them again. Go over them again. So we get something sharp at the tip. Like I said, initially, imperfection is our best friend right now. So you don't need to be too extremely careful in here, just go free. Just go free and in there because it's so This is like handmd so it's not supposed to look very symmetric and the sizing and shape of everything is not supposed to be the same. So you can just really go free and in there. That's completely fine. Okay. All right. Let's rotate the camera angle. Get in close. Yeah, pretty much. Like so. All right. Almost done. Then we'll go over it one more. Eleanor, now let's go over it. Let's centuate a little bit more. Okay? Yes, interesting. Yeah, I was looking interesting. Then we just meant to do on the opposite side, the left hand side, and then we should be more or less done. Okay. All right. Yeah, awesome. Awesome. So it's kind of a good thing kind of mapped out where it needs to be, and then we let's go over that. So now let's do for the opposite side. Oppose side. Let's see if we can do this as quickly as we can. Okay? Go over. Let me use the browter just a little bit more. Okay? Yeah, we can let's move a lot faster in here. Yes, all the way, should be fine. All we also screw the same thing across, get in close. Okay? Get a good angle so our brush can work a lot better. So now let's go before we go te, actually. Let's just go te use the brush size and go over it. So we get it looking better than it is right now. Get in close and go over them, creating sharp sharp edge or sharp tip to it. Okay. Then we have just one more shape. Alright, I want one more strip to go, and then we should be fine. Okay. Alright. Now, let's do Llaves. Okay. So the last three, let's go over that and just repeat repeat the same scene in here. Look for this at a better angle so we can reduce a bit more accurately. Increase my brow size a little bit more. Undo that, reduce the brows size. Okay? Almost done. Let's come to the front side and do this from the front side. Getting close. So now let's just go it. So we just go over it to create sharp tip on it. Okay. Come over down here to the side. Right. Almost done. Okay. All right. Just a few more, and then we're good. That's fine. So now let's remove the maxing in there, and then we should have awesome. Should have this detailing in there, which is precisely what we want, right? So I think this finalize it, so we can move on to something else. I'll see you guys in next lesson. Bye for now. 26. 25 Miniscus Adjustment In Zbrush: Welcome guys. In the previous lesson, we worked on creating these cars, we also lay that on a layer. So that is actually on a layer. So if we need to actually if there's a need, let's see, yes. So if there's a need for us to actually reduce the intensity of this, we can always do that by going over to going out to our layers and then tone of the recording. T of the recording, then we can dial the layer down as we would need to. So maybe I'm not going to dial this down just a little bit more, just a little, not too much. Maybe around the value of 0.8 to 0.9. I think values around that part would be fine. So let's do that. Let's go over, and put in a value. Let's do zero point. Let's 0.7 first, I see. So 0.7, let's get out of this. Okay. And then I think we have, this seems fine. It's not too hot. It kind of creates weird deformations around the polygons on this region. I think this is mesoma. I think they should be fine. I would like to go over to soup to remove this paint too. But the paint is actually making it too bright. Okay. Yeah, I think it should be fine. It should be fine. So now I'm going to exports. Let me get close actually and kind of see there's something else I need to do on this scheme detail around this. Okay, I think for the most part, this is working just fine. I work just fine. So let's go to oh, yeah, one thing we need to do actually, the miniscus Muscle is like tail line under the lower eyelid. Just behind the lower eyelid. You need to kind of fix that. So I'm going to select it and then it have to go into it. I will need to make corrections to it. Let's make corrections for it. So I'll use the move brush. The move brush selected. Let's do let's start from this region. I'm just going to lift this up. Let me max out some region. Let me max out some of this region out. Let me select the main body first and then go to lower subdivision level. So you can actually work a bit faster in here. So let's go to lower subdivision level for it. Okay? Yeah, that should be fine. That should be fine. So let's go back and select the select the minusc now. And then we can let's do transparency so I can actually see and I'm going to use the rectangular marks to mark that part out. Let me solo this coming close. I'm going to mark this part also. Okay. Wood and control tab to blow the edge of the mark. Then to off transparency. Let's move this to the other side. Let's work on the left hand side first. Ton of transparency. Okay. I'm going to use the inflate brush. Going to inflate this a little bit more. Then we can start lifting this up some more. Okay? Smoo this down. Leave the end up, smooth down, smooth this down, leave this up a little bit. Okay? I think this should be fine. Let's look at this from another angle. Yeah, I think somewhere around there should be fine. Let me push this down a little bit more. I shouldn't be too obvious in there, though. Before we do one on the top, let's move let me move this zoom out a little bit. Zoom out again, invite the max, then go back in. I'm just going to lift all of this up. It shouldn't be too visible around here actually. So just move it up. Look for an angle under an angle underneath this. Okay? All right. Smooth that down. Smooth down some more. Okay, load this out some more, smooth this down. Okay. I'm just going to lift it out just a little. Okay. I think around there should be fine. Smooth out some more. Smooth out some more. Smooth out some more. Yeah, that should be fine. Okay. Let's look for the other side. It the max. Invert the mark again. Let me push this up. Okay. It the max. Let's get uploading asymmetry done that's fine. Let's use the inflate brush, inflate. Let's inflate this part. Let's make it a lot more visible in here, smooth it out. I think I need to get in close. Let's get in close first. Let's get in close. Transparency. Move brush. Okay. Ton of transparency rotates this. Okay. Sm down do that, actually. Getting close getting quite close to this. Okay. Or maybe better still, better still, we can do. Let me frame out first. We can do Mirror weld instead. Glad Max, get in in there again. Okay? Okay, maybe not. Maybe not. Let's just pull this up. Let's just pull this up instead. Transparency. Mark this out. So low this, blow the mark. It's getting close. Okay. Take down the smooth intensity, smooth this part a bit more. Okay. I'll leave this part up some more smooth out, leave this up up a bit more. Let's bring everything back out. Let's don't have solo. T of transparency. You should be able to see it now in here. Okay. I think we can use the inflates now. We use the bro size. I'll just inflate this end, right? Let's rotate this down some more. Then do some gent moth around here as well. Okay. Then let's invert the max for the top parts. Let me just bring this out slightly. So smooth out a bit more out a bit more. Then the gentle smooth. Okay. I think I need to push this up, do that. Move brush, move this up a little bit small. Am dh should be fine. Clear the marks. Yes, this we can definitely work with. Okay? So that's fine. Now let's spot this out. Let's spot out our mesh. Let's spot this out. We're done with this. So let's start with the start with the miniscus since already in there. Just going to export this, but I'll first go to preferences. Import and Export exports smooth group, Tn off group and then Tono off smooth normal rather. Son off Smooth normal. Then let's export this out. So that have subdivision level for this miniscus, so that's fine. So let's export this out. I export this to a new folder called Z Export, so open that. I've already exploded out the body, but I'm going to replace this actually. So let's export the miniscus. Then come down and then select the body. You need to export the body at the lower subdivision level. I think I'll prefer to export this out at I believe it should be subdivision level two. I ask this sublision level one actually. I like to export this out at this subdivision, subdivision level one. Let's just do export.Eport this out. We exporting this to Z export food. So Idris body, let's replace that since we have made a lot of corrections in there. It us fine. This we can work with. Okay. Yeah, we can work with this. So then we'll go over to let's see. Here, the next piece less. For the iris, we don't need to expose the irises because the iris is already in place. We didn't touch that. We didn't touch. We did not also touch the outer eyes. I'm just going to leave those two. So we touched the body and the minuscule, so we're exposing those two out. Okay, yes. Yes, that's we can work with. Okay. Yeah, that's fine. So now that we've exported that out. I'm going to let me just do a quick save for this. Let me save my file, then we will save this. Then we import them into Maya and then just okay? So they to create the accessories. I'm going to create a separate Zbrush project kind of create these accessories. This fire is already a three gig. I don't want to wait to put much pressure on this fire, and then we start getting some lags on this fire while working with some other assets on the same file. So we're going to create a new Zbrush fire to create to create this asset we have in here, so that's pretty much what we're going to do. So yeah, let me just go. Let's go to Maya and bring in what we have exported out and let's see how all of that is playing out in here. So I would think I'll need to steal the I. Yeah, I'll steal the I to control D, Shift P, send this down, select the hide dt. I'm going to delete this miniscus because we're going to be importing new ones in there. Okay. I'm going to select it. I'm going to give this a blink material. So let's just give it a, there's a blink material in here already. Let's give it that. And then let's start importing what we have exported out. So let's go to our folder in here, Z exports and the less S imports. The body and the minutes goes into this Maya file. Let's give this a moment. Okay? Now we are in. So this is it. This part love you? Is this view looked, okay? Is a perspective view. It's almost like it's almost like we can't even see the very, very faint in here. The scars we had in here it's quite faint. That's fine. That's fine. We can use always use the displacement map to drive this letter when we want to do the look development. So use a displacement map to drive that. But for the most part, I think this came in quite nicely. Okay? All of this is where it should be. All right. Awesome. Awesome. So I'm going to save this file again. And I'm going to close the previous five, we have the original five for this and then create a new Zbrush file. Start working on the assets in here. So let's go back to ZBrush and let's close this and open a new file. Okay, so this is a different Zbrush file now. So I want to start with this default project. I'm not going to double click on that. So that should open up in here. That's fine. Then we're going to set the camera just like we did for the original documents. So let's go to draw 85 this Crow factor should be I think I use can't even remember the value I use but I think four should be fine. It don't really matter that much, though, because we already have already on mean sculpting, so I think something kind of fits this. So the camera will by no means affect the topology or the already made scope just going to affect the camera but not manipulate or by any means a detail scoped. Let's just go and then import the body. I put the body on the import the outer eye. That's pretty much what we need to import. This pot line doesn't have any subdivision level in there, that's fine. I'm just going to duplicate this actually. Then the one at the top, I'm going to replace that with the body. So let's go over to Zports. We're going to bringing in the updated body version that we exported from the previous file. So open this up. Okay. So actually there though you can see it but it's actually there, so you can see how small this spare is. But that's fine. We can, this is what we have. All of this came well. Yeah, this is all of what we need actually going to be using this kind of create. I'm going to be using this to kind of create some other so molder mesh is out of this. So yes, that's why I actually needed this because already has the proportion we needed to kind of continue working with it and create another set for it also too. So with that in place, we would go and then duplicate this again. Select the top one, imports. Let's import the outer eye. I was going to go back to the import because we have the outer eye. So let's import that in, and then we are good. Yeah, yeah, we are good in year. So the next lesson, we're going to continue on by working on the bidding for him. So we're going to create the beds first, create the bids building around his face a year or so. We can do one year and mirror this to the other side. Yes, we can also do this. I think you can actually do and mirror to the other side too. I think that would definitely work. Then we can make or maybe we can do everything by hand. But with some mirroring now, we're in between just to make things a lot faster. So it's building down here and beading around here. Was it going to connect them all the way to the back? Everything should work just fine, and then we're going to go back to Maya and create this. It's a very interesting bid or. Should we call it yelling, actually, because it's not on the year actually. It's not hanging on the, like a year ring. It's actually hanging on this bid. On this building, you have another extra piece that comes out that's kind of hanging around that part. So all of that, we're going to start working on the next lesson. So I'll see you guys in the next lesson, bye for now. 27. 26 Head Piping In Zbrush: Alright, so welcome back guys. So in the previous lesson, we kind of set up this new file to work and create most of our sets in here, okay? So now let's jump right into it. So I'm going to go out and select the mesh. Then Shift F Shift F to go to our poly group. Let's come down to polygroups auto groups with UVs. Yeah, that's fine. So I want to make a duplication. I won't start by creating this beading on his forehead, so that is what we're going to create. So I'm going to divide this. Let's get at least something sma in there. Okay. Then I'm going to duplicate it. And let's select this. Let me move this up, actually, move this up. Okay, select this newly created this newly created body and then tone of the original. Let's work with this newly created. And I'm going to go back in and then go back to lower subdivision level and then delete the higher subdivision level and put this down your all right, let me get close to the beading. Then Shift F, Come tro Shift click, and I'm going to do a delete ding. Let's do deleted the modified topology, delete ding. All right. So the idea in here now would be to create a poly group that lines across where this building should be around the horizontally and around the vertical all the way to the back of the head. So there are a few ways of doing that, but I'm going to be using the let me get this to decide. I'm going to be using the let me move to the side slice cove instead for this hold control and shift. Then you should bring out this panel for you then select slice Cove. Slice Cove is selected now. So just to kind of figure out where this should actually be in. And I believe, come on, clear that out. Control Shift click. Okay? I believe around here should be fine. Okay? Yeah, I think this is actually in a good place. Yeah, in a good place. That's one. Then Control Shift click on this. So, asymmetry is don't on. So we need to go from this is from the top is that frame this in. Come on. I just keeps napping. Anyways, let me just zoom this common. Yeah, it kind of happens. I don't really know why that happens, though. Yes, so we can do tap out. Tap out again to get the curve. Let's do this from around here. Yes, around here, it should be fine. Do a slice. Oh, it's not even working. This doesn't work symmetrical. But that's fine. But I think it's supposed to be more on the temporal line, so I think let me do this from this. You know, here, instead, let's find a good angle around there, so low this. Okay? Do this tap, tap out again. Then I'll move this around here. Okay? Yeah, I think I think, yeah, there should be fine. We can work with it around that spiece. Okay. Let's do for the opposite side. Now I can easily just mirror this to the other side, but I like to do this free end instead. Let's do this free end instead. I think we can make better sin doing it free instead. Okay, I think we can move this to the side around there should be fine. Yeah, perfect, too. The next thing for us to do now is to create pipes that goes around where we kind of separated out poly groups for this. So let's do that. I can do Let's see. Let's start with this. I don't know. I don't really know if I can do this. Let me make sure that who side is turned on. Let me see if I can hide this and then create the loop around there. So to create that loop, we need to go over to B, C, for the curve brush. Now, let's look for this curve pipes or curve tube bacal actually two in here, but I think any of them should should be fine. Okay, we have curve multiple tubes. Let's let's use these curve tubes instead. So yeah, so let's go over to stroke and then over to, I believe, C function. Then we need to Oh, we have polygroups in here. It's actually a good one. We have polygroups in here. Let me turn this off. Let's leave polygroups alone, bring this back on. So let's use this want to make sure there are no polygroups inside of this kind of cut out. So let's do frames, frame polygroups Perfect. Yeah, this is precisely what we want. So now, we're just going to find the right. Oh, I think, let's increase the brow size a little bit small. So the brows size now that will determine the size of the tubes we're trying to create. Okay? So let me reduce this brow size down a little bit small. Crease the draw size, yes. Then you'll step in. We kind of creating to undo that ton of symmetry. Let's do this again. Yeah, actually this is actually fine. We can definitely use this. Yeah, yeah, this we can definitely use because it's kind of slim enough for us to actually use. Give us an idea of where we should kind of put our beading in there. Though we still need this though. But I think this should be fine. Yeah, that's fine. That's fine. Let's go back to move brush. Okay? Yeah, this is fine. Let's go back to srope the lit, okay? Then let's split this out. Let's spit this out. So go down or up to soap to split. I'm going to do split on marked points. Turn off so low. So out and select these tubes now. So we have this at 42 k which is quite much. So let's load this. But we definitely have what we need in her now already. But I think I would I would like to I would definitely like to reduce the Popolo count is quite high. It's quite high. So let's duplicate for it. I would like to rename this. I would let me start renaming things where we move along in her Okay, let's name this two. Ed Oh. Oh. We need to create one more. We need to create one more. Let's just name these two Ed pipes. Okay. We still have one more. We still have one more around here, so I think we can let's do that. Let's do that. So I will go and turn off this late or slow turn off so loud, select this piece again, Shift F. Let's kind of connect this. Let me sold this actually. Let's see this comes across this way, that we can do control shift let's find the region for that. Tapings taps, undo that. We need to solute this out first. I should be solute out. Drag selection, tap, tap, tap, tap out, tap out again, tap out again, all the way up. Yeah, this is fine. Bring everything back out. I think I can repeat this again. Let me put this again. I'm going to delete this. Let's repeat this again. So we have everything where it needs to be. Then we can go back into ShrokFrame B c tube, the sizing for this yes, size for this brush is fine. Let's do this again. So now we have all of this where we need them to be. Yeah, actually, precisely precisely where we need them to be. So this is precisely also what we want to shave F. Then go back to move brush. Then we can do splits on marks points. Then we can go back to throke, delete curve, ton of isolates. Yes, much better. So, yes, we have a senior now. So let's go and then rename this So Pipes. Alright. That's fine. Yeah. This is fine. So now we can add this head. Let's add this eyeball also. Oh, no, no, let's bring it back on, I would like to see this in a while because once I start adding the bit on top of this, I would like to know if it's kind of penetrating or touching the skin with too much and then make adjustment based on that. But before we do that, let's low these pipes out, duplicate. Let me drag this duplicate up Okay. Then go down to this piece down here, which is still the same ad pipes. I I would like to reduce the plc way too high. It's way too high. Now, let's go down to Z remerchaZRmara in shift F. This is quite dense. Okay, let's see if we can actually reconstruct this subdivision. Okay, we cannot. So now let's come down here. So we have this 59,000 policons. Let's see if we can use it to ten, so let's say this to ten. Target Polycount to ten. Adaptive, that's fine. Keep groups dictct edge. Yeah, so let's take this down to ten. So let's run this. Give us a moment. Let's see what we get. Yeah, introduce that to instead of ten, it's not even taking into account the target picant for this. You said it's setting this to 28. Let's come in and see. So let's go off of this, so let's do half. Zero mash again. Let's go out of this. Okay, I think we can still half this out also. Come on. Half and then just increases actually increasing this. Actually increasing this. Let me take down this smoons. Let's do half again. Come on, supposed to go halfway. But it's not going halfway. It's not even respecting the values in here. Let me take this down to around five instead. Let's do five. Let's do five. Let's down all. Select mesh again. Okay. Run this again. He's not respecting this at all. Take this even down further this again. Okay? Now we have this at 15 k. Yeah, I think we can live with this at 15 k. This we can live without 15 k. Okay. But we need to make some corrections to this, though. So control ships Move brush. Let's do an auto group. Holy group. Auto group. Okay. We can do move topology. So B, move topology. See, move topology in here, so increase the brush size. So only once I only need to kind of move this down here a bit more, so it should still be in here. Yeah, that should be fine. Let's look for other regions too that's kind of extended out way too much. Close this in here. Close this in here, move this a bit further. Let's this back. That's fine. Wait wait a minute. Where's the other piece? The up is no longer there. Almost like almost like it completely littered the other piece. So let's go back. Let's go back bring that back out. Okay. So back in here. All right. Here's back in here, we'll stay out this as 15 k which you can work with. So let's do this again. Also group. Okay, then bring this back down for some more. That is fine. Okay. Yeah, that's fine. Yeah, this should work just fine naturally. This work just fine. So I think we can start can start. Can now start creating the beading for this. But I would like to inflate it out a bit more so it's not sticking too much on the skin. So let's do let's see if we can use the inflate and then under deformation. Oh, the size here. Let's do size instead. Whoa. Whoa, do that. I just all over the place. Let's do inflate instead. Okay. Just a little feel it should be fine. All right. I think in this part, I'm going to use my move brush. Don't on dynamic, reduce the bro size. Okay? Don't asymmetry, reduce the bro size a bit more. I would just like to leave this out of the skin a little bit more. Just a little bit more. So it's not sticking too much on the skin. A little gap should be fine. Around there as well. Okay, out a little bit more. No, that's bit too much, get close. Okay. Get this at an angle, leave this up some more out some more Okay. Yeah, that's fine. Let's do down here as well out a bit more. Yeah, that's fine. That will definitely work. So now we can now go in and begin to go in and easily begin to add or creating this bit piece in there. So, we can do this on top of this. So, I think we can work with symmetry here. Let's. Yes. Okay, that's fine. Let's work with symmetry for now. So BI so the beading for this, I can see spherical shapes and I can also see I can also see cylindrical shapes in there. Let's start with the come on, spherical shape in here first. So I would like to use let's see. Um, we can use. Let's start with an insert. Let's start with police fair first. Let's start with police fair. So we can do a police fair around here to begin with. Okay, I think that should be fine. Then let's move this up where it needs to be. So in here actually, I was going to be doing mostly Munir working here. So it's mostly Munn Walking here. Reduce this a little bit more. Okay, we have a piece down Okay. Yes. So I'll go back to the MO brush. I would like to work with just one instead. Let's turn off. Let's turn off or Control Shift click. Turn off symmetry for now. Okay. I'll mark this out. Control Dub toge separate poly group. Bring everything back out, Control Shift, click on that. Control shift drag selection. I need to go back to my Control Control Shift, go to select selection rectangle or select Shift drag selection out in that. Then let's do deleting. Let's do Deleting, Deleted delete modified topology, delete Eden. That's fine. I'm going to select Control Shift click on this. I'm going to do split Eding Split ding. Let's work with just this piece alone. Let me get this in place. Okay. Sent out this. And I would like to scratch this down this way. Shift F. Then let's get close. Yeah, this shape is actually fine. If I move this here, let's see what we get. Yeah, the size for that is actually fine. But once we need to do this too, we still need to move out pipes out a bit more, so it should typically be around here. So our piping should come out a bit more. Our piping should come out a whole lot more. So we still need to go back like this piping, clad max, tonal asymmetry. We still need to move this piping out some more. All the way here should be fine. Okay? I think we actually need to do a lot more work pulling all of this out also. Okay? No, undo that. My brow size is way too big for that now. Up a bit out, outward, a bit more. Okay? Say for the back piece around there should be fine. Stand this out some more. Yeah, I think that should be in a good place for now. So we can continue working on this. Okay, so now we have one piece in here now. Let's go and select this. Let's go back to our IMM brush and create another piece. I would like to move this forward a little bit more. So I go back to the first one let's use this in, Tinder should be fine. Sinder no extrude. Select this drug that's in here. Okay? Let's get this properly oriented. Yeah, this should work just fine. Shift F. Well, I think I I will need to also make some corrections using the using the let's see. Isn't a Zi moodlar brush actually. So let's go to move Brush. BZ M. Yeah, Let's skip that. So Shift F. You need to add loops in here. Undo that. She Come on, undo that, go to the edge. Should be a loopF a opa also. There's the loop. And also so this out. Let's put a loop also around here, here, also, as well. Let me do one across and also undo that. Undo that. Yes, one also in here, that's fine. So I'm doing is because when I kind of smooth things out, I don't want to kind of collapse on itself. So if we should do it smooth, you can see it kind of owes the shape a bit more. Shift F. Okay. That's fine. Yeah, that work just fine. So we can now go back of slope, bring everything back out. Let me center, rotate this way. I think it should be longer than it is right now. This is a bit longer. Zoom out some more, rotate this let's get this way it should be, put this in here, do rotation, move this out, scale this down some more. All right. Move this forward. Rotate. Let's get this we're going to do mostly and manual working here. So most of what we're going to do here is going to be manual working here just to get this to be in place. Move this forward in here, rotate a bit more, rotate a bit more, invert the selection, get this here, rotate some more. Yeah, that's fine. That's fine. Invite mats. Inverted mats, go back to the previous piece, leave this up some more Okay. Get close, Shift F, rotate. Let's see where this is or a bit more, so it should be fine. Okay. Yeah, that should be fine. That will work just fine for what you need it for. Alright, so we're just basically going to start. Just continue on with the same process, blocking this piece by piece. Okay? So I'll see you guys in next lesson as we carry on with this bye for now. 28. 27 Head Center Left Beading In Zbrush: Alright, welcome, but guys. So in the previous lesson, we worked on creating this piping for the head, and then we started adding this bearded piece to it. So what was going to carry on with that, right? So let's move on with that. Mm. Yes, we have created this piece. We created this piece. So let's let's actually now use another reference that kind of help. Okay? We can see variations in here. I think it's a good one. It's a good definitely good one. We can see various shape building in here that we can use. So let's carry on with that and let's continue working with this in here. So this one has more rounded shape to it. So we can use another type of IMM for this. Can definitely use another type of IMM, we can even use this same one, but it's slight modification to it. Before that, let's go back in here Shift F control and bring our degrees mood and control tap on this. Let's say this proper orientation, hold control, drag it out. Okay, out this way down the sway, drag it out again. Oh, undo that. Let's get this back in here first. Okay? Bing this closer, all dots, cate that out. So what I was going to basically just keep repeating the same thing all over. Rotate is a little bit more, and I'll scale this down a little bit more. Let's also get variation in skill, too. Variation in skill should actually help also. That's fine. That's fine. Zoom out, get an angle in here. Okay. That's fine. Then let's go be IMM for this. Let us I think it should be a caps uline. This is what I'm looking for. So let's extend this caps out around here. Okay? Snap this out, center this. Let's get this in place. Okay. Hold shift. Let's snap this direction, get a good angle to it, then move this in place. Nope. Okay. It's quite dark on this side, though. Let's rotate this, go back to move, go back to our gizmo. Get in asymmetry to do for this. You need to make sure symmetry is done. Okay, symmetry is off because we do not want symmetry on here. Then let's get this rotated in, move this in. Scale this down. Maybe not down too much. Around this sash be fine. You know, scratch this down naturally. Finally create some of this piece in here. Scratch this down a little bit small, that's fine. Move this in place, F to frame into it, rotate. Let's see if this is in the right place, rotate it this way, get that's fine. This we can definitely work with. Get a rotation basically just checking this on all angles just to be sure, I have this in the accurately as it should be. Okay, scale it out a little bit more. All right. Yeah, that is completely fine. Then I'm going to control, extend this out this way, and I'm going to extend it out a little bit more like so. Okay, I'm going to deduplicate do that before duplicate, let's go in and make sure it's in the right place. Yes, it's in the right place. That's fine. Then I'll rotate my camera, move this out a little bit more Wood control, extend this out. Squash this in, like, soap, a bit more, take down the size, move this close up. Okay? Yeah, that should be fine. Move this in rotates, move this in. Okay? Get down, get this down some more. Alright. Yeah, yeah, that's a good one. That is a good one. Um, now we can do let me select down control and select this piece. Okay, now we need to do an auto group for everything. There's an auto group for everything. Let's clear the mark. There's an auto group. We're basically going to start repeating most of what we have in here, what going to do so. Yes, auto group auto group auto group Bully group auto group. Yes. Give more control, select this. Okay, old, center this, change orientation, Old control, get this out. Move this out. Now we're going to rotate and let's get this in place. No, rotate. So it's basically a very careful process. Just a very careful process. Get it in there. It's a lot of manual work actually, but we're still going to make this a lot faster. We're just going to do one side and then mirror it to the other side. That's basically it. Okay. Scale this down some more, move this around the Epp. All right. Move this out. Okay? That should be fine. Yeah, that's a good place. This we can definitely work with. Shift F. So I think I can just Okay, let's down control and move this to the other side. Okay? I think I can repeat the same sequence now. I think I can actually repeat the same sequence. So to repeat the same sequence, I would let me get this out, got my Gizmo O down control, tap out invag max, go to the Gizmo. Okay. Then I would all I need to do in your now is just to down control and drag this out. Do that actually. Wow control, move this with gizmo instead. Okay. Rotate, at this week. Now we need to do a lot of manual work in here. That's fine. That's completely fine. But this will actually help us spit things up a little bit more. Let's center this in here, rotate. Let's try and see if we can leverage on this while still. All of these are still together, and then just try as much as possible to kind of get them on the pipe and get this down. Yeah, I think when a good place, move this out a little bit more around there, it should be fine. Then, come on. Let's kind of knock this off the right camera angle. Let's get this back to the correct camera angle. Okay, we still need to move this out a little bit more. Right. A little bit in. Yeah, that's fine. Yeah, this is fine. Then we can do Shift F. Let's do Auto group. So now we can now individually move them and arrange them, set them up in place. I think it starts going A wire around. Yeah, this piece. Oder Control or rather select EW on your keyboard, go to your Gizmo order Control, select this. Let's kind of get this in place. Move this in front. Older control, move to the next piece, rotate this this way. Get this in, move to the next one, rotate this way. Let's transcenter this rotate this way, move inwards, inwards. So more. Get this out this way. It's just a careful process. Move this back where it should be. Let's see, I think they should go up a bit higher. Let's leave this up a bit higher. Yes move on to the next one Control select this. Move this in place, rotate. In rotates, center this again. Yes, rotate. Rotate this around there. That should be fine. Control. Select Lemate the marks. I like to select these two all at once, select these two. Okay. Undo that, invert the marks. Then we move them. You can move this all at once. Let's center it Orient, get this in here rotate this way, move this forward. Okay, rotate in get this inward, inward. Alright. I think this should work. We should work just fine up a little bit more. Yes, yes, I think we're getting this. This should be fine. Let's check this around here just to be shock. Maybe scale it out a little bit more. All right. Let us clear this out. Yeah, that's fine. So now we're kind of moving a bit faster in here, so we can I think we can also duplicate this same thing or maybe add, let's break this up a little bit more by adding adding a little bit of variation in here also. So I would I would hold down control, select this. All right, select this. Extend this out more. Extend it out more. One more. But for this, I will scale this out. It should be bigger than the rest. Okay. Then get this out this way. Okay, that should be fine. Just to break this up just a little bit more. Then we can do, let's do let me select hold down Control, select this piece. I would extend it out back out a little bit more, rotate. I can also even create a new formation in here. Come on. We create a new create a new formation of building in here also. Rotate this. Get this out, rotate. Now, the only issue we might have in here is we can't just scale this properly anymore because the orientation is now completely off. Orientation is completely off, so we're just going to start maintaining what we have in here and then just repeat do we have? Yes, just repeat some of this in here. Just repeat the shapes we already have, just duplicate them and then get them where they should be. I think this should be fine. Because, let me show you maybe just maybe it might actually work. Maybe if you do a lot of carefulness in here, a lot careful in here, we can get this to work, so. Let's extend this out. Okay? I'm trying to I will try to undo that. Yes, this would be fine. Rotate it this way. Okay? Let's see if we can squash this. Squashing, but it's not squashing accurately. No squashing accurately enough, so that we need to fix. Let me just get this see see if we can do this a bit more accurately. This is close enough. No, see how it's messed up on this region. So it's gonna be a difficult one trying to trying to get this to look right. Come on. Okay. Let's see. I'll rotate this all this week. Nope, it's still not working accurately enough. We don't necessarily need to do this though. I think maybe we can work with this. You can actually work with this. Yeah, this you can work with. Let's go back in here. Get this close up. I'm going to zoom out. I'm going to steal I'm going to steal this, hold down Control, extend it out. Let's zoom in. Let's zoom in. It's actually eating in here now, so we need to get this out up out. Okay. Getting close. Move this out, rotate. This way, rotates this way. Okay. I think this should be fine where it is. And I'm going to scale it out. All right, duplicate. I'm basically trying to create a new formation in here, a new formation of building in here, then then I'll be able to duplicate that entire entire new formation and then use to create another loop of sequencing All right. Rotate this this week. You'll do uplicate of this. Move this down I can shring this down, move this closer, do another duplicate of this shrunk version of it. That's fine. Then we can go and steal I think we can steal this. We can steal this. But I think the numbers are way too much for it, but that's fine. We delete the numbers in here because it's way too many. Get it out. Okay? Came orientation. Come on. All right. Gets enclosed. Yeah, we need to do a lot of modifications in here, but let's start by doing an auto group. Select this. Let's see, I think the three should select this also. Let's do delete Eating. Let's delete ding. All right. Then I think did we say this already in place? So Control click click, invert the max Mark this out, bring everything back out. Oh, come on. All right, that's fine. Rotate it in place, move this in. You're almost done creating a new formation for this. Move this this way. Oh, I think we should have left that in there, though. Yeah, that's fine. We can select where is it. Rotate this. I would like to still I like to steal this though, but I think this skill, okay, we can use this instead. Let's use this instead. Let's steal this instead. And I'm not going to down control, move this out. Move this out some more, get this forward, and set this in here. That should be fine. Okay. Let's center this, go back to the Gizmo. And let's just do proper orientation in here just to get it to look right. Yeah, this is fine. So now we've created a new sequence of formation in that we can now duplicate across. I clear this out. I think we started let's see let's see where that actually ended. I ended. I ended around here, so we can duplicate the sequence. Now, I'm just going to grab all of this. Grab this entire sequence. Come on. Do we have let's go over to Max lasso, select all of this, Control W and Control Shift click on this. Invert this, this one single poly group, mark it out, bring everything back out, invert the mark, then we can safely move this out as a new formation. Let's move this out of the way here. It's going to be a new formation out, up some more. And yes, we still have a lot have a lot of corrections to do in there get this in. I think around there should be fine. Then we can do an auto group. There's an auto group auto group auto group auto group auto group in here. Now we can slate them individually and then start moving them and arranging them in place. And control, select this first piece. Let's get close up in the and then we start making proper modifications in. Let's see get this forward a bit more. All right. I think around there should be fine. Let's go to the next piece. Okay. Next piece. All right. Let's zoom out. I think we can leave, let's go to the next piece. Let's leave a little bit of gap in between there, so you can actually see the piping. Inside of that, but this will get out around there should be fine. Around there should be fine. But downwards, rotates. We're trying to make this confirm conform to the piping we have around that part, very important. So select this also, get this in place, rotate our camera, get this closer. Okay. That's fine. Select the next piece. Get enclosed. Okay. Forward, around there should be fine. Around there should be fine. Rotate this this way. Move the camera out a bit more. Let's get in bring this forward a little bit more then down some more, select this. Let's see where that is. Move this down closer. Let's move this out. Forward, select this, move this forward. Rotate this. Let's center the orientation for it. Extend it pre side a little bit small. Forward, go to the next piece. Okay. Let's see. I think well, let me just continue on manual instead center this rotates, rotates up a bit more. Let us fine. Control select this. Okay, move this in place. Rotate, move this backward actually gets in the Let's see. I think that should be fine. Come on. Then come on. Select this last piece, get our camera up a bit more. CentzG this in place, rotates. Okay? Let me rotate this this way as well. Get this in. I think this should be fine. Get this out some more. So that's fine. All right, so let's zoom out. Let's see what we have. Zoom in close, Shift F. All right. So we're kind of getting this now accurately across the entire piece, which is precisely what we want, precisely what we want. So now we cannot continue moving this around and then fill up this mini part and then we will mirror it to the other side. So we'll do that in the next lesson. Bye for now. 29. 28 Head Center Right Beading In Zbrush: Okay, but, guys, still on this piece, still on the beading. Still need to make some more some more kind of filling some of this piping around there, so **** F, I would like to select. Let's see how far out I can select this. I think we can just select. Let's grab a selection and go all the way think all the way around should be fine. Okay? I want to make some modifications there though because selection here is not that precise. Control Shift click on this. Zoom out. Clay any maxing in there. Con do that. Clay any maxing in there. Oh, come on. Come on. Llamce more efficient. Want you shift click, shift click. Zoom out, get close, do a max last max out these parts. Okay. Bring everything back out invert the max, then I can mirror this to the other side, rotate, hold it and then snap the orientation for it and then hold and control and drag this out this way. Rotate this, get enclosed, rotate this down again. I think I grab more than what I needed, though, but that's fine. Let's just going to modify and delete what we don't need? I think maybe this is right amount, it should be the right amount. Let's get this closely as we can. Let's center it rotate. Get this closely close in here. Just trying to get this as close as we can. Get this closer. Okay? Move this in. Let me just mark this around here instead. At the starting points instead. The starting point should be fine. Then we can move this up. Yeah, it should be fine. Then we don't auto group again. No, don't do that. Let me move this closer closer closer swell, okay? The leis on Auto Group now. Then we can now go in and then begin to perfectly merge this as possible. Wood on control, select this piece, move this in place. Yeah, quite a lot of moving individual piece, individual bit bearded piece in place. Not anything too complicated or extreme. So basically just moving this piece by piece. Yeah, not a form process, but necessary actually necessary process. So let's move to the next one. Move to next one. Get this closer Okay. Yeah, that's fine. That's right where it is. Okay, move to the next one. It's quite dark in here. Move to the next piece. Closer. Come on, remember moving it that way, though. Getting close, let's see, it's quite quite dark in here. Let's do Shift F. So you can actually see this a bit better in here. Rotate this way, hold down Control, select this piece, rotate this way. Yeah, yeah, that's fine. Move to the next piece. Move this backward. Come on. Let's get it Okay. I think it's in the right spots. Roughly in the right, it's in right spot. Let's go to the next piece. The camera angle begins to get a bit funky around these parts. Okay? That should be fine. Move this along, select this. Let's look at this from the top side. Yeah, that's fine. Move to the next piece. Move this backward. Rotate it so more backward. All right. Zoom out. Come on. So in this part, you should be fighting with the camera angle actually on this part, start fighting the camera angle, trying to get the camera rights. Okay? Yeah, that's pretty much fine. That's fine. Yeah, I think there should be okay. Okay. Yeah, still some corrections to be made, obviously. But I think we're on the right track, move this in, go to the next piece. Orient center this. Move this in place. In a bit more. That's fine. Move to the next piece. We rein center the orientation for it. Rotate it this way. Come on. Go back in there. 'Cause it's a little bit far out. Let's say this back in. Go to the next piece. On center this orient this rotates. Yeah, I think that should be fine. Around there should work just fine. All right. Next piece, hold out center orient in place. Change the camera angle for this. Bend this inward, orient this this way, that's fine. Okay. Zoom out. I think let's grab more than what we need actually. Yes, forward. Okay. Then I'll clear the max. Let me grab more Let me grab the end points, so transparency let's grab all of this and do that. Let me grab this again with a bit more precision to it. All right. So, invert the mats, orient and, and sent this back to the center points, orient this. Do a rotation, get this in. We see to do manual working. At the very least get this roughly around where we need them to be. Forward some more down here. Okay, well, that'll be fine. Then we can start selecting them as individual piece now. Okay. Out orient center this. Alright, orient this this way. Rotate this, go to the next piece. Go to the last piece actually, and then let's move this backwards. So more center orients. Move this down. In her rotates in some more rotates, center orients. In here should be fine. Yes, under part should be fine. All right. So the next thing now we need to do is just to I think center part is around here. Let's just extend or duplicate this a bit more. Let's do around here, move this in place, duplicate, scale this out, duplicate making sure I'm doing this as accurately as I can. All right. Move this out more. Just eyeballing the center part rotates. Move this out some more. Eyeballing the center. I think should be fine. If you raise the there should be fine. Let me calculate this out. This is a good is actually a good place. This we can definitely work with. I would select this and I'll move this out this way, shring this down some more Shing this down even more. A bit more this way. Trying to avoid the center part. When I mirror this to the side, it shouldn't be too much of an issue or any weird merging around those parts move this in. Okay. Go out of gizmo. Oh, I think I need to move this forward a little bit more clear this out. Okay, let's go out of transparency. **** F. We a good place so I'm going to transparency. So I'm going to duplicate the duplicate of this soup to first, it's going to be like our original piece that we're going to use to start filling up the parts, these parts, also around here, too. So it's going to be our original piece or more or less a template piece to kind fill up the other parts. Fill up the part a bit more accurately. Yeah, that's fine. So let's move on. I'm going to duplicate. W is this is DTs. Let me rename this to BdinRamenam this to BDI. Come on. Yes, let's just lim this to Ed bid instead. Eden center bid. Come on. I'm not spelling this accurately. Center bid. B bids. That's fine. That's fine. Then do duplicates of that. Let's temporarily hide the duplicate. Let's work with. Add one of these as a duplicate and then let's work with this that's visible to Ros, and then we'll go over and then do a urral before I do a mirror, I would like to slightly inflate this make it slightly bigger than it is right now. Slightly bigger than it is right now. Nope, cannot fill up too much of the gap. Yeah, that should be fine. Probably a little bit more. Okay. That's fine. Interceptions, we have interceptions in there, but that's fine. It's not going to be a major issue because we still have gaps in between them, so this should be fine. I just need a little bit more skill on them, it should be fine. Then we can total Plc for this 12,000, that's fine. Can we use as a base mesh? Then we can mirror this to the other side and make some other adjustments to it. So go to geometry mirror weld so obviously would have a missing piece in here, which is what we want, so we don't get models merged together inaccurately. So I can just easily fix that suit. Let's see how we can use to fix that. Yeah, we cannot sweet this in here for the center. So let's shift F. Let's do an auto group in auto group. And I can still I can steal this. Get this out, spit it out a little bit more. There's just something quite bigger for the center part. So it kind of feels a lot more unique in there. You also have a bit of a unique piece in the center part. So we're getting a unique piece in here. Okay. Yeah, that is fine. Let's get this out a bit more. Just kind of sticking on the skin a bit skus the scale. Scaling things from your kind of moving your camera, navigating on the top, you kind of messes things up a little bit. But I think they should be fine. It should be fun around there. Shift. Play the marks from this in. Yeah, that's fine. That makes a lot of sense in there. Then if we subdivide this control dig, you can see how this is all smoothed out and we have gaps in between, which is also what we want. You can also use the move topological brush. In case, for example, now we have a shape in here that is too close to itself. We can move that can move that out slightly. Move that out slightly. Yeah, awesome, this will work just fine. So we have the phase building in here now. And it's the same size we're going to be using across the entire across the entire mesh. So yes, this is fine. This will definitely this will definitely keep in here. So I'll see you guys in the next lesson, we will start using this to affect the kind of work on the piping across the entire head. So by for now. 30. 29 Head Top Beading In Zbrush: Okay. Welcome back, guys. Previous lesson kind of finalized on Well, at least I thought I finalized on this centered bidding boards. We still have kind of fix up the back piece. So it shouldn't be too much of an issue actually, we can just use think I can use let's shift F. Make sure auto group for everything is turned on. Then I can just use this piece is going to select this down control. Oh, I have subdivision levels in there. Let's delete the subdivision level in there, so go down delete Aire. Let's do this again. Maybe use just this instead should be fine. Then d control, extend that out as a duplicates. Then rots. Oh, do that, then rotates, center orients, get this where it needs to be. Getting up close, rotates, rotates. Orient this again, scale out a little bit more rotates. Alright I think it should be fine. A little bit more rotation forward, a bit more rotate this way. Yeah, I think we can leave this as it is. Yeah, that should be fine. That should be fine around there. That should be fine around there. Lady max. Alright, that's fine. Then let's go back to let's go back to this piece. Let's do a duplicate for it, hide this. Then we need to lift this up and it's going to be a lot more trickier in here though to get this oriented and then begin to manually fix them where they need to be piece by piece. Let's first start by getting it roughly where it needs to be. Rotate upward. This way down around here should be fine. Yes, a lot of work. A lot of work is going to go in here piece by piece. But the good part is, have a gap in here though. Okay. But the good part is that ready beads in here that we can actually use. So just to do the manual process of getting them in place that I just left out. I think around just should be fine to begin with. Around should be fine to begin with, so let's start moving this individually piece by piece to Shift F. So it's going to be a lot of work. Let's make sure we have auto group turned on for each auto group. Right, so give more and control select this piece, and then we can start moving it in place as it should be. Let's do one around here. Rotate. Do that cents orient, rotates this way. Okay. Let's go to the next piece. Create gap in between. Let's create gaps in between for it because I'm still going to inflate it a little bit small, so let's make sure we are creating gaps in between to accommodate the inflation, we're going to add on it. I a bit more rotate this in some more areas should be fine. Move on to the next piece. Orients. Okay? That is fine. Next piece. We're going to keep filling this up and orienting and then once we are done, we can mirror it to the other side. Move this this way. Move to the next piece. In here, should be fine. I think I need to turn on transparency so we can actually move a lot faster in here. Come on. Center is actually center on the mesh, move this forward, orient this, move this Come on. Move this this way. Next piece, get this in place, create a bit more gap in between. Okay. I can see just meant in the center orient. Right? Yeah, that seems just about right. Next piece. Okay. In a nice piece, move this in place. That's fine. I'm getting not of gaps in there, but that's fine. We just need to get all of these where they need to be. Already have them laid out for us, just to arrange them accordingly. It's not in the right place. We need to center orients, move this out. This way, Orient. That's fine. Around there should be fine. Come on. Around there Come on. Around there should work just fine. Yes. Next piece. There is actually quite boring. Actually quite boring. Come on. Actually quite boring process, but we just need to get it right. Once we get it right, keeps just jumping somewhere else. I don't know I keep jumping somewhere else. Okay. I think this I need to move this way. Let's sit down some more. Around that should be fine. Move the next piece. Orient this this way, at this in. Center, orient this this way. Move this outward, rotates this way. So those things can get this to be moved in proper alignments with the trade in India or with the pipe in India. I think this should be fine. All right. Next piece. Get close, get to center, move this out some more down here. Yeah, I think around this p should be fine. Next piece. Center orients Okay. Se creating gaps in between for when we inflate Just checking this out here, that'll be fine. That's fine it right, place's in the right, please move to the next one. Get close up a bit more center. Yeah, I think around there should be fine. Move this forward. Next piece. Let me center this get this way I feel it should be up a bit more around the ingredients, more up a little bit more a, that's fine. Next piece, Maybe you can grab a lot more than this, so let's grab a lot more. Control ships click. No, clear the mask. Control ships click. Slet all of this invite the selection. Max this out, bring everything back out, invite the max. Then with the Gizmo, we can just move a lot more to come on. Just move things a whole lot faster. Move this in here outward. You need to make minor corrections to the dough box. I think around there should be fine. Just the last piece is not in the right place, so we can just easily set this in the right place now out a little bit more. Yeah, that should be fine. It a bit more space in between them. Then we can clear the marks and go in and then keep moving them individually. I think we are kind of gone far, though. Seems like we're just almost as if we're stuck in one place, but we're making significant progress on this repetitive but necessary process. Okay. I think should be, this should be fine. Th should be fine around there. Here should be just fine. Next piece. Okay. Center orient rotates it in place. Yeah, I think, yeah, it should be fine. That's fine with rotate, move this forward. Select the next piece. At least select two of this piece. Go out of gizmo, select to do that. Okay. So something is off in there. Let's do an auto group again. Whoa. This part is actually in a mess. We have a messed up piece in there, and we need to fix that. This piece is actually messed up. Can we is there a way to just isolate isolate? Okay. Alright. We can do let's do split actually, split iden, then go back in here. So this small piece that we don't need, we can now fully delete it. Not sure where that actually came from, though. So let's continue on. Select this, move this way it needs to be. Rotates. Upward, get a better angle like this. I think should be, this should be, this is fine with it. That's fine with it. Next piece. Center gizmo its rotates. Move this inward. Rotates. Inward. That's fine. That should be fine with it is. Rotates. Look for the next piece. Let's actually copy. Let's actually grab more. Come on, play this out. Go out of gris mole. Let's grab more of this. Sense orientation, move this out some more rotates. I think we're at the midpoints now. Yes, we're at the midpoints. Yes, almost done. Met this. I mean transparency tone on the ghost. Okay. Yeah, let me turn of these goes actually. Let's see, yeah, this will be fine. Then move all of this in place. You just get a close approximation for that, then we can start making modifications to this individual. Let's do individual adjustments now. Move this in. All right. In. Select the next piece. Around here should be fine. Okay. Let's go to the last piece and grit some gap in between. But we're still going to gently inflate this, so we need to kind of get accurate gaps in there, move this in. Center orients out a bit more. Lot this. Yeah, that's fine. Still more piece to grab. Let us grab, go out of this gizmo. Let us grab some more. Think all the way around here should be fine. Ivting mark. Let's max it out, bring everything back out, invite the mark. Grab this down. Try and get the orientation in place. Okay? This way this way in the down Orient down rotate. Yeah, I think it should be fine. Create some gap in between here. So now we can go individually create the marks. Let's go individually and then move them in where it should be. Yeah, that's fine. Create some gap. Next piece. Center the orientation for it. Okay, that's fine. Next piece. Sensor orients. Okay. Back some more. You need a lot more gap in between them. So let me start by doing it from this part instead, create gap in between. Right, Orients Let us move to the next piece. Center orients. Get this down around the air. Okay, move this in forward. Next piece. Move this in by lots. Orient. We have gaps in between. That's fine. We need the gaps in between for when we cannot inflate. Next piece. Move this way it needs to be operate too much. Rotates. I think that should be fine. Next piece. Alright. Bill gap in between, orient this. Bring this down some more. Next piece. Sent out the orientation. Let's get aligned to the piping in here, right? Select the next piece. Get it. Undo that, get it properly where the piping should be down some more do a little bit of orientation in here. Move to the next piece. Yeah, I think this is the last piece before we duplicate more piece and then get them aligned towards the piping down here. Okay. In a bit small, I think that's fine. Around there should be fine. Okay. Almost done. We can grab. Let's grab some more. The marks. Let's grab Let's even grab all of this. W marks last 22, let's grab all of this. I at the marks. Let's just get them where they should be. Okay. I would say it close, it's nothing we should be move this way. All right. Move this down some more. I think they should be fine. Clear the marks, then we can now go individually in there and move it accordingly, where it's supposed to be Center orientation for it. Rotate. Move this out this way. Right Next piece. Center pivot, get this in here, right? Next piece. I think that sits quite nicely in here. Next piece. Get this down. Yeah, that should be fine. Move this in so more next piece. Okay, up a bit more. Scale this out a little bit more. Right? Next piece, rotate a yeah, I think pretty much like sushi almost almost down some more around the edge should be fine. And this is the final piece. Should be the final piece in a rotate. Scale out some more. Get this in where it should be up some more. That's fine. Clear the marks. And ever that you can just delete don't need them anymore. So we can control click all of these out and delete them. Right. So you can also do a delete ding for them. So let's delete ding. So und geometry, modified topology, the delete ding. Right? Is perfect where it should be. Then I would like to inflate. Let's mirror this to the other side first. Don't know transparency. Whoa. Whoa. It's not in the right place, that's fine. We can just move the piping in there actually. So we can move the piping in there. So let's select this piping instead. Control S click on this, Max this out invert the max, use a move brush. Move brush instead and move it in towards, undo that, undo that. Via the mouse. Don't have symmetry for this. We do not want symmetry for this. And they would manually push this in where I believe it should be. Okay. Get in up close. All right. I think, Okay, it's not in right place here. Get this in. I also as well, smooth that out. Rotate this We'll take you almost done, move this in. Move this in, move this in. Okay. Here around there should be fine. So around there should be fine. Clear this out. Let's go and select this piece. Then we're going to do a little inflate in here and then we should be good. So let's just inflate this a little bit more. Well, alright, something like that should be fine. Okay? That's fine. So we can definitely we can definitely work with. We've done the other part, so just mean this final path towards the jaw line, and then we should be done. Then move to something else, right? So I'll see you guys in next lesson. Bye for now. 31. 30 Left Jaw Beading In Zbrush: Okay, we come but guys. So in the previous lesson, we kind of worked on creating the beading for the top part of the head. So this to worry, we're going to work on creating the beading along the molar all the way to the jaw and to the chin. So we already have a pipe in there. So I would like to adjust the pipe in a little bit small. So I'm going to use the move brush, going to eliminate the angle we have in here, M it a bit more slender in there. Adjust a little bit small, like so should be fine. Okay. We up a little bit more around there. All right. That's fine. So basically, we're going to be repeating we're going to be repeating the building we're at the top. This is where we're going to also repeat along this line. Okay? So yes, let's see if we can kind of steal one of these. Think we can actually steal one of these and then we use that. Also, in this order, the other side, it feels a lot more. It feels there's no variation in there in terms of the shapes. I'm going to adjust that a little bit more. Okay. Just make slight variations in there, Shift F. Okay? Is there an issue? Oh, I see something in here. Let me move this back to where it was before. Select this, push this in. Okay. It us fine. So back in here, let's break the uniformity of this a little bit more. Let's make sure gizmo is on. Ton of symmetry for this. Ton of symmetry hold control, select this piece. Let's move this. It's an angle. Let's move this this way. Select this piece, rotate a little bit more, select this piece, rotate some more. I just to break the uniformity of it, it doesn't look. So it looks slightly different from the opposite side. Okay. Come on. Come on. Undo that. I need to get oh, great, undo, undo that. Let's rotate this a little bit more. Move this this way, select this. I need to zoom out a little bit more. Hold down control and select this. Okay. So basically, I'm just adjusting this for what is going to be visible on the front view. So that is basically what I'm adjusting in here. So piece is going to be visible on the front view, I'm just going to adjust them a little bit. All right. Okay. Rotate this way, rotate this way. Rotate, rotate this also. Oh, my goodness. Complete mess on the other side. I need to undo, undo this mess completely. Let's start by. I should have done the auto group first. Yes, so have done the auto group first. So it shouldn't affect the other piece now let's make quick corrections to this. So we shouldn't get anything affecting on the opposite side now. So my bad should have done that earlier. Okay? So just to make minor fixes in here, and then we should be good. Okay? Down this way forward some more rotate. Scale that out a little rotates, move down. Okay. I just need to flip this this way. You shouldn't get this affect on the opposite side now. So everything should be working a lot better now. Okay. All right. Move this down. Rotate this a little. Yeah, I think it should be fine. We don't need to do too more. Just fewer variations in there should be fine. Okay. Let's do this, do that. Rotate this. Let's do rotation this way also. Okay. Yeah, so the adjustments should be fine. This adjustment should be fine. Then let's go back to our sub two. I believe this piece will duplicate that again. Okay. Let's get it out. It's around there. Well, this one looks like we need to make a lot of adjustments, too. But that's fine, let's route it it this way to begin with and kind of roughly get this where it should be. Then we can start making corrections based on that. Okay? Down some more it down this way, push this out some more. Alright, I think we can work with this this we can work with. Though it's quite in sense though, but that's fine. That's fine. So let's get in and start making corrections. Let's do transparency. Okay. Turn on got also for this. Let's turn off ghosts. Transparency should be fine. Shift F. Let's go and do poly group in a poly group. Okay. Go to Gizmo, select start, go back to the original. The first one actually, then move this in. Okay. I'll rotate this this way. Okay, off putting on the side. Rotate, get this in, down some more around there should be fine. Let's go to the next piece. Okay? Center this rotates, get this down. So it's just the same repetitive process for this also too. The same repetitive process across this also. Okay. I think this should be fine where it is. Next piece. Move this in where I feel it should be hold or to center this, rotate it this way, rotate this way, move this in. So you spend a little bit of time in here actually to get all of this to look right. Get this down a bit more. I still want to be creating space in between, so in case I want to inflate them, I shouldn't have any issues inflating them. All right, let's go to the next piece. Okay? Move this in here, in a bit more. Okay. Let's center. Come on. Let's orient this. Move this in. Up a bit more at close that should be fine. Next piece, move this in place. Down here should be fine. Rotate center this orient this in place. Up a bit more around there should be fine. A bit close that should be fine. I think we good next piece, Down. Put snap the two center organs. Okay. I I some more, get this a bit closer. I think when a good place, it that's fine, let's go to the next piece. Put all center it on the mesh, center gizmo on the mesh. Then some more up around there. Around there should be fine. Orient this. Get this down. Up a bit more orient this. Who orients this. Up a little bit more. Select the next piece, move this down. Oh, I then make adjustment. You always want to check this around just to make sure it's actually where it needs to be. I think that's fine. Move to the next piece. So the camera angle begins to make it look like the camera becomes a little bit more deceptive. So you want to always kind of check around to be sure you're putting this in the right place. Because as you move this around, it might get a bit deceptive in terms of camera angle for it. So you want to always move around to kind of check if it's in the right place. Okay. All right, that's fine. Next piece, Okay. Drag this down, get close around here, center, move this in here. Right now in the right place, move this in, get this right. Okay. Up a bit ire. Move this this way. That's fine. Next piece. Okay. Move a camera angle down in where it should be bring this down forward. Move this in forward. You see, still off get this in here. Now we're in the right place, move this down some more. Okay. Nice piece. Tens Okay, bring this down here. Zoom in rein this a little bit more. Guard this up a little bit more, rotate this. Yeah, I think this is fine. Come on. I think that's where should, is where it should be. Create a bit more space down here. Next piece around still off. You said this way I feel it should be, move this down. Check this from another angle just to be sure this is working correctly. Wants. I think that's fine. Okay. Next piece, put center this. All right. Of, get this in close. Rotate, rotate, send this down. B this closure off your axis almost there push this in here. Wine this a little bit more. That's fine. We still have quite a long way to go, but we're making good progress in here. Next piece, Okay. Center orients move in, orients, move up. Okay. Let's go out transparency. Let's see. This is most of this actually intercepting with the skin. Most of these are intercepting with the skin. So we're still needs to make corrections in there. Let me just move this out some more frame out. Okay? We still need to make some corrections in regards to some of these are pushing into the skin. Oh, okay, it's just the spot lap is pushing into the skin way too much. So what was going to lift that up some more. Move this up also some more. Let me select the strip instead, the pipe instead. Symmetry tunnel symmetry for this actually. Then we need to lift it up some more. Tunnel symmetry now. Okay. Get close. Lift this up some more. Okay. Let's look at this from this angle, leave this up also some more out a bit more. Increase intensity of the brush. So you can move things a bit quickly. Okay? Let's see. Look at it from the opposite side instead. Extend undo this, reduce the brush size. Extend this out a little bit more out a little bit more. I think it should be fine for now. Let's go back to this piece. So no transparency. Come in close. Okay. Select this piece. Move in, move this in. Ans, get this up. Ens up Okay, up a little bit more. I think need to shrink this pipe and shrink it a little bit more than the way it is right now. Get this up even higher. That's fine. Move to the next piece. Let's get this way I feel it should be. O to get this in the center here. Move out, rotate, it this way. Up. Get a good orientation to this. I think that's the right place. Move to the next piece. I think we can select Multiple this time. Can we select multiple this time? Let's transelect Multiple this time? Okay. Invite selection, mark it out, bring everything back out, invite the max, and move in. Don't need to get this close enough, and then we make individual adjustments to it. All right? Okay. This be fine. Let's select this. Orient orient this, create a bit more space in there. Okay, let's move to the next piece. Okay. Now, we're being to get most of these two clues to the mesh, and it's becoming a little bit more distracting. Kind of get Come on. To get this to look right, so we need to make adjustments to the rest of the bids and kind of create a bit more gaping between them. Ideally, just pushing you down should be fine. Don't say this way it should be. Okay? Clear the max. Okay. Control shot click. W have another weird piece in here. Okay? Select mark all of these. Ct together a separate poly group, exclude that. Okay. Let's invert all the selection. Then we can move them out or actually down move them down out this way, that should be fine. Invert the selection, bring everything back out. Now, this piece that we don't actually need, you need to remove that. Let's say delete ding now, delete ding Okay, we're good. Give more, select this, and then we can keep moving moving them in place. Get closed down or snap this to the center. Okay? Down some more. A bit closer orients around there. Next piece. Okay. Get close. Center this. Let's bring this closer. Orient this. Move this in. I think we're in a good place. Closer. Right. Select the next piece. Move this in. Okay. Orients orients center this Orient this this way. That is fine. Next piece. Move this in place. Center this. Okay, drag this out. Rotates, move this out. Orient this, move this down. Orien move this out. Next piece, get this in place. Get this back in place. Center this. OrienG this in place. Extend it out a little bit more. Just sclean it out a little bit more. All right. Oriens next piece. We're just around the leap region now. I think I believe we're more than halfway done with this. We don't fine this on this Spot Love chapter, this spot Lepisode, you can just finish it up in the next episode. So it's just a matter of doing this manually and getting them where it should be. Spots getting a bit darker. Okay. I think that should be fine where it is. Next piece down where it should be. Still no there yet. Okay? Down down some more. Okay, we're there now. That's fine. Next piece. Okay? Center this on the mesh. Closer. Get this down. Okay, down a bit more OriensOensR in some more. Okay, up a bit more. That us fine. Next piece. Center this around rotates. Center this on the mesh, orients up a bit higher. I think the should be fine. Let's go to the next piece. Drag this in where roughly should be center this.Oientient some more in the head should be fine. So the next lesson, we're going to carry on and then continue fixing all of this. We're almost done. I see you guys in next lesson. Bye for now. 32. 31 Right Jaw Beading In Zbrush: Okay, come back, guys. So in the previous lesson, we kind of worked on rather we were still working on the left hand side of the job to create our bidding. So yeah, we're still on that. So let's just continue on and then continue to make this work. Get enclosed. Come on. Oder control. Okay. Yeah, that's a bit odd. Let's clear the max first, hold down Control and select this. Oh, yeah. It's not hold actually. So remember we added gave all of this on the lower part one single poly group, so we need to split that a auto group. So Control click now, it should work just fine. So back in the extend this out a little bit more, get this in where it should be. Okay, up a bit higher center this rotates a bit more, okay? That should be fine. Create a bit more space in there. Move to the next piece, get this in here. I'm also going to be checking this now while I'm doing this just to be sure I don't go more than the midpoint, so we can mirror this to the other opposite side. Okay. Yeah, that's fine. Next piece. Get in, let's get in a bit more. I think I need to make this part a bit tighter. I'm going to select this turn on symmetry for it symmetry turned on. Symmetry is turned on now, increase the browse a little bit more. Increase the browss some more. I'd like to bring this a bit closer a bit tighter around the spots. That should be fine. Go back in the Okay. Go back to Gizmo, select the next piece. Move it closer. Okay. Create a bit more space, rotate this. Let's get in the let's see what we have around there should be fine. Select this piece, rotate it this way. This way, that should be fine. Okay? Next piece on do that. Basically I down control and I made a duplicate of that. I don't want to duplicate of that. All right. Okay. Move this out some more. Create a bit more space, rotate this in a bit more. Move this a bit more. Okay, let's center this. Yeah, that should be fine. In some more Orient this up a bit more. That's fine. Do the next piece, move this in here. Okay, I think we're getting very close to the center. I think we just need one more. One more should be fine. Okay, let's get this in. Rotates, scale this out. Okay. All right. Let's just duplicate the same one. Orient it this way, squash it down some more, create another piece. Wient this rotates. Okay. Get this out. Let's see. I think, it should be fine where it is. Maybe move this out some more with more brush. Okay. Um, yeah, that should be the center part. It's close to the center part. So this work. Okay? So let's exclude all of this. I don't need any of this anymore. Max all of this out, give one single poly group, select ds. Then where is the delete den Delete Eden. Yeah, this should be just about writes. Then we can mirror this to the other side. Let's mirror this go over. We're still in the modified topology, let's mirror and weld. Okay. So for the midpoint, I can still let's see. I think. Let's see what work best for. I think can still can still use what we did for the top parts. You can still do that also around there. That should also work. Let's just look for something close to it that should work. Shift F. Let's do pool group. Autogroup all of this. Then let's find this is one year. We can use this. Okay? Center pivot on that down control, grab that out, or orient. Let's kind of snap this two. Orient it this way. Orient this way, scale it out, rotate it this way. Then let's get close. Let's see, maybe the scale is actually way too much, take down the scale. Okay. Orient it this way, orient this this way. I'm going to squash it down a little bit more. Like say this here, squash this down some more. Move this, put another copy of it around, squash this down a little bit more. I think these two should be fine. All right, Clare the marks, if F ton of transparency. Okay. Just make the other parts. Before we make symmetric asymmetrical changes on this let's first inflate, it's a little bit more. Let's get this inflated. Sticker than it is right now than it is right now. I think this should be fine. We should be fine. Let's make that symmetrical change here. Going to select this variant. Let's do transparency so we can move inside by moving inside of the mesh. We can navigate without any distractions. Okay? Select this orient this way, move this down a little bit more, down some more, get some variation in there, select this, rotate this way. Rotates this way, rotates this way, rotates this way, so should be fine. Just trying to break symmetry here. Get this down. Okay. Rotate this way, down some more. Rotates this way, rotates this way, get this back in, rotates. Okay. Get this back down, up, some more. Let's move this in some more, rotate this way, rotate down. Yeah, I think we are doing a great job in here by making this not look too symmetrical from the opposite side. Okay. Yeah, this should help. This should help. This should be just fine. Awesome. This will work just fine. Except we need to there's something else you need to do in here actually. I feel the building kind of continues on and I know this piece in here. So I would like to create a building that goes like in form of a loop. Let's create a building that goes in form of a loop. Okay. I don't want something we're not supposed to use something that there's too many pieces to be fewer piece should be fine. So let's just create we can create something in here. Let's just use the B I. We can use a cylinder. Can just drag out Let's do this from the opposite side instead. Let it from the opposite side instead. Let's see where we can grab this out from. Okay? Oh, this one feels like sitting too much on you. Okay, that's fine. I want to make adjustment to that later on. Just trying to figure out where to please this. Trying to figure out where to please this. I think we can do something around here. Turn off symmetry. Okay, let's oring this a bit properly. Shring this down. Get this out, rotate it this way. Okay? I think I'll shrink this in some more shrink this in some more. At least want something quite thin, a bit more. Okay, a bit more. Let me extend this out some more fits. Then creep shrinking this. Shrink this again. Shrink this again. Yeah, something around there should be fine. Okay. Undo that. Let's scale this out some more, create some thickness for it. Center a vote on this. Okay. Let's get the flat this way. Yeah, I think this should be fine. The should be fine. I feel like it's creating buildings. It feels like a kind of building in there actually. So Let's stick with that. Let's stick with creating buildings in the All right, so or better still, we can do let me flat this out. We can do like kind of in kind of chain going from down because it's like a metapis, so I would like it to be held by a metapis also, too. Yes, I think that will make better sense. So let's inflate this a bit out a bit more. Then I would polish undo that. Polish is way too extreme. Let's add a dot on that polish. OG too extreme. Do that. How do we polish it without going to extreme line? Let's do a value. Let's the value of 0.2. Now, wait to tin. Well, let's inflate this, let's see. Pretty much the same thing. Pretty much the same thing. Let's do inflate balloon instead. Not too much. Control D, do that. Oh, yeah, we need to split this up actually. Spit on max points. Let's get it separated out. Control D. Okay? Yeah, this work. So basically, what we're going to do is like, create like kind of chain mill. I need to make this a bit ticker deformations. I flat this out a bit more. Some more. Yeah, this is fine. I'm going to oh, yeah, we have a subution levels in there. Delete lower. Okay. So we'll create something interesting in here. I'm going to rotate this 45 degrees, bring another one out, rotate this back 45 degrees, clear this out. Old control drags this out. Create a duplicates. Okay? Yeah, this is fine. Create another duplicates. Yes. Yes. T should work just fine. Let's do another duplicate. Let's do another duplicate, another one. Okay? Clear everything out. Then we would scale this down. Scale all of these down. Let's get them in. I'll just move this. Yes, that should be fine. Then move this closer. I'll need to hook this around and move this do that first. Let's get it duplicate so we can work with duplicating. So duplicate this Okay, Let's move this close up first. Let's move this way it needs to be. Okay. So I'm just basically trying to average this out, see where it should start from. Okay. Let me get this out. Let's move this in. I think we need a few more. We definitely need a few more. Shift F. Let's do auto groups in here. Auto Group. Okay, select this like this. Its out, invert the max. Hold down control drag another one down here, drag another one down here. I think this should be fine. Shift F. Okay. Yeah, I think this lens should be fine. This lens should be fine. So we just need to hoop this around C up, instead. Okay. We can rotate it this way in some more, scale this out some more, bring this down. Yeah, I think around there should be just fine. Then I'm going to drag this all the way up here, up some more, and tilt this out this way. No, that's a bit extreme. That's actually too extreme. Ice if we do something else instead, I think we can put this around here. Yes. Hmm. Well, we can hook this year instead. Need to find a good place to get this hooked in. Think up a bit higher around here. Rotate this in. You definitely need another piece that we use to hold this all together. Getting close first. I think, somewhere around there should be fine actually. Just rotate this a bit more. Okay? Select this piece, rotate this in some more This should be holding it. Scale it out some more. Then I'm going to deflate it. Shrink it down some more. Okay. Yeah. Somewhere around there should be fine. Okay. Ind the marks. Get this in her out some more. Let's get closed. Let's see in some more invded marks. I'm going to scale this out a little bit more. Okay? Around here. Nope, up a bit higher up a bit higher. Okay. It the max, bring this out down some more around there should be fine. Yes. Around should be fine. We can now tilt this this way a bit more. Yeah, I think it should be fine. Should be fine. Maybe maybe we actually have too many numbers here. We have too many actually around here. So we can reduce this. We can reduce this. So let's clear the max Shift F. Oops. Let's do auto group again. Poly group auto poly group again. Auto pull your group auto group. Okay. I think we need to delete a few more, let's let's delete. Just trying to eyeball this just see how many, I need to delete from this. We can do one, two, three. Yeah, these three should be fine. Then we can do delete den. Delete ding for this. Okay, then we can mirror this to the other side. So mirror. Okay. It should be fine. So then we can now create this piece and then hang it around this, and then we should be good. Alright, so yeah, we'll do that in the next lesson. I think I need to undo that. I feel like I need to I need to tilt this invert the max. I need to tilt this way a bit more so it feels more straight on. Around here also as well on something that feels a lot more straight on. Here that is fine. Here, then we can mirror this to the opposite side. Here, that's fine. So that's fine. You can work with this. So in your next lesson, we're going to start creating this. I think it would be best to create it inside of Maya and bring this in here. I would have to take it inside of Zbrush but this pla pot la piece in here feels like something that would much easier to create inside of Maya, at least for me. So that is what I am going to do. So I'll see you guys in next lesson, bye for now. 33. 32 Ear Ornament In Maya: Come back, guys. So in the previous lesson, we kind of finalize on the building. So in this tutorial, we're going to create this piece in here. So let's do that. So I'll go to my front view. Come over to the front view, hit right leak and hold. Let's do interactive creation. **** right leak. And I'm going to create a where is the pipe. So I'm going to create a pipe instead. So I'm going to drag this pipe. I think somewhere around this side should be fine. Let's add some t to it. The inward part, let's see how thick this should be, probably somewhere around there should be fine. Let's framing so that. Okay. I'm going to go to phase mode. I will select let me select this phase and I need to select a bit more. Let me do this from the lower part all the way up and do this again. Oh, no. Do this properly around here. Yes. I do deletes. I think the gap year should be fine. Okay, let's just delete this piece also. We delete all of this. On shifts. Let's let me coming close. I think I need to be closed a bit. Select all of these deletes. Do the same for the opposite side. Select all of these deletes. That's fine. Let's come to a perspective view. Let's frame into it. No, this is actually way too long. Squash this down some more. Let's say somewhere around here should be fine. You can always go back and modify that later on if you need to. I think this should be squash this down a little bit small. Size, this size should be fine. Let's see. The other size should be fine. Now we'll continue we're going to fill this space up. Conducts doubly conducts heat right a fill. That's fine. That's precisly what we want. It's good to our more ti coats. I'm going to add your coats in the center, hold down, control and shift get something in the center. Okay. Similarly also around there so get something in the center, 50%. Okay, that's fine. Let's go over to a front view, I would like to go to vertex, select all these vats. Okay. I'm going to scale it down. Scale it down somewhere around should be fine. I'll do the same thing for the opposite side, scale this down around should be fine. I think it should, okay, yes. Yeah, this is actually fine. This we can work with. Then what I need to do would be, let's see let's see Okay. Unless done two smooth for this, let's see what we get done Oto smooth. Okay, I'm getting something interesting. But we need to kind create a gradual transition in between because this part is just way too broad. So we need to do that on both side. I can just delete half of this. Let's delete half of this. Let's work on one side, and then we're going to move it to the other side. So let's go edge more, double click on this edge, squage this down. Squirt this down, squash down a little. So we should get better transition across this. Okay? A bit more, a little bit small. That's fine. Okay. So now we can mirror this together. Let's go to polymodlling, select this. Let's do a mirror. Turn of the quad geometry. Whereas on the opposite side. Let's bring this closer frame into it hold on control, so you can move this gradually and kind of get a good shape in something like that should be fine. Yeah, this would definitely work. This we can work with in the Okay. So now I'm going to I need to create let me close and by type each drone. Is going to create a shape that comes out in here. So let's select all of this. Let's go over to maybe probably we should do verte. Let these verts. Can I bevo these arts? Yes, Bevo these vat. Increase the width some more that's way too much. I think somewhere around think somewhere around here should be fine. Okay. Select this. And let's sphericize this. Come on. That's a mess. Let's go to phase most like this phase. Come on. Why is it folding itself in that way? I'm not sure why it's folding itself in that way, though. Go back to selection phase. Let me make sure we are on modeling standard. Just to make sure I'm doing this correctly. Okay, so let's do another extrude instead. Extrude. But this time around, we extrude inward. Let's extrude inward. Then, oh, oh, I was using the wrong all the wire. That was the wrong one. So spherical not smooth. Sphericaliz. Yes, yes. Okay, circularize rather. I'm supposed to be using the circularize instead. So this is correct. Where's it again? Yeah, these correct one we actually use. Okay. Then we're going to add divisions to this. Let's see radar offsets, string this in some more. Okay. Let me do this. Let's start this with this instead. Let's start it with this undo that. Let me scale it out a little bit more first, scale it do undo, undo. Select this scale out some more, a bit more like so. Then do an extrude. Let's get something smaller in there. Okay? Like so then we can sphericalize that normal let's increase the divisions for this and then ad of let's get this in. Okay? I think we can this we should be able to work with. Maybe the subdivision subdivision level is a bit more. Okay, I think one should be fine. Let's put one in there. Let's do one instead. Okay? Who's down. Let's leave this up. Get this up around there should be fine. Okay. Let's see, maybe up with too much. Okay. And I'm going to select this vert SECs verte, ladies verts. Get this down some more. Okay? Set these verts. These arts down a little bit more. Just trying to ease the tension around those parts. Okay. Yeah, I think this should be fine. Yes, this we can work with. So now I can select this phase now. I don another extrude. Let's get something smaller in there. Here, like so. Then I can extrude this up. So EJ go on the keyboard. So let's extrude this up. Flatten this. Okay. Yeah, I think this should work. Extrude this out a little bit more. I try to figure out how far out I need to extrude this, though. Show this out some more. Okay. Yeah, that should be fine. All right, I would like to go to art come on. Let's go back to vertex, leds vert, lets verts. I'm going to use the lesson on the constraint. Let's do surface constraint IG on the keyboard. Let's bring this close around here. Okay. I would like to go over to more tie codes. I'll add a code that goes across this way. It ends out to apply another code that comes down this way. Code this way. Another code this way. All right. I think this should be fine. Because we have quads in here, we have quads in here also. So I believe that should work. Let's see if we can connect this to this. So we have one, two, three, four, that's fine. Let's connect this in here also. Connect this to this point or the vertex in there. Similarly, also. Then we add a loop around here. All right now let's don't auto smooth for this let's see what we get. Auto smooth yeah, you know, the top part, we've seen this kind of add another edge loop also around here. So let's do more tie cuts. Add an edge loop around here. Add one around the middle points here and should be fine. Okay. I think I'll need to delete going to get a flat surface covering that part out, so we don't actually need this so we can better still, let's just do let's do an extrude. Let's do an extrude. Inset instead. Okay? Add divisions here. E John on the keyboard to repeat the last use to get this down. Let's do divisions also here. Then we can eat deletes. So we should smooth this out now, we should be getting something like so. Okay. Yeah, something pretty much like this should be fine. Okay. Except maybe we want to extend this out some more. I would like to extend the entire outing out a bit more. I'll need to make some modifications to this vertex, select these arts, select these arts. These arts this art also. Then with the scale two, can scale that out some more, create a bit more space in between. Okay. I think I should should have done this earlier, but that's fine. Get this back out. So I have enough space in here now. Let me go over to the top view. Let me get this out of the way first. Let's get this out of the way. Let's get this in here. Okay. Then verteg selects all of these arts. Select it again. Undo that. Let's tone off. Let's turn this off. Let's turn this off. Scale it out, some more. See this in here, we can move this out. Let's do surface constraint, get this down here. So let this get this here. I think I feel I have messed some things up on the lower parts. That's fine. Not so much. We can just move this back where it needs to be. Turn this off. Let's move this back back where it needs to be around there should be fine. Yeah, certainly we definitely have issues in here, but that's fine. We can fix that by just lifting it but fix that by lifting it up. I'm just going to select all of these verts. Select this. Think I can select centerpiece center verts. Good so I'll translate to let's just lift this back up some more. I did not select a butler piece. Let's select this inclusive. Let's do this from the front view so we can get better angular. Okay. Yeah, this seems fine. This we can work with. So it's slightly bigger than it was before. Then on the keyboard, you can smooth this out. It's fine to this imperfection around here. This will actually help. This imperfection around here should actually help. So that's fine. Okay. Yeah, this we can work with. So we need to kind of go in and then start adding some of things on top of this. Okay. Maybe I feel like I should shrink this shrink this a little bit more. I feel like it's way too way too big. So let's scale this back in some more. Okay. Let's give this in. All right. I can just trying to make sure this is imperfect in a sort of way. Because it's like a metal. It's like a handmade metal piece, so you kind of look imperfect in a way. Okay. This down. No, do that. It doesn't go all the way there, so this should be fine. Let's see what we get out of this. If you do a smooth. Yeah, that's fine. This is fine. This we can work with. All right, so save this. So now we can start creating this additional layer. We can't leave this instead of Zebra. It's going to be a lot faster doing this instead of zero but. Anyway, since we're already in here, let's just try and finalize this in here. So I'll go to the top view top view instead. The view. Then let's create a cylinder. No, create a pipe instead. A pipe instead should be better for this. So I'm going to create a pipe that goes is a bit wider in shape, something around here at heights. Come on. This is. Let's hold down control, and then let's do this a bit gently this way. If we extend this out a little bit more around there, it should be fine. Okay? So, this should be down, I believe, yes. So let's get this up, have to frame into it. Op. Up. Let's add let's increase the height for it. Let's add a bit more thickness so you know, t instead. That's way too much. I think this should be fine. Okay? Get closed. Let me squash this down a little bit. Do that actually, because I don't mess this so. Let's say this to eight, or maybe not. We can also increase to the amount we actually need for this. Let's increase to the amount we actually need. Okay? And the little model we're going to do is just to bevo the edge. Let's just get this to the value we actually need. All right. So this should be fine. We think to create another extra piece, though. But I would like to take this down a bit more, let's do a value of four for the heights. Okay. Then I can duplicate this. I think I need to get this down around the first. Let's get this done around the e. I'm going to duplicate this, get this up here. That's fine. Then let's go in and create a cylinder. We need a cylinder in here now so shift right like old cylinder. Okay. This should be slightly wider. Almost around there should be fine. Add some to it. Okay? So it's down here. Let's get this up. F one to F to frame into it. Okay. Let's see. Okay. Just trying to figure out the height for you might need to kind of scale this out a little bit more, but I think for now, it should be finally just get most of the shape in there. I would like to select these three, scale it out some more. Okay. All right. Then I need to kind of scale this in kind of touch this shaping here. So let's go over to the piping. I believe the thickness. Come on, thickness is just moving way too fast. This is moving way too fast. Probably use actual numbers in the Let's do 0.8 instead. Okay? Let's do 0.01. Let's do 0.05 instead. I think 0.05 should be fine. I'm going to delete this, duplicate this, get this up. All right? Yeah, that's fine. That's fine. So we need to extend out some more. But let's kind of get this a bit more rounded in here. So we just kind of do any subdividing in here. That's going to be with the edge. Let's see. Okay. I don't I don't think we need this top piece. I don't think we need the top piece, so we can select. Let's select the top piece and then delete that. Frame into it. Do the same for both side, though. Let's select everything, then select this midpoint, then do delete. Okay? This should be fine. We need to kind of extend the lens a little bit more. So I'm going to extend this lens up more up a bit more around there should be fine. Yeah, around there seems fine. Round there seems fine. That would actually work. Yeah, that will work just fine. That works just fine. Then I'm going to duplicate this again, Control dig, get this covering the top parts. Yeah, that's fine. Squash it down a little bit small. Okay. Yeah, that seems fine. Then I can select. I think I can select the same one again, Control D to duplicate it. Get this up, squash it down. Okay. Move this way. Move it this way, increase the heights. Okay? Squash it down some more. Move this out. All right. I think this will this will work just fine. Yeah, this we can work with. Yeah, I think that's fine. I think I need to make it scale it out a little bit more. Put this back in. Okay? I think this should work just fine. Get this back in around there should be fine. So now in the next lesson, we're just going to, I think this we need to scale out some more. Should be a bit wider. Up a bit more around there. Yeah, that's fine. So the next lesson, we're just going to carry on and then keep working on this and making corrections, right? So I'll see you guys in next lesson. Bye for now. 34. 33 Ear Ornament Arrangement In Maya: Okay, Cucumber, guys, in the previous lesson, we kind of started with creating the Bs for this year ornament bis, so I'm going to carry on and then keep working on it. There's see some work to do on it. Should be fine. So moving on let's get this to look, right? I think we need we have one here already. So I think we need to duplicate this again. Set this around there, then scale this in some more around there should be fine. So the reference is not as clear as it should be, but that's fine. We'll try and make this look interesting as much as we can. So moving on, you can see a shape that comes across this way all the way down here. So, we can recreate that. So let's do that. Let's do that. So I would go over. I think we can do this with the cove brush. You can use the cove brush. So let's just get this to the side. And we will do create a cove shape that comes all the way down, and then we just blog this in here. So yes, let's go over to our cove Okay. Let's use this instead. This Epi curve. So the shape goes this way, this way, way all the way down, it should be fine. Okay? Yeah, I think this should be fine. Then go back to our selection to select this, go back to polymodlling. Let's do a sweep mesh for it. Now, the scale for this is way too much. Let's adjust the scale profile, let's take this down. Okay. Let's go to it's kind of far out where it's supposed to be though. It's far out. Let's select these two. Centi volts, and let's move them in place. Come on. Move this in place, select it. Right. Let's just leave that one where it is because it's not moving accurately in place. So this is where we want it to be. Let's go back to the sweep. Let's make modifications to this precision, optimize. Precision. Yeah, this should be fine. Yeah, I think we can definitely work with this. Well, no, should we optimize this. Let's optimize this actually. Let's leave this optimized. Okay? The curve in there, we need to adjust that. Let's adjust the curve to select the curve. Control vertex, let this verte move this down. Okay? That's fine. Yeah, I think this is actually fine. This we can work with in here. Okay. Yeah, that's fine. I think for the most part, this will work just fine. Let's go in. This will work fine, for the most part. Select the lower do that, select the lower points here. Vertex, let this lower points, move this in some more. Kind of create shape in here. Move this around there. I think around there seems just right. Yeah, that seems fine. That seems fine. This we can definitely work within here. Okay. Yes, we can use this. I'm going to select this now, and I'm going to do a type t, it should be his on shape now. That's fine. It should be his own shape now. Okay. And I'm still can select this again. I think, yes I'm going to duplicate it. I'll bring this closer. I'm just going to rotate it this way, rotate this way. Rotates this way, rotates, rotates. I would like to sort of modifying this. Let's just create a new one instead. Let's create a new one instead just to work a little bit faster. So I'm going to go over to the same curve EP Curve, right? I'm just going to create a shape that comes in from here. Okay. Around here. A all the way, should be fine. Okay? Select this. Now, Let's Let's make sure we cannot bring this closer. Should be closer. I shouldn't be far out. Center upevot. Let's bring this close before we start adding any sweep to it. Okay. Let me put this around there to begin with. Then let's sweep, take down the size. But that's a bit odd. It's a bit dd on that part. Undo that, undo that. Let's leave this back at the original position, then do the sweep again. Take down the scale. Now, it's pretty much the same thing. It's pretty much the same thing. There's no difference. So let's still bring that closer. We got to modify that actually and then fix the tu is having in there. But let's get this in place first and let's do the sweep. Okay? Let's reduce the side scale for this. Take this down. Create a bit more precision to it. Okay, the precision actually fix that optimize. Okay? But the scale for this is still too big. We need to go back and reduce the scale some more. I think, yeah, this size seems just about right. Size seems just about right. I think we can let's do taper. Can we taper the start same points. But at the end, the endpoints rather less taper the endpoints. A little bit more like so, right? Yeah, that's fine. So we can this we can definitely keep. Let's play this by type history on that. And I'm just going to drop in a spare in there. But first, let's move this in place so center pivots. Get this in down some more down some more around there should be fine. Okay. I would like to rotate this this way. On do that, let's rotate this a bit more greatly. Move this this way in some more, right. Yeah, I think this should be fine. Then we can create this fat creating his fare we're going to create a box and then subdivide that box. That's pretty much what we're going to do. Let's create a cube. Let's turn off interactive creation let's create a cube, primo that cube. Let's add divisions to this. Where is my modeling two kids. Let's do smooth. Let's increase. Let's do a value of four. Yeah, four seems like a good one. Is it too. Let's see if you are getting rounded edges to this, we're getting rounded edges to this, should be fine. I'm trying to create something that I won't need to start subdividing again inside of Zbrush, so this should be fine. Let's get this way. It needs to be. Okay? Scale is way too much though. Let's scale this down. Frame into it, get up, scale this down. Okay, and get it where it should be. Let's see if we can take down the smooth intensity for this. We're at four, let's do three. Here, three, three is actually fine. Three is fine. Three is fine for this. Don't need to go to extreme. Get this down. So more around here should be fine. Okay, I'm going to select this use scale to scale squash this down some more, move this back in, up, select move this in place, up. Alright. Yeah, that's fine. That should be fine. Let's see there's there's something else. There's other things we need to actually doing here also. For one, look at this from the opposite side, I can see this cylinders in there. So we need to get that in also. I think we can duplicate this. We can still use this, so I'm going to this one feels a lot more rounded though. Feeds a lot more rounded. So I'm going to use a torus instead. Let's save this. Let me a torus instead. So we can turn on interactive creation mode. Um, Should be fine. Let's go over to the toe view, read something like so. Okay. All right. I think of make some modifications to this. This, let's get this up. Framing to it. Yeah, I mean to make a lot of modifications to this actually. So let's go over to, you know, this attribute editor. Tis, Nope. Okay. Um, I think this is exactly fine. We need to kind of scale this down. So how do we duplicate of this, get this up, select this. No, undo, undo that. Undo that. Undo that. Let's make sure we add more subdivision level to this. Create all the way up. I think this is smooth enough for us to work with. This we can work with, so we can now do duplicates, get this Where's duplicates is duplicating here. This is the original. Then we need to work with duplicates instead. Let's get duplicate down because duplicate does not have those attributes those attributes anymore for us to modify. Scale this down. Let's scale this down. Yeah, I think this is about the right size for it. Get this in. Let's go to the front view. I think I'm going to do another duplicate. Let's put this to the side. Then this, I would say it this way down. Control D, get this up. Then we can do Shift D, Shift D. Let's delete this. Select this. Shift D. Get this up. I'm going to rotate your order opposite direction instead now. Okay. Let's get in there. I'm going to scale it in some more. We use more bring it out on the opposite side, like so. Okay? That's fine. Then she Control D rather get this down. Get this down around here. Then D, Shift D. Yeah, around there should be fine. Then I'm going to select these three. I will scale it out a little bit a little bit more. We need to make modification of this instead of Zbrush. But I think for the most part, this should be just fine. Yeah, this will be just fine. This will work just fine. Okay? So I think for the most part we've done most of the I've done most of the work we need to do in her let's see if there's anything else we're supposed to do. And we can just get that in. But for the most part, this is where it should be. Let me move this out of the way. Okay. I'm going to select this now. Let me select all of this and then put them in a group and then rename that. So I'm going to group this control G to group this. Let me just name this to Bs or L's black ornament. I'm going to do duplicate for it. Let's get these duplicates. Up. Okay. Then I'm going to select this 83 on the keyboard, and then we need to, obviously, we need to get these subdivision levels in there into the mesh, not just as an auto smo so mesh to preview. Channel box. Let's do a value of one instead. I don't want to go to extreme. Let's see, Polycount is quite low. Plecans are 880. So, I think we need to do this double instead. Let's do two instead. T is three K. The k for this piece. Ah. Oh, still, we're not done yet, actually. We're not done yet. This some other piece we need to create in here. We're not done yet. Yes, let's go back in here. Let's go back in here. All right. Then I can use this. Reason why we have duplicate of that to duplicate this again, get this around here, rotate. Move it in place. Skill it out this way. Get this in, out some more lift this up around here. Let's see, also, that should be fine. I would like to scale it out a little bit more. Let's get a bit more thickness to it. Yeah, that's fine. That's fine. Then Shift D. Okay. Let's change orientation for this control shift. Let's do no, just control actually. Clear that out. Come on. Undo that, undo that. Okay? I believe No, this mode center this. Yes, so control shift. Then let's do objects mode. Control D. Okay. Okay. Shift D, Shift D, move this in. All right. I think we need to kind of scale this down. Look, I think we can make arrangements on this inside of Zbrush instead. We don't inflate that inside of Zbrush just to get something tick out of it. But I think this should we should be Shift D again. Come on. I think we lost that. Bring this in. Yeah, that's fine. That's fine that we can work with. Alright? I think we need to mirror to the other side also. So I'm going to select all of this. Combine it, combine them as one single piece, combine. Then let's do a mirror. Turn this off. Let's mirror this on the opposite direction. Come on. Where is it? Is there already. So let's just undo that. Come on. I've lost my Let's go to the mirror. I've lost the tab in this. Let's go to channel linear and then offset of set of set of sets. Come on. Where's the offsets? Undo that, undo that. Get in closes. Let's mirror this again. Oop, nothing's on the underside. So let's mirror this again. Turn this off. Then adjust the offsets. Let's get enclosed hold down Control and then let's get this in here. Let's see, that's fine. That's fine that we can actually work with. I can delete this for now. Delete this for now. Let's get this new piece into that group. Delete by type history. Let all of this actually delete by type. No. I don't think I need to do that. Let me just sleet in here. Save this. Okay. So yeah, let's continue on. Let's see what else can we do? Oh, yeah, yeah, we can move on. We can move on with this. Except you need to, except you need to add Bevo to this, this actual Ns Bevo. This needs Bvl. But just before I create Bevel for it, exclude this. I need to have a duplicate of it also. We can just select this two and then drag them into that group, delete this, duplicate this again. Let's get this up. Then I'm going to bevel some of the edges of this. Like this, we need to bevel the edge. I'm going to select this. I would select this and this and this Let's isolate this to control one to isolate this. I just need to bear with the edge. That's basically what I'm going to do. I just need to bear with the edge. Let's combine all of this as one single piece, select all of this, combine, by type et, send out back into the group. Okay. And let's Bevel all of these edges. From underneath this, select this edge. I selected the inner edge for this, not yet. Let that edge, select this edge. Okay. Select the edge, this edge, this edge, this edge all gets enclosed, select this edge. Sleds edge, sleds edge. Now, let's do Bvl for this Bvulo. Let's see. This counts for this. Oh, I missed one part. On do that. On do that. Sad this edge also. You do bevul again. Add segments to this. Let's do five segments. Come on. Please don't crash. Okay, I think this is a bit too extreme. Let's just say this to a value of six. I think six should be fine. Let's see. I think six should actually be fine in here. Yeah, six is fine. I want to go to extreme in there. Save this. Let's go out of isolate. Yeah, we need to do one in here also. So I can just select this also. Let's do a bevul. Yeah this is fine. Let's add segments in there. Si seems like a good number. Yeah, that's fine. Yeah, this will work just fine. Save this. Okay? So I'm going to select I feel like I feel like this part here, I think is way too wide. I think let's select all of this at the top, select this. Oh, come on. Come on. What do we have to piece in here? What do we have to piece in here? Okay. Now, this is a bit this is a bit confusing. Let's see. Okay, this is all of select this. This is down here. Okay. Then I'm not entirely sure what all of this is, though. Oh, for the opposite side, we need to let's do Shift P, send this down. Send this down, then this should be in here instead. Let's drag this in the All right. So I'll select this select. Oh, also merge this together actually. Let's merge this into one piece. So combine them. Did by type history, send them back into this group, right? Yeah, that's fine. So we can select this, select this, select this let everything at the top, select this. Can we move this down now? Yes, we can. So I'm just moving this down a little bit small. Around there should be fine. So I'll save this. So now just to select the group in itself and move this where it should be. Okay. Think around there. I think I also need to kind of scale this out some more. Should, that's way too big. I think somewhere around this size should be fine. A little bit more. Like so it should be fine. Then bring this down because going to hook this up some more. Let me scale this down a little bit more. That's fine, right? So in next lesson, we're going to export this out to Zbrush and then get them where it should be. So see you guys in next lesson. Bye for now. 35. 34 Ear Ornament Set Up In Zbrush: Hecuba, guys, so we're still on this year ornament piece. So before we export it to Zbrush, I would like to make some modifications to this. So I'm noticing that this shaping her for mine is actually way too big, so. I would like to reduce that. So I'll go over to vertex. Can we do this in here? Let's go to our front view instead. Okay, front view should be fine. Let's actually isolate it do that. Let's actually isolate it. Right. So I would like to select select all these vat up here first. Get all the vat first. I'm going to select the vat around here. Okay. Then I would like to scale it down some more. Okay? Get this back up. Okay. Let's see where we get. Let's see if we can still make it even smaller than it is right now. Let's shing this down some more, it this up a bit higher. Let's think I think this side should be fine. Scale this in some more, squash this down this way. In some more up a bit. Okay. Yeah, I think we can work with this. Let's go out of isolates. Let's see what we have. Yes. Yes, this is actually fine. This is actually fine. This we can work with. They we just need to make some more modifications to this. Let's go to edge, bring this edge down. Leave this up, pret a bit more spacing between them. Do that. Maybe we can delete that actually delete that. Okay? Yeah, this will be fine. Yeah, this should be fine. This we can work with. Select this, select this. Move this down some more. Move it down a little bit more. Okay. Yeah, that's fine. Okay. I'll select this. Let's just push them back in place. Select all these arts. Why do we have duplicates in there? It's just one that we can delete delete that. Select all of this and delete those. Select all of this. And let's get this. Come on, do that. Let's get this in place. Squash it down. Okay? Up a bit higher need to squath this down some more. Move this to the side. All right. Squash this down even more. Okay. Let's move this up a bit higher around there should be fine. Yeah, that seems fine. That seems fine. Okay? Let's let him select all of this at the top, select this. Bring this down some more. Alright, so I can select this now I can mirror it to the other side. Tone of these codes. Get this in place, frame into it, control, move this around here should be fine. Okay. So now we need to convert this into actual meg, but I would like to duplicate this again. Let's get another duplicator. Let's put this around here. Select this. Let's go over to modified topology, Smooth review. Okay? I think I'll leave this article. If I take this down, it's going to put the sets to one. You can see some it's give me the desired result I'm going for. So let's do a bit more. A bit more idea should be fine. Save this, select, select it. Let me drag this all the way up. Okay. Let's go over to UVs for some of the delete the UVs we have in there. Let me scale this out a little bit more. Any UVs we have in here? I was going to delete that delete any UVs we have in. Okay? Yes. Yes, we can delete the UVs in there. Let's select all of this and then go over to UV editing. Go to UV Editing and then we would go to our UV editor, Shell, select all of this and delete them. We don't need them. Don't need them for now. Or he going to create our own later on? Or let's just work on getting all of the ship and meshes we need in there before doing anything UV later on before we go into texturing. Yeah, it's fine. This is fine. This we can work with. Yes, I would select it. Okay. Then we can export this out as an OBJ. So let's export this out where we need it to be. It should be in here. So on inside of the Z imports, copy these five parts, place the five parts in here. So spotting as an OBJ OBGEpot. Let's name the two ornament. Ornament. Okay, that's fine. So let us go into Zbrush and import this in and then set it up where it needs to be. So let's go over to sub to append. Say let's fair. Where's the spare. Okay? Spare should be all the way down down here. Okay? It's all the way down. Then let's do an input. Let's get this out from the Z inputs. Select I mean, so let's select that Okay. Is this upside down? Whoa. So this is actually upside down. So this is an issue with inputs. And here's an issue with inputs, preferences. Sometimes those at is a bit weird. Inputs. Um, What should should we flip this now? Let's do a flip X instead and import this again. Simple this again. Come on. Where is it now actually? It's kind of seeing this upside down it's kind of important upside down. Okay, so kind of fix the issue in here. So the issue was that it was important. The importation setting is a bit off. So on the preference, you just turn on flip X and Flip Y and then import that back in again, and then you should be fine. I've experienced an issue like this before, so I knew that was how to actually fix it. So let's carry on. Let's go select this oren center pivots. Were the minutes. Where is my chain. Turn on this chain. Thought I lost that. Then let's get it where it should be. Now, I still need to make some modifications to this though. So let's try and get this chain piece so let's move this up. Let's kind of measure where it needs to be first. Since she be down. Should be down some more. Yeah, I think we're in a good place with this move this way, rotate it this way. Okay. Then get this in. Yeah, I think that should be fine. Yeah, that's fine. That's fine. So now we just need to duplicate it to the other side. So let's do a mirror to the other side. Let's mirror this to the opposite side. Tone down, always covers bad geometry mirror weld. Awesome. Awesome. But now I still make some additional adjustments to this. There are a few things I would still like to do in here. Let me undo that actually. Just before I mirror this to the side. Let me undo that so we can make the modifications first and corrections first for this Shift F. Let's go to move topology. Move topology for this, move topology, move topology, yes, increase the blow size. Move this out, move this out, move this out. Okay. Shift F. That's fine. Let's see what else we can do. Yeah, that's fine on the other opposite side. Okay? Yes. Now all of this, I will need to inflate this actually. I need to inflate this S marks out invting mark. I will do inflate, Shift F, get close. Let's do inflate. Now deformation inflates make this a bit ticker. Yeah, pretty much like so it should be fine. This we can definitely work with extend this out some more out some more, get this inward, in some more. Okay? Why getting this weird pinching? Okay. Get this close close close close. Do the same on the opposite side, get this close. Okay? Those gentle smooth just to fix those pinching we have from the move topology brush. Smooth fix those pinching smooths out. Okay, right that's fine. Get in clear this out. I feel like I should still do something in here, just to create some variation across this Let's create some variation across this. Maybe we should mirror out first, prob probably mirror this out first. Yes, I think we're in a good place. Yes, mirror this Let's mirror this to the opposite side first, then Astra and brick symmetry in the little bit more. Okay. Yes. So Mirror mirror to the opposite side. Yeah, that's fine. Okay. Yeah, that's fine. So now we can I begin to break uniformity in here. Let's break uniformity in here. Get this in. Okay? I will pull this up some more, extend this out some more, Moon out, mood this out, moon this out. Okay? Just trying to break uniformity of it, so it looks a bit different from one side to the opposite side. Yeah, that's fine. Then I can duplicate Symmetry turned off, yes, that's fine. Shift F. Let's do an auto group also in here. Auto group. Okay. So I'm going to select select this piece, clear this out. Old down control, select. Come on. Old down Control, select, come out. This is the piece, that's the piece I need. Rotate this. Rotate, scale this out. Then hold down Control. Let's do duplicate of this, scale this down. Let's turn this out this way. Okay. Yeah, I think it should be fine there. Should be fine there. Let's just move this out some more, increase the scale, move this this way, scale this down some more. O down control, duplicate it to the opposite side. Bring this forward. All right. So just to create more variation in here. All right. Then I would clear this out again. We can order an auto group also in here, select this. Clear this out, not selecting this properly. Select this instead. Come on. Seller control, sell great. Select this up come on. It's becoming a lot more difficult kind of selecting in here. Maybe. Let's see. Let's see if we can get this right now. Take down the bro size. Why can't I just select things in here? What is going on? Move brush. Okay, that works. Come on. Ah, that's a pain. That's a real pain. Anyways, I think I'm just going to do this from your opposite side instead. This is the piece I need to select. Come on. Yeah, this one. Undo that hold down control, extend this down. Scale this down. Okay? Around here should be fine. It shouldn't go down completely, but I need to rotate this actually because we only be with the top parts. We didn't be with the lower parts, so it should be around there. The part should be more visible underneath this and duplicate this to the opposite side. Get this down. It just break the symmetrical nature of this, it feels a lot more unique way, lot more unique in a way, create some more differences around. Yeah, this is fine. This is fine. This we can work with in here. We can keep this. Yeah, this is fine. So I want to save this. So in the next lesson, we'll just move on to something else. I don't think there's anything else we need to do for this piece, at least for now, except otherwise. Okay? Yes. So the next piece we're going to be working on would be start creating this trap. This pat las feel more like obviously animal hair in here. So it feels like a kind of skunk animal. Not entirely sure what pl animal. This is white long as in here. So we're going to create a piece for this and then create a piece for pat la, this brown piece in here at the back feels more like it's more or less like there's a particular kind of material in Africa etarly in Nigeria to be precise from Eurobarab's called Buba it's more like a kind of thick fabric. You cannot create any more traditional now with kind of thick fabric to it, so I feel what this actually looks like. So I'm going to be using that kind of create there's nothing too special about it. Basically, it's going to be a thicker fabric material with this. I want to add this brown, look for a brown or even create our warm brown fabric texture for it. Okay? So that's fine. So moving on, so we'll do that next lesson now. So you guys in next lesson, buy for now. 36. 35 Ear Ornament Detailing In Zbrush: Right, so welcome back guys. So I would like to make a little adjustment to this because now I do econotosmooth. Anatosmooth for this Control D, kind of see some of the shape kind of gets strung down and do that. So I would like to fix those regions for it. So let's go over to display properties double sided. Okay? Let's start with this. Funny enough, keep selecting something else. Not sure why I do, but slightly frustrating that I selecting something else. So it's just this big white cylinder twist that we're trying to make adjustments to. Okay. Let's start with kidding me right now. This is just off putting. There's something I'm doing wrong. Okay. Not sure what this is, though. So probably restart this setup and then this file and see that continues. So I've restarted now. Let's see if this would work a bit better now. Symmetry is t off. So, this shift Okay. Get in quite close. Pretty much the same thing. So go down to Gizmo, select this piece inverts. Still not selecting the piece we want you to select. See selecting something else. Well, that is a bit frustrating. That's quite frustrating, though, just set up my screen properly. Let see. It's kind of jumping elsewhere. It's kind of jumping elsewhere. Let's do the inverse. Let's just clear this out. Okay? Then I would go over to just B. So for this inset, I would like to undo that Okay. Let's do multiple instead. So let's see if we can do multiple edge loops. Yes. So, come on. I think somewhere around there should be fine. Something like that should be fine. Let's go and do this for the other side. Just need to be on an edge and do that getting close. Okay. Letting something pretty much like so should be fine. Yeah, that's fine. Now, let's do the same for this piece also. Okay? That's fine. Same here also. That is fine. Let's go to the opposite side. And do the same also around do that gets in closes. Okay. That's fine. This why I'm doing this is because I feel like I will undo that. I feel like I will still go in there and then add some beaten up surface look to it. Let's do two year to year. Okay. We do a few more around there. Like so it should be fine. Because if you can subdivide this now, it's going to hold. It's going to hold nicely. Okay. Let's do two. I think that should be fine. Get up in closing. You can do two. Okay. Yeah, I think that should be fine. Yeah, that should be fine, also. Let's do this for the opposite side. Bring everything back out. Get in closed. I think this should be fine. I think just one should be fine there. All right, so shift. So if we should subdivide this now, we should hold. I've subdivided this. We go to our geometry now. This has been subdivided, and it olds up quite nicely. Let's subdivide this a bit more, then we try out some metal bitten up look to it. So I'm going to subdivide some more. Let's do one more. Okay, 15 could be fine. Then we go to the trim dynamic. Let's get close. We can beat this up, get close. Yeah, split them out like this. So won't do that, don't do that. I need to put it in a layer actually. It's supposed to be in a layer. Let's set this up in a layer. Most of this piece in here mostly metal mostly metal. So on do one last step, okay? Then we can pull this up in a separate layer, put it in a separate layer. Okay? That's fine. So we have this new layer now, let's name this all caps metal bits All right, that's fine. So we can use either the tran dynamic or the edge polish for this. So anyone will work just fine. Is going to use this and then beat this up. Basically just tapping on the surface. Basically just staping on the surface to create that beat up look to it. Okay. So just to tap across the surface, it will just help create a lot more uniqueness to our sing here. So let's just create that as much as we can. So I'm doing this asymmetrically. So it feel a lot better. D asymmetrically. Okay. That I want this to look too symmetrical. So that's why I'm doing asymmetrically Once I'm done with this left side, I'll move to the right hand side. So it should create a lot more uniqueness to it. And that's like a general idea for doing it this way. Okay. All right. And I'm using a small bros, not using something to be cause I want the details to be quite small in there, not too obvious. All right. Let's move to the opposite side. Okay? Yeah, that's fine. A cross also around here. It might take a little while, but it's fine. It's good to kind of add this detail in there. Because when we add the metal piece in here, it's going to cause some nice looking reflections in here with all this betting up detail. Because it also needs to kind of feel like something that was made by hand, that is not made by industrial machines. So since this is made by hand, you should have some irregularities when it comes to the stuff is not being completely and entirely smooth. You still have some kind of breakup in here. Also, this will also kind of add some measure of agent to its too. To add some measure of agent seeds. Okay, let's do for the back side. Just beat this up some more right. I'm not going for something too intense. I don't wantth intense. I'm just going light and across this when you cannot come closer you should be able to now see it a bit more. But for me distance, it shouldn't be too obvious. And that's precisely what I want. For me distance I still want to maintain that smooth rounded surface to it. No. Okay. Oops. Since I snot off all bits for this. Get this clothes up, go back into the mesh I'm working with. Okay. Then continue beading this up. Beat this up, get in close. You want to kind of pay particular attention to the edges because it's just a little chip off on the edges that will kind of make it look more even more interesting. So kind of being a little bit particular on the edges. Okay? Go around, beat up, create that beat up, look also around here. It doesn't look completely perfect because we're trying to introduce imperfection in here. That's why we're adding this beat up, look to it. Okay. Rotate. Continue creating that beat up, look to it. Writes if you were to add dense to this, you can easily add those crutches and dense inside of Substance Painter that would work just fine in there. You don't necessarily need to do it in here, but if you want to do that in here, that's completely fine. You can still have the creative freedom to make this make this mesh on by doing some interesting more interesting details in here. Okay. Go up, break this up some more rotate this to the side, get some more bits up around there. Okay? Let's go up a bit higher, get this also bit up. Okay. All right. So from a distance, it's looking slightly smooth. But close up, we see those interesting beat up look to it. All right. Here, as well, I'm doing this as fast as I can. Okay. In here as well. All right. Yeah, I think this is a good place. Okay, we miss these parts. Are there as well. Okay. Yeah, I think, as far as this goes, this should be fine. You can see that surface beating up, look to it. That's fine. Let's move to the next piece. Move to the next piece and introduce those beat up, look to it, get this more in a camera view. Let's start beading this in place. Put this out of the wake. Stuck Okay, interesting. Smart this in. No, when I graduate to move this to the back side. So want to deal with this a little bit more. Okay. Start this on the side. All right. Move to the other spice. Get this beating up. All right. Oh Oh. So you just kind of tap. You're not kind of going as if you're smoothing things out. You're just basically tapping on your tablets, just to create the look. So there's no particular fashion to do this part pattern or way to do this, just to tap on the surface, and then you should have something in there already. Okay? So we're switching this to the side now back side. Right, up in here should add some more brick up around here. But you want to be careful though, you don't want to kind of go too aggressive on it. If you start doing that, you begin to undo that. You begin to have issues when you try to do your baking on it, so you want to avoid that you want to go a bit soft handed, but just like go medium range across this not being too aggressive or too sharp on it. Light handed should be fine. Okay. Around here as well. Okay. Same here. And that is why we kind of added those edge loops. So we have enough topology to kind of undo that. Enough topology is kind of break this up and then get some smashed beaten up look to it. Okay? So this is a decent amount of subdivision level we added to this to kind of capture the look we're going for. Yes, it fine. Break this apart. Now we can slowly turn this around and then going up and down, breaking this apart, adding more beating up look to it. Okay? You can go under this setting with notes. We ignore this part. Let's add something around under part also. Okay. Around here up here also. So it's nothing too fancy extremely difficult in here, too fancy in here. It's just the same repetitive tapping across the surface in here, and then we're good. Okay, we ignore these parts, build this up. Okay? All right, up around there, is a bit more depth. Up, up. That's the wrong one. Kind of move towards the wrong piece. This is the piece you're supposed to be on. Get enclosed, let's smash break this apart. All right. Rotate this tap to create imperfections in there. Okay, up here as well. Smart this in. Careful though so you don't move towards the one you're afraid you done. Okay. Alright. Oops, who, who. Okay, this is it. Still on its Okay. Around on the edge, rotate its the opposite side. Okay. Beat this surface up. This part has been ignored. Let's add details detail, beating up, look in here. Okay. Right, rotates. Go around this, as well, because all of these are mostly metaps we have across. Right. Okay. Yeah, as well. Okay. I think it should be almost done almost done. I think around there, we'll just add a little bit around here. Okay. I think we can really see the surface of this a bit properly here. This is fine. Let's do something for the top side. And I think for the most part, this should be just fine. I think this is fine. We did a pretty good job breaking these apart. Okay? Y. Yes, let's do a bit more around here. A little bit extreme around here. Yeah, that's fine. That's fine. This we can work with. Let's bring everything back out. Yes, this is fine. This is fine. This chain piece. I, I think I would like to leave that with. I don't want to do too much in there. There's any breakup we need to do, we can do that. We can do that inside inside of Substance Painter. So we have something a bit more interesting with smoother surface and a bit more built up surface in here. Okay. Yeah, this is fine. So the next piece I'm going to be working on will be going down below around the chest region. We start with this fed out or rather five, four piece in here before moving on to the soduPice that comes like a strap across his chest. So I'll see you guys in the next lesson. Bye for now. 37. 36 Fur Shoulder Strap In Zbrush: Come back, guys. So in the previous lesson, we worked on this here on a man's piece. Okay? So in this lesson, we're going to moving on and working on another piece. So I'm going to working on this animal hair, skin fall in here. So this kind of create the piece that comes across it. So to do that, I would let's go back up here. Come on the way, first of all, let's make sure for this piece, we go to rest of the vision level just so we can work a bit faster in here. So and then we'll go all the way I will turn this off, turn this back on. I'll do duplicate of this. I'll shoot this down all down shifts and select this down arrow to shoot this down the last piece last sub down here. Now we're going to create the loop that goes across it. We have this subdivided already. I think you can work with this, I'm going to delete lower on this. Let me zoom out a little bit more. Okay. Let's solo this out. The idea would be to create the strap across it to shift F, Control W, give this one single poly group. Just to figure out how to do this now, I think I can are a few ways to do this though. Let me just do the ordinary way of just painting where I want my maxing to be let's start with the max last to begin with. I'm going to max that region where I want this to be. I do. Across like so. I supposed ton of symmetry in here. Play this out, ton off symmetry, do this again. A, I think so should be fine. Around here seems fine. This you can work with in here. Okay. So let's give this a Poly group Control W to give this APL group. Then I'm going to come over here. I'm going to turn on the lasers duplicates. You can afford duplicate. Let's not duplicate that. Let's just turn this. This is already on, bring everything back out. This is already on. But it's not selected. This is what's selected down here. So Control Shift click on this. Control Shift click again, so invert that. Okay. So this is what we're going to be working with in here. So the next thing to do would be to isolate and then let's go over and then do polish by group, polish by group, polished by group. Then we also need to do a delete ding. Let's do delete ding modified topology, delete ding. Okay. That should be fine. Then we'll go back to our deformation. Go back to deformation. Let's do let's turn off these dots. Then polish this a bit more. Let's get something straight out of this. I don't need to be completely straight on those screts a little warp on the edge. Let's make sure double sided double sided is turned on. Okay? So I'll come over around there, use the move brush. T ton of dynamic. Move this out some more. I'm just going to create a bit more drag around the shoulder parts around there should be fine. Okay? Here, here also. Then we'll go back to deformation. Polished by group, polished by group a few times. That should be fine. Okay. Let's bring everything back out. Yes, it's going to be hidden in here, but that's fine. Is completely fine. So what we need to do now is to make sure. Let me extend. Let me lift this up a little bit small. Let's get this out a little bit small. Around here should be fine. Yeah, so, swell. Okay. Yeah, swell. Yeah, that's fine. Get this up around here also. Yeah, as well. Okay. So what we want to do next to duplicate this piece. Let's isolate it out first. Then we're going to do duplicate for this piece, so duplicate, hide this. Then we would zero match this. Let's match it. Let's get good topology out of this. I'm also going to help this in the sense of creating some cats in between just to tell the zer masher how to zero match this and move this to the side. Slice cove. I'll do a cat here. Okay. I'll do a e. I'll do a cat here also. Select this I do a cut here also, bring everything back out. This is going to help Zero Maher know how to ate topology across this. So with this in place now, go over to zero Maher. Let's turn off adaptive for now. The adaptive tone this down some more tour on keep groups, dtect edge, reduce the smooth groups. So let's start with five K for now. So I'm going to out and select zero Maher. Okay. So you see here, it's kind of respecting where we kind of added poly groups across this. It's kind of respecting that and creating a straightforward. I think I need to do one and do that need to do one cotia Let's do cotial that should help drive that a bit model and that courtier as well. Okay? Yeah, that should be fine. Then let z mash all zero march this. Yeah, I can see it's kind of giving t this zero masher zero mare based on the way we have added these codes in here. So kind of a better topology across this. This just a way kind of help. Zero masher gets proper topology across your mesh. So I'm going to go. Let's go out of this. Let's go F again. So we have this at one K. Let's turn of R. Let's use SAM. Z merge this. Zemarge this again. No, undo that. It's great. It's not give me the results I want actually. So let's con trough W to give this one single poly group. Then merge this again. Yeah, perfect. So now we have bet out topology across this Okay. Maybe undo that same zero mash. I'd like to clean undo that. I'd like to clean this part up some more. So let's do another quote across this zero mash, okay? Give everything one single poly group, then zero mash. It looks like we can do away with that, but that's fine. It's not going to major it's not really a major issue. We can always we can still work with it as it is right now, so that's fine. Let's bring everything back out. So since this is going to be heating on this, we call it tiger skin or low pad skin around here. So that's fine. We can just leave this. We don't really need to do too much around here. Can leave it as it is, actually. We need to create that piece where our falls are going to be generated out from. That's fine. That's fine. As long as this is what we have in here, we are completely fine. Now with this in here, we need to add some thickness to this. Let's add thickness to this. So let's come in close. Let's come in close closer. I'm going to be using the dynamic subdivision level in here. Let's turn on dynamic. But there are a few corrections we need to make in there. The first correction would be to take down smooth. That's fine. Let's increase thickness for this. Increase thickness a bit more. Still not thick enough. Increase some more. We need to increase even a bit more, okay? I think a little bit more should be fine. There is a little bit more. I think around should be fine. Shift F. Let's say the poly group for this. Let's put one segment in here. One segment around should be fine. Then we can turn on the smooth. Let's do smooth one step. Okay, now, undo that. Then we just use a normal regular smooth for this instead. Um, Okay, that's weird. Undo that. I think we can work with this as it is. So let's apply supply this. So we have this total plico of two k, which is actually fine. Heaf. So now let's subdivide this. Yes, this is precisely what I want. So if we subdivide this now, it should be getting smoother edge to it, which is what I want. But, what is this? There's an issue around there. Undo that, undo that again. Turn this off. Go back in there. There is an issue around there. It is an issue on the edge here. So we need to usually tend to have an extra piece around here. So let's move that piece. To do that. We just need to do poly group a group Control Shift, click on this. I don't think it's still the group normal control shift, click on this. I believe it's gone now. Let's come in close. Okay. Let's do it delete ding. Let's do delete ding. Now, usually, delete won't work until you have a mese that's actually hidden. So let's delete ding. So it's actually working. Now I've done that actually deleted something in there. Because if you do this again to tell us the function requires mesh you partially hidden. And the first time I clicked that did not show us that information. So I believe I believe what we fixed in is actually working. Let me just check again, so I'm going to divide this. Okay, we see an issue here. There's an issue in here. Okay, let's check the other side as well. Okay? Let's see if you move this down, check in to be sure and do that. Set this down, set this down. Let's do a tiny amount of polish smoothing in here. So let's do the polish by group, smooth this out. Okay? Is there any other issue around here that we need to be mindful of? Okay. That's fine. So let's go back to Zoom out, bring everything back out. Okay. That's fine. So we would now go back to geometry, dynamics, sub div donn this back on, still memorizing our previous setup in there, which is fine except for the segments in here. Wet have any segments in there. So let me add one segment. We need one segment, at least one segment there and apply. Then let's isolate this We still have, I understand. It's basically creating multiple basically creating multiple edges around that part. We have multiple edges around these parts. But it's not going to be a major issue actually. It's not really going to be a major issue per se. We still we can just ignore that and keep working. It's not really major issue. Let's see if we can delete that. If we can delete that then we'll just leave that as it is. It's not going to make or break our machine here. Let's be M. Okay. So let's delete some edge. Let's delete some edge out of this. Let me undo this actually. Let's delete the edge before we add thickness to it. Let's look for let's find the edge in here. So we do delete delete, delete, delete, delete. I want to delete edge in here, so single polynom Okay. Come on. Let's get close. After volution levels in there, let's delete ayer. Do that. I'm not trying to insert a loop. I'm trying to delete instead. Okay. So you completely delete that edge. I think we can do that instead. Let's completely delete that edge. Yes, this is fine. We let that edge. So it should be fine now. Completely lit the edge loop. Okay. Let's see if we can extrude an edge loop also. So let's go over to extrude, extrude, extrude, extrude, extrude. Extrude. Edge. Okay. Edge loop. No, no, no, on the entire outin Okay. No. So let me just show you guys what to do. So beyond the edge, let's find a good angle for. This is just beyond the edge. Then select mesh border. So we want to extrude out the mesh border. So I'm just going to select this and we can extrude this border like so a little bit more around here should be fine. Let's go out of solo. So yeah, this is fine. Then back to move brush. Okay. So now we can repeat we can repeat the dynamic again. I believe we shouldn't be facing the issue anymore. So if we should solo this, we shouldn't be facing the issue anymore, so you can see how we get clean edge out of this now. So we're good in here, so that's fine. That's fine. This we can definitely work with. Okay. So one segment, again, go out of solo mode, then apply Shift F, reduce to the side, subdivide this. So should be getting this piece here now is fine. For the most part, this is what we This is what we created out of this. So I'm going to use the move brush and move this out some more move this out a bit more. I would like to even inflate this also. Let's go to the formations. Let's done inflate, inflate again. This is fine. This is what I want. Just put another Xtra level of thickness around it so that I can push it back on the surface. Yes, this would work just fine. So this work just fine for what we need it for. All right. Check this around. Yeah, that is fine. Okay. I rename I need to rename this. I need to rename this. I'm going to rename this to SKO and skunk Skunk for shoulder. Or maybe just four shoulder should be fine. Four shoulder should be fine. Four shoulder or four strap shoulder. Yeah, that's fine. F four strap fulderFour strap shoulder, it should be fine. Yes, that we can work with. So the next things to do be to create I believe this AsTs for now. I goings create this piece also. Then after our dome starts creating some measure of detail for it, okay? Right, so let's carry on. I would just let me leave this. Let me hide this for now. Side this for now, select this piece, the body itself, duplicate it again, make a duplicate of it, duplicates, shoot this duplicate down. So low this. Now, let's create Let's create this red piece just behind it. Shift F, control W for this. I would like to subdivide, delete lower. I think a better way to do this would be would be to use the slice cove. I think we're already on the slight c of the control shift then tap tap out again. Okay, you can do a slice across this. Okay. I think it should be I think it should be slightly higher. So let's do this again. Tn of symmetry. Tap oats, tap out again. Tap out again. Let's see across here should be fine. Yes, that's perfect. So that we can keep. Let's do the next one. Okay? It's around the clavica though. We have it around the clavica. So let's extend this out some more sos. Oats? No, no, no, I think we need to kind of spread this out a little bit more. Undo that. Hats, oats. Undo that, undo that. Let's do this again. No, this is not the right place. Undo that. Come on. Should be somewhere from somewhere around here. Tap outs, tap outs. Tap outs. I think around here, should be fine. No, but we didn't do this accurately enough. So I need to do this again. Just need to find the right way for this. Ah, it needs to be it needs to be perfect. It needs to be perfect. Alright, I think we can hold space but move this out some more. I think around here should be fine. Okay. Well, this piece feels just about right. There's any need to extend this out. We can always extend it out by moving it manually. So this is fine. So the next thing would be to isolate it Control Shift click. Let's isolate this. Let's do a delete den. So geometry. Geometry, modified topology, deletes ding. Let's make sure Dub side is done on display double side. All right, so we can work with this. So go over to the formation. T of these dots, polish by group, polish, polish a bit more. All right. This seems feels right. Okay. Then let's bring everything back out. I would like to extend this with more brush, extend this down some more, extend this down some more. Okay? All right. This should go up a bit more. Let's get it out. All right. Look for an angle, get this out as well. Around there also out some more Okay. I see. I need to push this I need to push this closer around here. This should be covering most of these parts. You still have control over this say move this closer around here. As well. All right. Let's polish this again, polish this again. Yes. Yes, this seems just about right. Move this out some more polish again. Yeah, that's fine. That's fine. So this is fine. So in the next lesson, we're going to go in there and then start refining it and do some topology for it using the Z remsher. So I'll see you guys in the next lesson. Bye for now. 38. 37 Cross Chest Strap In Zbrush: Okay. Welcome, but guys. So previous lesson, we kind of worked on the four shoulder strap. So in this lesson, we're going to continue on and then try to refine this to get this to look a lot better. So now we have this piece in. We're going to duplicate this piece. Yes, let's duplicate this piece, so duplicate, hide this. Okay. Let's bring Everything back out. Let's see if it's in the right place. Yes, it is. Yes, let's see if we need to pull it out a bit more. I think it should be fine around here. Let me just move this up a bit more up a bit higher should be fine. Okay? At some more. Right. Just need to make sure everything looks right. Yeah, I think around there should be fine. Yeah, so we can slow this out. Let's do a new polish it. Polish again. Okay. Yeah, we need to fix this. All right. That's fine. Then we can start slicing or dicing this up. So let's start from down here. This is just to help. Okay, we have slashing. This is just to help Zemsha. Le a bit small. Just the same way we did for the four shoulder strap. Slice this in. Cut also around here. Okay. Let's go to the other piece. Do a cut around here, here also. And here. Okay. Yeah, just be fine. Now, let's zero march this. So just go over to geometry, zero march Tn of adaptive, bring this down. Keep groups, detect, take down the smooth, and let's run this Okay. Undo that, actually. I'm going to go to a lower number. Let's do one instead. Let's do one instead. Let's run this. Okay. Now, nope. Let's do this from five, then walk our way down instead. Five. Zero mesh. Let's go off zero mesh of zero mesh. We have some issues around some parts. Undo one step control doubly to give this one single poly group, then zero mesh. Feels a whole lot better. It's definitely better. We can work with this. Th is clean enough for us to work with. Okay, so let's go out of isolate and let's bring this up a bit more, leave this up some more, leave this out out out a bit more around here also, out a little bit. Let's do for the back also, leave this out some more OO. Okay. Yeah, this should be fine. But next thing you need to do is to add thickness for this one. I believe we should still remember the if you still remember the thickness we had with the dynamic sub divina, let's apply this did not remember. It seems like each butler sub too. It only works for individual stop tools. I've not done in any stop to yet, so increase this. Okay? Increase this some more, a little bit more. Alright. Okay. I think we can work with this. Let's see. Yes, we can work with this. But before et'stur this off for now, let's do under deformation. Let's polish this a little. Yeah, that seems like a bit too extreme, but that's fine. Kind of get sharp rounded edge to it now. So then we can use the move brush, lift this up some more, a little bit more, a little bit more out on the side here as well. Go to the back, lift this up some more. Let's go back to dynamic sub div. Okay? So you should pull everything out, which is fine. Except we need to make a little correction around here, pull this out some more. Okay. Let's get close. I think I need to make this even slightly thicker than it is right now, so let's increase this some more. Okay. Let's do one subdivO segment in there and apply. All right. Shift F. So we should subdivide this this is what we should be getting. Then I'll just go in and then do a little inflate. Before we do inflate let's push this down some more and down some more. Get this out around here also. Now we can do inflate. Let's inflate this. Let's go over to maybe not. Let's just use the polish do that. Polish group is going to polish everything now. Let's do inflates Okay. Yeah, that should should be fine. Let's check this out. Probably feels too thick, though, that's fine. Shift F. We can give this one single polygroup now. Let's see shift F. Let's do a relax. Okay? Yeah, this is fine. Alright. Then we can push some of this back down. Pulls out a little. There's the polish, right? Yeah, I think this polish helps quite well. So I think we can work with this pull this in in Okay, let's get some of this in. I'm not looking at the edge. I feel like the probably the edge is way too thick. Feel like the edge is way too thick. Can we do? Let me solo this. Just trying to shrink this down a little bit more. Shrink it down a little bit more. Yes, I think this is fine. This is fine now. This we can work with. We can work with this instead. This is fine. Okay? Yes, This we can work with. Let's bring back the other shoulder strap. Let's turn it on. Then we need to push the shoulder strap back in. But let's leave this up first. Let the shoulder strap and push this in. I also around there should be fine. Yeah, around there should be fine. Yeah, this should be fine. So yeah, we're making good progress in here. And I'm going to rename this now. Let's rename this. Let's name this instead to name should we give this now. Cross NoOps. Let's do house. Let's name this to cross shoulder. No, cross chest. Cross chests, strap. Yeah, that's fine. That's fine. This you can work with. Okay. Yeah, this will work just fine. Yeah, this is fine. Okay, B piece. You need to fix this back piece, lift it up, select this, push this down instead. Okay, out a little bit more, getting close out some more out some more, select this, push this in, smooth it out. Lift it out some more. I think that's fine. That is fine. So in the next lesson, what goods going and then create this next piece. I'm creating this next piece where this low pad skin we're going to be creating next. So I'll see you guys in the next lesson, bye for now. 39. 38 Leopard Chest Strap In Zbrush: Okay, welcome, guys. Previous listing, we worked on creating this cross chest strap. So now let's create the loop pad skin that comes across it. So let me just move this up a little bit more round there should be fine. Let's set this here instead. Okay? So just to create the low pad skin that goes across it. So I need to select this piece, and then I'm going to I'm basically going to create or duplicate it and then extract this version out of it. Shift F. Let's go over to geometry or sub two first, and then let's duplicate it. Less isolate, then we go back and then, under geometry, let's do delete lower heat F to see the polygroups for this. Now we only need this top polygroup in here. The only top polygroup we need. Or maybe let's undo that actually. I think this lower version would actually help this lower version of silly hole because we have good topology flown around it, so we can leverage on that also. So let's take this down to the lowest ablution level. Let's do delete higher Control shift. Click on this. Then we do delete ding. Under modified topology, let's do delete ding. Alright, so that should be fine. Okay. So basically, we need to think I'll start by deleting these edge loops. Let's deleting Let's delete these edge loops, and then we can work with loop starting from this part. So B Z need to be on deletes. So edge loop completes. Okay? No, L complete do that. Let's do this again. Let's go over it. Delete no single poly group. Let's do. Let's see. There's a lot of settings in here. Let's do poly loop. Okay? No, no, need to find a good angle for it. It gets a bit tricky on that part, finding the right angle for it. All right, I think this should be fine. So now we have this first strap piece because it feels more like let me get close. Feels more like two strap piece in there. We have this strap that continues on this way, then we have this and then this. Okay. So now let's I think I'm just going to continue with the Z modulo so you can get something a bit neat and accurate in here. I'm trying to figure out where this line should be. So let's bring everything back out. Let's figure out where that line should be. Okay. Let me zoom out and find the region where that should be. I'm looking at this, looking at this piece now. It needs to be pushed up a bit higher. I need to push it up a bit higher, so dynamic brush, move this out. Okay? Move this up a bit more. Get this down, reduce the brush size. Okay? Up a bit more around the shaped F, that should be pushed down. That's fine. Around there should be fine. Let's go back to this piece, BZ. Okay? Let's see. So should be around this region. So now what we can do in here would be once we kind of figure out where this needs to be, most likely, let's say starting point from around here should be fine. I'm going to space let's go to Q mesh. Then the Q mesh for this we do poly loop. So let's do a loop undo that. Let's do this across. Okay. Undo that. Let me do this again. Let's do from around here. Yeah, that's fine. Yes, I need this. Then we will Let me just check this out all the way to the back. We'll do something for the back also. Let's say we stop that somewhere around there also hold out and then just go across this. Here that's fine. That can definitely work. Now the next we need to do would be to hold down. Let's go back to move brush, Control Shift click on this. Then let's do Auto Group. Auto Group, auto group, poly group. Then we'll do an Ato group, okay? So I'm basically trying to leverage more on the z modular brushing here so I can show you guys another out technique to kind of get the same thing in. Because I feel this to give us a lot more neater result without having to do Z rems and then try and polish it and then just try to do a bit more refinement on it. So right after the battery fish you use this should first of all, we should have the mesh in place. We need to kind of use move brushing to push them and kind of align them on the surface a bit more accurately. With this, we can just get that immediately. So that's precisely what I want to do in here. So moving on, bring this out. Okay? Now, let's get a loop around this. Let's do, we're supposed to be on Let me get close on the face. Select the pace. Let's do poly group. We can undo that. Come on, undo that. Solo this out. Undo that. Just get a bit tricky just to get it to work. Come on. Okay. Oh, great. Nope. You just kind of fusing it's okay. Come on. Yeah, that's a bit difficult. I think I'm doing something wrong in here. Let's figure it out. So let's bring everything back out, and then still on the poly loop poly group, I'm going to go into the edge. Then tap control or rather down control, and then we should have this. Okay? It's also affecting the back side too. Okay. Let's see if there's any extra piece in there. I also need to grab this. Undo that. Undo that. It gets a bit tricky kind of finding the right angle for this. Okay. So this is underway to do this. Let me just undo this and repeat this again. So once you find the right edge for it, just go tap in then oto or the tap out kind of change the undo that let me do this again. Tap out. Just kind of change the poly group colors for it. That's fine. We can't hide this yet. We need to do this also in here. Top change the poly group color. I'm trying to capture this trap here. I think this should be fine. Yes, it should be fine. We can we can definitely work with this. Except if we subdivide this again, they will get another extra eight out of it. Or better still we can do because I feel like it needs to be slightly bigger than it is right now. Let's get another extra piece an extra to this. So I think we do let's go to the edge and add Come on. I'd like to add an edge loop instead. So in inserts. Come on, undo this. What are we using single loop instead? Let's do single loop instead around the midpoint. Then go back to space face rather space bo let's do Qsh still on Qs, still on poly loop, that's fine. Then tap out kind of change the for that. Yeah, this should be fine. So this is the first. This is the first piece we need. So grabbing all of this piece with this piece on the side, then we can, I think, then we can do this other piece now. So you can just do so. Then we can do so also, and then we should be fine. So let's do that. So the gap in between will be this gap, this gap, then one, two, then I believe one, two, yes. So we leave this gap No, undo that. Come on. Now is going to find that strpos. Okay? No, undo that. Undo that, find a good angle for this. That's just the tricky part about working with Zimlin you need to find the right angle for it. That's fine. We have this. This on your one should come naturally because let's see, we have one gap here and one, two. We need to select this actually. We need to select this actually. Let's start by creating an insert around trying to figure out the gap you should have in between these. Maybe somewhere around should be fine. Not too much gap, per se. Oh, this plan is a little thinner. So we can do this from here, actually. So tap out undo that. Undo that. Okay. Is this where it needs to be undo that. No. Undo that, undo that. Find a good angle. No, undo that. Undo that. Yes, we're actually using the right but is not capturing that look for us, undo that. Great. Come on now. Okay, I think it has worked now. No, it does not work. Undo that. We also have loops here that we don't even need. But that's fine. We're going to delete that undo that. Let's even do this again. Okay. Undo that. Come on. Undo that. Okay, I think I'm just going to ignore that for now, because we do have a separation in between, so let's now grab all the piece we need for this. Let's start with, let's start with grabbing Control Shift. Click, click and click. Okay. I think we need to grab this also. Let grab this also invert all of this. So we have let me see if there's any thickness in here because sometimes you can kind of get an extruded an extruded piece that I see. So this is an extruded piece that we don't actually need in here. So we can easily fix that by just doing a tiny amount of let's see, a tiny amount of from this deformation, let's let's do a tiny amount of relax. A tiny amount of relax should actually fix that. But we have all these issues here that we don't actually need. But it's fine. We just need to let's just add this again. Let's do a very tiny amount. Let's do 0.5 instead. Okay. That's fine. Let me do all of this and bring everything back out there let's do this for the entire acting. There's any part that any part that needs that 0.2? What is this sorry this function requires a Okay, like I'm missing something in here, bring everything back out. Relax 0.3. Yeah, that's fine. So you just to get everything smoothed out. Then we should be fine in here. Okay? So control selects this and this inverting max Yeah, this should be fine. This should be fine. I don't think we need to do any odd outs in here. I think this should work just fine. Let's give the same polygroup control W to give the same polygroup, okay? Aditi inionize that we need to delete this loop we have in here. This extra loop, we don't need them. So let's be on delete. Edge Loop complete, that's fine. Then we'll just go on this edge, delete that edge. Es space bu go to allow the sieve. Es space bu go to insert. Let's add another edge loop here to compensate for it. Okay? That is fine. We think it's some loops going to hold this edge properly, but I think for now, it should be fine. I should be fine. I'm going to do a split ding. Let's do split ding. So go down to split. Right. Before we do split ding, let's do a tiny bit of polish for this, do that. So this is just going to do polish crips edge and do that. This just going a wire. Maybe we should just move this manually instead, just to get this a little bit better. Okay? That's fine. That's fine. Then we can do a split soup to split ding. That's fine. So let's go down to the maze that we kind of splitted, and then grab the other parts out of this so yeah, the other part is, let's see, um, let's go back to move brush. Trying to see the gap. I think I've forgotten the gap we in here. We have this extra piece taking out, then we are okay. Then we have this piece, then we have this piece. I've seen it now Control. Let's just do the inverse. Let's delete what we don't need. This also solo, bring everything back out. Then there's an auto group because I need this piece I need this piece so There's auto group auto group. Okay. It the selection. Let's give the same poly group. So now we have a bit more separation around this. So we have the gap in between, then we need this. So I'm going to exclude this, and I'm going to exclude. Come on, excludes grabbing more than what I need. Let's do the inverse. Let's grab this auto group. So we grab this. Then we grab this and this. Then inverse. Select this. Then we need the intes. This is what we actually need. This is definitely what we actually need. I'm still going to extend this out a little bit more though, but this is what we actually need. Let's do another split. There's another split. Soup to split it in again. Let's bring everything back out. So what we need is we can never merge them. We can merge them together. We need this. We need this. I'm going to shoot this down all downshifts shoot this down. Okay. We need this and let's see what is this? Okay, we need this. So let me just put this up here. And let's merge them together. So let's go down to merge. We do a merge down. Click Okay. Yes, This is more or less precisely what we need. Okay. Uh, it's looking like I I need to extend this out a little oh. Let's see. I think I grab I might have grabbed the wrong piece. But that's fine. It's not something that we can't fix. Something we can still fix in here. So Okay I think that's actually fine, It's a lot of gap in here, though, that we need to move in. But it's completely fine. It's completely fine. So let's do Let's now. We can bring back this cross chess piece. So it's exactly where it needs to be, which is fine, exactly where it needs to be, but we might need to extend some things out a little bit more. Okay, let me just isolate it. Yes, I think this would work. This would work just fine. So let's start by extending this piece out a little bit more. I think this needs to be separated out. Let's do an auto group. Auto group. Oh. It's kind of merging everything back together. I need to get this splitted out actually. This needs to be splitted out. It needs to be the only separate piece actually before merging them together as one single piece, so let's go back to split Eden I'm going to extend I'd like to extend this edge out a little bit, a little bit more, a little bit more. Okay. So B Z M. Let's do Extrude. Okay, extrude mesh border. Maybe let's extrude edge pull, let's do Edge loop instead. Let's see what that gives us. No, no. That's just one single piece. Mesh border. Can we select two at the same time we cannot. So let's extend this out out a little bit more. Okay. Okay. Yeah. That seems fine. That seems fine. I think this would actually work. Okay. Let's bring this back out. Let me zoom out. Let's see. Yes, it's much better now slightly slightly thicker. Okay? I think we have this extra piece in here. I'm trying to make sure I don't get confused in here, so I think this, this is not the piece we need. It should be this piece actually. This is the piece we need. Okay, so Control W for this. This needs to get in one single poly loop. I'm checking this again. Let's do. Can we visualize all of this all at once? Because I can see. Let me. Basically, let's hide, let's hide this stay much better than less hide. Let's add this also, much better. So you can actually see this in a bit properly so. I would like to be ZM. I would like to extrude this edge also a little bit. So let's extend this out some more. Okay. Let's see. Undo that. Let's do an auto group instead. Let's do atorop I don't want to extend this part, this one out. This one is already fine. The size of that is already fine. So let's go and do an auto group. Can I isolate this and do this alone? Now, I can't do this alone. It's going to extend that out. We would I think we would let me make sure. Let me pull this up, actually put this up. I would need to split this apart. Let's just split it in. So now we can extend this out alone we separate piece. Yeah, perfect. That will work just fine. Oh, that select this piece. Let's solo this. We just extend this out. Just a tiny bit should be fine. Okay. Let's see. I think this should be fine. Yeah, yeah, this should be fine. All right. So now we can go back and then merge these two together. So let's merge them together. So let's just do merge down. Merge down, merge down, merge down. Okay? This is fine. So yeah, it's very ab in place now. So just to kind of give them sickness. So we'll do that next lesson, bye for now. 40. 39 Leopard Chest Topology In Zbrush: Welcome, but guys. So in the previous lesson, we kind of extracted out this low perches strap out of this. So I'm going to continue on by making modifications to it. Seeing like this, my piece is kind of touching it. So I'd like to make more modifications to it by just lifting this up a little bit more. So let's just get this up a bit higher around here should be fine. Okay. Because we're going to be adding sickness to this, so we don't want the thickness to be touching it in there, so I think this should be fine. Yes. Okay. Now, let's start adding individual thickness to all of this. Let's add individual thickness to this. I'm just looking at this now. I solo, I let this past solo this. Try and see if I can delete this if I need to delete edge loops in here but this would be fine. I think this age loop here, we need to delete especially this one around here, so ZM. Delete edge look complete should be fine. So let's delete this. We can delete this also. Okay? That is fine. This we can work with. I think we can delete this as well. It just make the topology a little bit neater. Nothing too fancy, just trying to make the topology slightly neater. Let's just do let's insert one directly in the middle around here. Yes, fine. Right, so yes, this we can work with. Let me add an edge loop. Do we need to add an edge loop here. Probably not. Probably not. Now, let's extrude this out. Before we extrude, actually, I would like to get a duplicate from this. Let's do a duplicate. Let's hide this. Okay. I'll drag this up, duplicates up. Let's add thickness for this. So let's go over to geometry. Dynamic sub div on its own. Oh, it's already memorizing. Okay, because we kind of extracted this out from the cross chess piece, so it's kind of memorizing the previous dynamic or thickness we added in there, which is cool. But we to make it this thick, that was the main question now. So go out of isolates. Let's bring the other piece back on cross chess piece. It should be visible. Okay. Um, Okay. Let me select that. Where's that actually? Okay? Back in. Like, there's an extra piece here. I'm not sure. I feel like it's an extra piece in there. Okay, we're fine. We're fine, actually. We're fine. So let's see I thickness right for this or not. Feels like it's right for it, though. So let's do a test. Let's do a test. I'm going to Let's add let's go over to geometry. Do you have segments in there already? Okay, we have segments in here already, so this is actually two. Bring this back out. Let's find the right amount for this. Okay. All right. We still need to push this out manually, though. But let's make this slightly thicker. I think this should be the right amount. It's a good amount. Then let's apply this and subdivide it. Let's see what we get. This seems fine. Except we need to, I think we need to make it even more thicker than this right now. Undo that let's make this more thicker. Okay, apply this, subdivide, right? Or maybe we don't do this, make it less ticker that previous method built before by inflating it, so subdivide, then we can just do an inflate for it. Deformation, let's do an inflate for it. Okay, that's fine. Then let's polish this a little undo that. Let's do relax instead. Okay. So it's kind of holding up the edge way too much. I don't want to kind of hold this edge too tightly. It's holding this edge way too tightly. If we do it polish, let's see. Polish is slightly too extreme.'s undo again. Let's make sure we on completely remove Let's completely remove the segments in there. Okay. Take this down, delete higher, apply, subdivide this, yes. Yes, I'm trying to get a smoother edge to it actually, so we can go in and then deformation, inflate inflate some more. All right. Yes, this should be fine. This should work. This should work just fine. Let's go back to lower subdivision level for this. Yes, this is fine. This is fine, except for the fact that we might need to move this out a little bit more. Come with it out a little bit more just to make it a bit sticker. So dynamic brush. Take this down. So we can just do some manual movements in here just to get it a little bit wider. That's fine. It's not going to be a major issue. Are you going to govern this with heads four heads over time. So let's just get something that is slightly wider. I want to be careful, though, you don't want to mess things up. You want to be as careful as you can be on this. Okay. And make sure you get this average out with the same lens across right? Extend this out also around here. Now, once we add more subtion level to this, smooth most of the jagged edge we have in there. Extend this on the lower part also. This work being quite careful when make sure we get this properly aligned. Okay. That should be fine. Move out here as well. Move this down down also around here as well. So it just takes a little bit of time just to get these to look right. Pretty more what I'm trying to do, just trying to make this look right. Okay. Yeah, I think we can live with this. Now if we should increase the subdivision level. I should kind of straighten some things out. Yeah, that's fine. This is fine. Now let's go to the next piece. Let's go to the next piece. Okay? Let's go and isolated Shift F. All right. I'm getting an extended edge to this. That's fine. I don't matter. We're going to move this in. Let's just do a tiny bit of on our deformations. Let's let's polgis turn on the dot first so it doesn't go too extreme. This should be fine. This is actually fine. We're going to be pushing all of this inside the first wrap this should work just fine. Go out of isolates with the move brush, move this in Okay. Then down in some more, let's do this for the back piece. So we just get this in. Yeah, that should be fine. That should be fine. Now let's go in and then let's duplicate it to get the backup, duplicates. Yes, then we drag this all the way hide that. Okay? So now we can add thickness for this geometry dynamic is memorizing the previous setup we did, which is awesome. So yeah, this should be fine. Let's go in. We need to remove these segments, apply, subdivide, go back in the Shift F. Okay? So we need to kind of push these ins and do that. Is there a max in there? Okay? Now we can reduce the bro size, get in there, reduce the subdivision level. I feel like I'm seeing an issue in there. So okay something else is actually visible in there. I think we can shift F. Let's select. This should be hidden. Hide that. Oh, I've been working on I've been working on something else since that. Let's find this. No. No. This is it. This is what I'm working on. I need to bring this down, move this up, select this, make this visible. Yeah, it should be fine now. So now we can move this shift F. Let's move this in. Something seems off with the move brush in here. Rotates. Undo that. Let's increase the brush size around here, move this in some more should be kind of flat in. Okay? Yeah, around there should be fine. Around there should be fine. I feel like I I need to extend this out a little bit more. So let's isolate. I think I can use the max lasso for this. That's going to max out this edge. Okay? Mark out this edge as well, blow the marks invert the mark. Can we even use the gizmow for this? Can we use the gizmow for this? Just extend it out a little bit more, yes, we can. So with the gizmow extending it out so more make it slightly thicker. Alright. Yeah, that's fine. That's fine. I think we can do this for the piece also. But in this case, I'm going to mark the lower parts out. Okay? Mark this part A invert the marks below the edge. Let's bring back the gizmw. Kind of center this roughly where it needs to be. Let's use this and extend this out more. Okay? I think this should be fine. Yeah, this will work just fine. So we can do inflate now. Let's inflate this a little bit more. Okay. Yeah, that's fine. This will work just fine. We got something in here to work with. Oh, yeah, we need to push this in on the back side. Forgot to do that. Stay on the move brush. We can just move this inwards. He did to go to the highest subdivision level and then we should be good in here. Yeah, this is fine. This is fine. We can definitely work with this. This we can definitely work with. So we are all of this now correctly in the right place where they need to be. Okay. So now I think it is probably high time we merge these two as one single piece. Let me move this down some more. And in, let's get this in down some more. Okay? That's fine. Let's do the same for the Bay fine where it is. Alright. Okay, a little bit of gap in between. Yes, so now, now we can think before we move on before we move on to creating this piece in here we can now starts doing some corrections on some of this piece. So I would like to I'd like to merge some shapes together. Some shapes needs to merge together. For example, I will need to merge this piece with this piece. Let's start with that, so. But before we do that, let's go over take this to lowest sublbtion level, delete ayer, select the lowest subduction level, delete are as well. Then let's combine them together. So she was old and she don't send this down. She'll be all the way down. Select this also too and send it all the way down. That's fine, then we can select this. We can select this and then we would do a merge down. Let's do a merge down. Now we have this now as one single piece, which is what we want. Then we can do a duplicate for it, create a backup. Let delete this first. Let's rename this actually. Let's rename this to Lu part. Let's do a cups for this. Liu Come on. So Lu pad spelling that wrong. Lo pad, chest strap. Okay? That's fine. Then we can do duplicate for it and we can hide this duplicate, drag this up. Alright, that's fine. So we need to kind of merge the or some other piece also too together, and then we should be good. So let me select this, go to a lower subdivision level. Lower subdivision level for this, delete ayer. Select this also, lower solution level, delete are. Then we can send the downhOwnshit, send this down. Down, select this piece, send this down as well. Turn this off. Then we can select this and we can do a meas down also, so merge down. So I have these two measures one single piece now. Then we can just do a duplicate for it, then send these duplicates up, hide that and then we should be good. So now we can now work on them as individual piece. Okay? So I'll see you guys in net less work on them as individual pieces. Bye for now. 41. 40 Cross Chest Detailing In Zbrush: Ocen baar guys, in previous lesson, we worked on creating thickness for this low pard chest trap, and then we kind of merge some of the shapes down together. So, oh, I see interpenetration in here. So let's try and fix that. We can easily just fix that by moving this up a little bit more and moving some things down so much. Let me start by selecting this and moving this down. Move this down instead. Okay? That should be fine. Smooth this up and do that. Smooth intensity is way too high. It is down, smooth this a little bit more. Yeah, and then should be fine. Yeah, that should be fine. So we can work with that. So now I would like to move to this. There's a few things I would like to do in here. It's not extremely obvious in scope, but I would like to get that in. That kind of create a little bit more detailing on the edges of this, cross piece. So let's do that. So selected now. I'll go over and take down the bro size. I would like to start by Ilating it. Then we need to kind of subdivide this to a good amount of good amount of resolution to work with. Not too crazy, though, but just a good amount. So maybe somewhere around 3 million should be fine. So let's just subdivide this. Okay, subdivide, subdivide. I'm kind of looking at these values in here. Okay? Let's do one more. Yeah, I think around 4 million should be maybe maybe 4 million might even be too extreme, but we'll find out. We'll find out. So let's go into the Dam standard brush. If it is too extreme, I cannot take this down to 1 million and then we should be good. So yes. So basically, we're basically splitting I believe we're basically splitting this to 2 million 2 million here, 2 million here. So it's the valuations actually fine, so we don't need to take this down again, so this should be actually fine. Let me set this to them standard brush. Okay? And then let's do an auto grouping here. So let's go to lower subdivision level and do an auto group auto group, polygroups auto group, that's fine. This work just fine. So let's check this again. Then we can go to diet subdivision level Shift F. Go to diet subdivision level for this, then reduce the browse size. Then basically, I'd like to just cut in through S, get this piece out. So you just kind of slice what I'll do with depth in here and just see. Okay? Yeah, that depth should be fine. That should be fine. That we can work with. Then we come in close up. Getting close up around here. Then let's go to the lower subdivision level. So let's start this on a lower subdivision level instead, so we can reduce the bro size even more and start creating a depth cuts on the edge Okay. Let's start with is on lower subdivision level. Then we're going to crank up the subdivision do that? Is it going to crank up the subdivision do that? That's not looking right. So crank up the subdivision level and then do a little bit more work on that also? Let's just get something that goes across on the edge. Okay? Just creating a depth pass around the edge. It did dam standard brush. So this actually add a little bit of surfacing detail to it so doesn't look just too flat. So trying to avoid undo that doesn't looking right. We trying to avoid this surface looking too flats. Want to add at least a little extra level of detailing in there. So it feels a lot more interesting. And then we're just going to undo that. We're just going to refine that as we move along and do that. As in the wrong place. Okay. Undo that angle is a undo that. Angle is a bit wrong in there. So you just about looking for the right camera angle to implement this detailing in here. So basically, kind of creating a depth pathway is we want to add thing in between, we can always add that on the edge. There's not so much topology around these parts, but that's fine, because these parts are actually buried into the mesh. Undo that. Look for a better angle for this gets close. Okay. All right. Yeah, I think we can continue this get in even close. It wasn't a damn dynamic brush for this. So the closer you are to it, the smaller your brush kind of gets in case you might be wondering why it feels like the brush side is kind of shrinking, kind of shrinking on itself. That's basically what happens sing the dynamic of Okay, that's fine. Get in even close. Call this in. So let's go to a higher subution level. Let's see what we have. Now this is what we've created, which, for the most part, should be fine. So let's go on sollution level higher again, and then we're going to redo that. It's going to get a bit more reducib size. It gets a bit more sharper line, bit more sharper line, a bit more depth line in between that. Okay. So I'm just going to do this across using the rather folding the part of what we created previously. Get closes. Okay. Then we just move this down. That wasn't looking straight enough, so it's to get this looking straight enough. So I think that should be a little bit better now. Okay. Getting close. All right. So basically, for this, once you kind of do some lighting in here, the depth begins to add an extra level of contrast to your mesh, which is precisely what we want. And that's why we're kind of creating this additional level of depth pass to it. Okay. Moving up. I'm still going to break this up a little bit more do that get close. Okay. Zoom out a little bit more. I think, okay, one more's done. We just do one more pass around here should be fine. Yeah, that's fine. So kind of create an extra level of interesting detail to this. I'm still going to kind of cut this one mode, I feel like I need to cut this one more. Let's kind of visualize this out first. Let's see what we get. Okay. So you can see how right off the bat, we have an interesting level of detail in there. I need to make some corrections in here because this kind of pushing in way too much. So with the move bro selected, let's get this up. So Oh. That should be fine actually because kind of I know we we invited the other piece. That's fine. Let's just still get this up slightly a little bit more. It's not completely buried into the flesh. That look a bit old buried into the flesh. So yes, it's an extra level of detail. So this we can work with. I'm just going to break this level of detail even more. So let's solo this. Solo this. Even break this even more. Probably be adding this on a parler layer, but that's fine. I'm not really doing too much in here, so not necessarily need to even add this on a layer. Adding this on a layer will increase the file size, and I want to avoid that. So let's go to a higher subdivision level. Okay. So on the higher subdivision level, do that. We can now begin to even do that, not this dm standard brush can begin to add interesting cuts to the interesting cuts around the surface. Just give it extra another extra level of detailing in there. So this should make it look a lot more interesting. Okay. We can do something across, so I see that for an African pattern, they kind of have they kind of have some kind of V shaped looking shape in there. So let me undo this first. I think we come back to that. Let's just first add lines across this. Okay? And then we also undo that. We also have the what's it called again? Yes. So, we also have backup for this, in case anything goes wrong you can always use a backup mesh for eight spots. I think for the most part, this should be just fine. Let me getting close again. Just trying to add. You don't need to be too precise as to how the spacing between each line should be, because by just playing along with just adding simple and a little bit more interesting detail to it. So there's no guide at all, there's no pressure as to it needs to be perfect because our assumption in here is that this was all of this is handmade, so we want to kind of maintain the idea that, okay, since this is all handmade, we can be a little bit loose on the sculpts in here. That's basically what I'm trying to do. So I'm just going a bit loose in here, not concerned about precision around these parts. So precision wna is not my main focus right now, just to get something that looks interesting and looks a bit more hand crafted. So all this line in here should add that interest to it. Is like a general idea for a addition now detailing across. So she feel a lot more handmade than using machine parts to kind of create all of this so it's basically repeated repetitive process across this, basically adding lines across, basically adding lines across. Okay. And in substance painter, we're going to kind of do some paint overs on those line. So she also kind of add another extra level of detailing for us too that we can work with maybe take down the intensity of the brush a little bit more. So it's not too deep, but just enough for it to bake without any issues. Alright. We still have a long way to go I think we're losing angle in. Let's get up close and keep casing or creating these separations in between rotates. What are you doing this for the part that's going to be visible on our camera? So that is completely fine that's precisely what we want. Right? Move this house. Most of these parts are not really going to be having this hair detailing in there or for detailing in there, so still like them to look in more like in natural estates. Almost like some kind of leathery skin around them, like a black leathery skin around these parts. Fred the back in. Okay. They're moving on. Almost done with this. So this part is not much not so much surface resolution in there. But actually, we still have enough. We still have enough detail we need. This part is going to be buried in. These parts are actually buried into the second piece. Okay? Yeah, that's fine. So for me distance, I can see how we get some interesting looking details to this. Is precisely what I'm going for. Okay. So we should bring everything back out. You get a little bit of interest to it, which is fine. So for the other piece now, let's bring back the other piece. To this one, I'm going to be adding the solos. Nodding too much in here, actually, not too much. Noting too much, but we would like to add let me go to lower subdivision level. I would like to add some little measure of what should we call it like let's say fabric detail in there. So to do that, it just kind of creates a court directly in the middle. And do that. Don't do that. Let's increase the subdivision increase intensity, increase sub dilution level some more. So I'm basically going to add a coat on the edge. So this coat you kind of simulates more or less like a sem line. This coat is simulating seam line. On do that getting close. You need to be quite close to this. Okay? On do that I was a bit off. I was a bit off. Let's getting close. A Okay. We use the brows side a little bit more and continue. We're going to bring this across the surface. Do that. I wasn't looking right. Get in close. All right. Most of lit things we're adding in here, something that even if we don't like, you can just smooth it out, and then we should be fine. But let's just add it in here just to create some seam stitching in there. All right? Get in close. Okay. Look for another angle to this. Might also need to tighten this up some more. All right, rotate our camera angle. Let's undo that. Get in close. Let's come in from the top instead. I think from this angle coming in from the top is a lot more easier for me. I'm not going to carry on the same fashion. Okay. Around so undo that. I need to get close. Lo a good angle for this, do that. Make sure we connect it. So We directionality for you works? Can I just use that. So I'm just doing this now from the original directionality I was using before, top to bottom, where the bottom to top. I don't really know how far how extended out this is, though. I'm guessing I'm close to the end. I best guess that I'm already getting close to the end. Okay. Yes. Close this up. So that should create another extra level of detailing on the edge. So that's just for one side. We need to do for the opposite side also, too, right? So the same repetitive process also across this. Let's see if we can be a bit faster in here. Let's look at wider gaps in between. Okay. Get this a bit more deeper. All right. Let me increase your brow side a little bit more. A bit more space so we can see a lot more and then just go straight line across that. You don't need to be extremely precise. Maybe getting the perfect line for it. Like I said before she still needs to feel handmade, un crafted, but she used that correct term instead. She still feel handcrafted do that. Okay? I think I missed the mark in there, so let's get a better angle to this. Alright. Up, like so, create a bit more space. Now, let's come all the way from the top, all the way down instead. Though that it feels like it's the depth is no longer there anymore. Let me increase the intensity of the brush. Let's make sure we have that depth in. Maybe because it means a lower subdivision level. Probably why we don't have enough depth on the edge. But the major reason why we don't have enough depth on the edge is because there's not enough edge loops to hold that. What we have in here is actually fine. So at least for the most part, this will work just fine. This work just fine for what we need it for. Okay. Let's go and do that. It's not looking right. I save and then we'll go back in there, get in closes and move this to the side. Okay? I believe almost getting to the end of this. Yes, we are. That should be fine. Then we can now begin to introduce can begin to introduce what should we call it now? Let's call it full details to this. But we need to be a bit more precise we're adding the full details. We don't want to go to extreme and then put this where we don't need them to be, we can use the standard brush. Then just lower subdivision level. You can just create patterns like this to break up the surface some more. Get intensity a little bit more. Smooth edge was not looking completely right. Undo that's getting close. All right. So not too much, though. Just undo that, undo that getting close. Just enough give an illusion of, okay, this is some measure of fabric in there. All right? Create some depth, smooth these out, smooth out some of the edge looking a bit odd looking to smooth some of the edge out. Okay, then we can use them standard brush now. Kind of accentuate the lower subution level, actually. Try and accentuate some of these folds.'s a bit more depth close to where we kind of added the fold detail. On do that, get close. On do that. Okay? That's fine. So like I said before, not don't go too extreme. Something light ended, should be fine. Alright? On do that get close. Increase the blow size a little bit more. Create a bit more depth in here, or surround the air on the edge as well. On do that. That's a bit old. On do that again. This is the edge we need. Smooth edge. Okay? Smooth this out. Let's bring everything back out. Let's see what we get. Okay, so it's not too well. Let's increase the subton level. Increase subution level again. So you can see we need to still make some corrections in a few places. Going to standard brush. E them standard brush instead. Okay? Und that smooth this out, do that actually. That was way too deep. Okay? So this is going to add extra level of detail to this just to create some more shadow depth in between. But we still need to kind of move and pull and put something back down because I feel like they're kind of popping out way too much. So with the move brush now, we can begin to make adjustment. Let's go to a lower subdon level atually for this. Let's make sure only this is visible. Then push down, push down, compensate for it, push down. Okay? Because this part is going to be like actual fabric. We're not adding any new four detail to this. There won't be any four detail to this, so it's just going to be just normal fabric detail. Increase subdivision level. Let's see if there's any part that's going to poking out. Create subdivision level again. Okay? I think we can live with this. Okay, can see a little correction in here. Let's push this down some more. Yeah, this is fine. This work just fine. So let's see we're going to carry on with this. By for now. 42. 41 Metal Mask In Zbrush: Alright, welcome but guys. So in previous lesson, we kind of finalized on this red inner piece in here. Okay? So let's see. I think there's a few correction we need to do in there. Lk open this out a little bit more. Go to a lower subdivision level. But in this lesson, we're going to be making this piece around here. So that is what we are going to be making. Get this up and out some more. That's fine. Now to do that, we need to go down this sphere in here. Think we need let's skillet out a bit bit more. Okay. Then I will duplicate it actually let's duplicate it, duplicates. So it's actually a police fare box. It's not the type of police fair I need. So it's key on the keyboard to go to draw mode, Shift F, to go to polly frame. If we should solo this out and zoom into it. As much as this is a police fair, it's kind of having some weird jag edge. Topology is now flaming quite nice let, so I'm going to use something completely different. Let me hide the original phone now. Okay, what I'm going to do is to replace this with a basic low police fare here. So let's go to our IMM brush, BIOh, B. Let's select the first one in there. So what I'm selecting this police fare. Then we'll come over to geometry, modify topology, and then we'll do mesh from brush. Select that. So automatically convert that our police fire is not good enough to something that is at least good enough for us to work with. Let's turn off isolates. So it's quite tiny in there, so we need to kind scale this out some more. Roughly around the age find ton of symmetry, lift this up forward. That's something I would like to do. I would like to move this to a new canvas. Let's move to a new canvas so we can also work on this alone. To do that, what we need to do would be, let's see. So to do that, we would just go over to a sub to copy it. Then let's select this cylinder in here, then paste that sub in here. Okay. Yeah, that's fine. That's precisely what we want. I'm going to duplicate the police spare, add these two, right? Then we'll go over to Max Polly. Yes, Max last Rader son. We can select all of this do that legacy again. Control W for that. Now, we need only half of this, so I'm just going to select this half instead. Let's center this in our screen, and then we go down to modified topology, delete Eden. Then we come down to display properties, double sided. Perfect. So this is what we need, but we need to make some modifications to it. For one, we need to flatten this out. Let's flatten this down a little bit more. Not completely floured though. I think somewhere around this spot, you'll be fine. T on symmetry for this. Then we're going to subdivide this, right? Just want subdivision for now. Then the next we go craft this shape in here. That's basically what we're going to do next with move brush in place, increase the brush a little bit more. I get this out some more, right. Little bit more, reduce the bros size. Then I'm going to pinch this in some more, pinch this in some more and scale this out a little bit more. I need to make some sharp points in here. Then at an angle, move this out some more. Okay. Up a bit higher up a bit higher. All right. So see a bit of correction to make in here. For example, we can reduce the bro size a little bit more. We can get a sharp angle around there as well. Okay. Almost there. I'll pull this out. Pre the browse size, pull this out some more, put something sharp around here. Going to create something sharp also around here. Okay. Yeah, I think it should be fine. Shift F. Yes, this we can definitely work with. This we can work with. Yes. So the next thing we need to do would be let's see. Shift F. I would like to extrude this edge out a little bit more. So B Z, M, go on the edge. Let's do this let's move this to the side. We can see our tab menu a bit more. So side moves this way. Come on. We're on the edge. Oh, do that. We're supposed to kind of let's dig it lower for this first. Di lower for that. Oh, I mean, it's ngi so space bar rather. Space bar so let's extrude. Merge border is fine. Extrude this down. On do that, let's get this around this nature. So we can extrude this out instead. Okay? And it let me get this give this a separate poly Okay. Now, let's give you a separate polygroup Let's give this a separately Q poly loop polygroup here, that's fine. Okay? This is fine. This we can work with. We can extrude this out a little bit more around the should be fine. Shift F. Let's see what we gets. Whoa, we have a broken up edge for this, which is quite odd. Let's go back to extrude instead. Let's do the extrude instead. Let's do Poly edge loop, poly loop. Edge loop, poly loop should be fine. It keeps subtracting this piece. Don't know why. That piece keeps getting subtracted out of this. Undo that Okay. Yeah, that's fine. We can always do this directly in there without having to create a new p loop for it. So creating some thickness for this do that, let's do a little bit more thickness for it a little bit more extrudes out some more. So it feels more obvious in there. All right. So now what we need to do would be to add edge loops across this. So let's add edge loops. Oh, come on. We'll do that. So let's add edge loops for this. In sets, add one edge loop around, so well. Yeah, middle points around there as well. Okay? Around there, all. Then we'll do for the middle. That's fine. Then it's gonna o sharp edge is a little bit small. Let's owe the sharp edges some more. Okay? On do that. On do that. Okay, this old, that's fine. We can always, I think I'll do that instead. I would delete this kind of separate the piece out actually. I'll separate the piece out actually. That would work a lot better. So we have this as a separate edge. So we don't need to kind of create edges edge loops that we don't actually need. Then when we are done, we can merge them as transing good piece. So what I'm going to do would be go to move brush, Control Shift click on this piece. Then we do a split. Let's do split. Let's do Okay. Well, looking at this knife, I feel like I won't really matter that much, why? Because we still gonna urge extra loop around there that will steal the entire shape. So let's just do this in here instead. Let's just do this in here instead and keep all of this. By gets close. No, Okay, this edge, hold this edge. Let's come down here. Let's see hold that d is the edge you need to hold in here. This is the edge you need to hold. Okay. Undo that. Undo that gets close. All right. That's fine. Everything symmetrically, yes, we are, also, as well. Undo that. Okay. Now do we need to do for the middle points. Yeah, not really. I think this should be fine the way it is. So if we should subdivide this now, subdivide this. And yes, we have a few issues to actually deal with here a few issues to actually deal with so do that. I think we need to separate this out actually. So let's separate this out. I think the issue is coming from this extra piece we have here, which we don't necessarily need since we also need to kind of cover that up. But that's fine. That's fine. We can still keep it. So let's go over and then do Look over splits splits Eden. Okay. Go out and move brush, select. I let this actually. And I would like to completely delete of this edge. I don't think I need this edge anymore, so let's completely delete that BZ Come on. B ZM. Okay? Undo that. I need to um plyoopPoly group yes. That's what I need to do. Do we have something Undo that? Let's do something else. Let's do delete instead. Get this out of the way. Let's do delete instead. So do delete delete. So basically, I would like to delete this instead, so delete pllly loop. Okay? Okay, that seems to work just fine. Let's check around just to be sure, though. All right. Yeah, I think that is fine. Go back out of isolates. Now if we subdivide this, we should get a little bit more some shrinking around the that's fine. We can use the move brochure and then just move it in place. Turn on dynamic, ton of dynamic rudder. So we can just move this back down. I Okay, do that actually do that. Let's just straight off add loops that should hold it. But add the loop in there's going to create some one key feelings also too. So yeah, yes, I think the bestter approach for this would be would be to extrude out an edge for it. Let's go back in there. Let's extrude edge for it, that should hold it. Okay? So I'll go over and then be the M Qu mesh. But let's do Extrude instead, mesh boda Undo that? Is it even working. Undo that. Something seems wrong. Let's try and fine and fix that. On the edge, extrude mesh, border. Yes, much better. Undo that. Let's do this form. War this down instead. We want to push this down instead. Undo that's pretty much like so. Okay? Now, let's go out of isolate. Let's subdivide this again. So, this odds up a lot better now. Is odds up a lot better. Undo that, let's go back in there. You need to add Ed loops now. Undo that Oh, come on. You need to add E loops for this now. So inserts, let's do a year also. Okay. That's fine. So we should subdivide this again. It's not pushing out shrinking in way too much. Now we can use the move brush. Turn off dynamic. You can use the move brush now and then manually move those points in place. Symmetry on. Let's move this in, get close, move this in. Move this in. Also around I've done that already on the opposite side. Come up around there, move this in. Okay, I think you should be fine. Select this piece, subdivide this also. Shift F. So yeah, this is fine. This is actually fine. This we can work with. You can work with this in here. Let's see. Yeah, I think we can work with this. Let me just check this from the side. Let's use the blink material. Let's check this again, subdivide this some more. Let's see here, I think this should be fine. This should be fine actually. Okay, except for I do someone little ten ino this, let's go to lower subdivision level. Then I would just pull out this front part. Let's use the Clayby dog brush instead the Clayby dog brush. I like to fill up these parts. Undo that, undo that, undo that. Take a smaller brush size. Try to get a bit of depth in the middle parts. Gentle bit of depth in here. Oh, that's a bit small. Smooth this down. Probably should use the move brush instead. I think the move brush should do a better job for this. Come to the front side, smooth this down with the move brush. Okay. Just get this part bulge out a little bit more. Okay. Go to higher subsivion level. Bulge this out a little bit more. Smooth down. Okay. Smooth this down. Yeah, that's fine. This is fine. This will work just fine. If I need to make any modifications to this, we can always do that. No issues. Okay? Filling this part out a little bit more. Okay? P part out. That is fine. Yeah, you can work with this. Now I'm going to create some UVs for this. I'm going to create some UVs for this and then extract this out. I would rather save the UVs out as a JPEG and then we can now create this detail instead of Adobe Illustrator. So let's do that. But I would like to I think this is at one k already. We can keep this at one k. Let's duplicate for it. Duplicate for it. Then let's do delete higher, delete lower. Okay. So Shift F. So all we need to do in here would be just to is basically to just go to Zip login under Z Z VmasterRaa Under Vmaster, let's go to work on Clone. So this is what we have. Then we'll just do a single poly group on wrap. Okay. Then go back to ZM Zlogin. Let's do flatten UV. So it's going to show us a zero to one space in here, flatten the UV. To symmetry. Let's go to our gizmo. Let's rotate this this way. Let's get somewhat perfect. Let's get somewhat perfect. In here, Shing this in some more. Okay. Put this in here, you can see how flat and straight this is, which is precisly what we want. So let's just compare this again. Let's rotate this this way. I'm trying to use the line in the center to kind of get something quite straightforward in the center line this work just fine. So this is in the center. Yeah, this is fine. So the next thing you need to do would be go out of this Gizmo. Let's go to zip login on flatting. Then I'm going to copy this UV, copy, then let's go back to This our original piece, and then we paste the UV in there. Since the noob division level, the pasting UV is not going to be an issue. Let's do paste UV. Let's confirm the UV has been pasted. If you come down here to UV, we can do more UV. So this now is now mof you can see clearly that yes, we have the UVs copied in there accurately. So on Muff UV, then hardware extract this out as a map or as a texture map. That's quite easy. So what we're going to do is to go over to where it is poly paint. Then let's do poly paint from poly groups. So select that. So you're going to fill up this mesh with the poly group color. So which is a blue. So we have that. Then we need to kind of convert this. I think we can let's go over to texture map creates. So let's do new. Let's do New from poly paints. Wind of derive a texture map from this poly painted mesh we did now with the poly paint set up in here. So let's click on New from poly paints. So it's in here now. So let's do clone texture. So see clone texture apply this as a texture around here. So let's send this out or save this out instead. So I would like to save this Let's do fork instead. Fok instead, they do over texture map, let's do new from pulley paint again. Then let's do Crone texture again. Then go to texture. This is the most recent one. You can see a Fok resolution 4,009 60. Height 4,009 60, then we'll do a flip. Let's do flip V because it's actually flipped. Yeah that's rue. Actually looks at things upside down. So this might be an issue. Why? Because you need to go back. Let's go back to this piece, flatten it out again. Because this brought these things upside down. So let me put it this way. Turn off symmetry center, we need to rotate the opposite direction this way. Then we need to go in back here on flatting, copy UV, copy UV, go back to this piece, go down to textures. Let's turn that off for now, go back to the sub to go to Zip login. Then we paste this in there. Let's do past UV. Let's start by doing Delete UV first. So we'll just make sure everything is clean without any issues. So delete UV, Zip login, past UV, under the for it says to fork again, more fv. Yeah, it should be upside down. That's what we want. Then go back to poly paints. Let's do poly paint from polygroups. Select that again. Maybe let's even do a different color. Let's do a different color for this. Then do polypaint from polygroups. Then under texture, we can do new from poly paints, then clone texture, then go over to texture, then we can do flip V. You're going to flip this the correct way I want it to be now. Then we can now export this out as a texture file. Can I spot this out? Let's just give this PNG format. Let's just name these two. Let's do caps. Let's do MAX UV, save this out. Okay? So saved out now. Let me also save this my documents so everything saved out accurately. Then now let's go and view. Let's go and view that. So it should be in here. Let me just set this here. So we have the mats in here now. So we do we can basically do whatever we want in here now and create this shape in here instead of Illustrator. So what we're going to do next. See you guys in next lesson. Bye for now. 43. 42 Metal Mask Alpha In Illustrator: Welcome but guys. So in the previous lesson, we created the U Vs for this max piece in here, this meta max piece. In Illustrator, we're going to be creating the patterns and then putting the patterns back into Zbrush and then extract out some of this detailed pattern in here. So let's do that. So I'm going to create a new file. For this file, to give the file the same texture resolution of that particular texture file. So kind of similar kind on that one, but nothing too different from what we had before. Was he going to make adjustment to that eventually? Okay, so I would select it. So the detector resolution for it is 449-61-4906. So let's come in here and then adjust that to merge that also too. So 496 copy that. Piece this also in here. I think that's pretty much fine. Let's just click on Create and give this a moment to create it in here now. So let's drag and drop the texture file in here. So you've noticed that it's not even really matching. It's not matching. So we need to kind of extend this M to shift out, kind of get this to match as closely as we can. Okay. Right, that's fine. Okay. Though are preferable way kind of gets this even more accurate would be to bring the UVs back to bring the UVs back to let's say Marmoset Toolbag then we can bake out a UV island for it just to get this a bit more accurate. I think that's better because now we're having this edge bleeding out. And even though we kind of shrink this we shrink the UVs instead of side of Zbrush not entirely sure if this is going to be matching completely where our UV mesh is in zero to one space. So I think for us to be a little bit more accurate with this, we can just make a UV island instead of Mooset two back. So let's do that instead, get a bit more accuracy on the actual size of the UV is in zero to one space. So to do that, we need to kind of export this out. Let's say spot this mesh out. Let's go over to preferences. Preferences, important exports, under exports. Don't off Tunnel Smooth normal. I'm not going to export this as an OBJ. So I'll just come down to Z exports and just rename this to Max. Okay. Save that. Then we can open up Homoset to Bginia and then we can just big UV Ilan for this. So Momo sets Momo set four. Alright, so we just need to import this marks in here. So let's go over to before that way we exported that in. Let's see. Max, drag and kind of exported this out to the texture file also. So let's just import the mark in here. Okay? So basically, what we're going to do is to duplicate this. Then we go to bake new bike and just drag this to the high drag this duplicate to the low, and then we should be fine. Let's go back to baking property. Specify what we want to big this into. You can big this out here. Let's do a PNG instead. Let's do two bag. I just name this to Max Max. Yeah, that should be fine. See if that it's going to rename that based on the texture map will be out for it. So for the padn use none, don't want any padn for this. Okay. Then let's see all of this is set up properly. Let's go over to configure. So for the configure in here, we just need to bake out UV island. So let's turn off material ID. So we just need to be out UV island for this. That's all we need to bake. Turn off UV island. Turn off normal. Yes is fine. Let's make sure you're baking a Fok resolution. So let's find resolution in yours. To set this to FokiRsolution in here. And then we are good silicon bake so it's done it's done baking, let's go back to that folder. We should be able to see we should be able to see it in here now. Okay? It's still, I can see an issue in here because it's still not shrunk down. It kind of still kind of in the same occupying the same space in here, which we don't really want so. We need to put another extra step by bringing it into Maya and then make this a bit more make it a bit more accurate, so Let's import the marks in here. Extra necessary step just to get this as accurate as possible because we're also going to be importing this into Z brush and I want it to be directly on the UV. And it's important to kind of get it as accurate as possible and in the right zero to one space. So Z exports, let's bring this in here. Okay? So this is the shape. Then we'll go to were already on UV Editor already. So let's open UV editor, UV shell. So it comes with texture, obviously, we don't want that texture in here, so we go over and then delete this. Okay. So it's deleted now, so it's not going to be applied anymore. Then we can select it, and then we just shing this down. Let's go over to arrange layout. Let's do layouts in here. Shing this down around this search would be fine. Get this roughly around the center part of this. Maybe scale it out a little bit more to compare more of zero to one space. Here, this is fine. This will work just fine. Then I'm going to export this back out. I'll save this. Save this file. I'm not to export this back out and then replace replace it in here, go to Z exports, replace. This pot aler mesh now we are going to be bringing into, I think it's supposed to actually update because Marmoset Toolbag actually updates the mesh. Actually updates the mesh. I believe this should have updated. Let's test it out. We test it out, but I strongly believe it has updated. Let's go back in here and then delete delete or put this in a different folder. Let's put this in a different folder. Let me just leave this up. Let's drag this into, let me just delete this instead. Be already has a name. Then let's bag this again, already have VL and in the already fk is already set. Let's do a big again. Now let's go back to the folder and let's see, perfect. I can see it now, is now accurately centered, just the way we want it to be. Now we can actually import this now to Illustrator and we get this working a bit more. I can work on it now, let's do that. I'm going to I don't need this anymore. I'm going to close this. We don't want to save this. We're not saving it so close all we can delete this too. But one thing we need to do is that in Zbrush, you need to update update the file actually, just update it. So I'm going to turn this off. Okay. Then off right. Gondaply paints. Okay. Let's make sure everything is all set up off, right. Then go back to our soap to turn this off. Let's now replace that. So Imports, we can now easily replace that she can capture the new the new UVs now should be captured in here without any issues because if we export this out, if you export this out, getting the same UV. Once export this out so this is completely fine. This we can work with. Okay? So, let's move on. So let's go back to Illustrator, update. Let's update this. Okay, let's replace this. No, this is texture file is this. Let's replace this with this. Yeah, perfect. Come on. Sin I've lost Okay. So this is what we actually need. Let me just move this way a little bit more, extend it out a little bit more. This is perfect now. Now we can now begin to start adding our detail on top of this. I'll go over to layers and let's lock this layer first so we don't accidentally move it in any way. They will come over. So our main reference and then start creating the shapes in your son. Let's start with the rectangle shape. Let's get this rectangle shape directly on the center. Trying to figure out the length for this though. How wide do I want this to be? Okay, that's fine. Then we'll bring out our rulers. Let's bring our rulers for this. Let's bring the rulers, set this back to white. Turn of the stroke. Let's visualize rulers in I believe should be control arrow. Then let's get a line and kind of center this. Okay? Yeah, much better. Okay. Then we can select our shape and move it a little bit more. Let's move this up some more. That's fine with the arrow too. That's fine. I feel like I should extend this out a little bit more. Okay. Yeah, that's fine. Then we can just carry on with this. We see the other shapes and they just kind of block out the major shape because they actually actually a lot of shapes in here. So let's go see another Y shape that comes across this way. To do that, I will just use the pencil and I'll draw something out around here, so it's end to apply that put it to stroke and then let's increase the stroke for it. So we do 40, I think we need a bit more. 60. Yeah, 60 seems like a good one. Now for this, would you need to work on one side and then we can mirror this side to the opposite side. So that is pretty much what we are going to be doing. Okay, so now we have the shape now. Let's create another shape in there just gets those separations in. Okay? I see another ship that comes in across Sea down. So back to the Penzu back to the pen too, we would let's see the ship comes across from around let's see, around trying to be a bit careful here around down year. Then all the way down down ships and create this ship down here, Enter to apply that Okay. Then we have another ship also in here. Sounds actually quite interesting. So it's kind of ungod this way. Then all the way. Then all the way around here, enter to apply that. So we have space in here another we can create additional ships. Okay. So this shape should be from here all the way. That's fine. Enter to apply that. We have another shape that comes in here, but doesn't touch this white shape also. So put that in there. But it needs to be thicker. So this battle is actually thicker, so let's get it thicker. Let's do 80 instead. Okay? That's fine. I think I'm going to rotate it and move this down some more. Okay. Extend it out a little bit more. Yeah, should be fine. I think this I need to rotate also as well. Okay, that's fine. Yeah, so moving on, you can see, let's just create a shipwrek I feel the eye should be. So we're going to be using an ellipse in here, so basically just kind of block out where I feel the eye should be. Sed this to fill, then move this upward. Okay. Down here should be fine. Right, let's squash this a little bit more. Right. Extend it out some more Yeah, I think around J should be fine. Around seems fine. Then I'm going to come uplose here. Let's use the direct select to select this. Come on, select these points. We can actually move the points here because we need to convert this into a field. So let's convert this into a field to expand. Click Okay. So now we can get the points in here now. So can sleate these points and we can move this up a little bit more. Move this out, select these points, move this up a bit higher. Okay. Select up a bit higher should all the way around here, should be fine. Okay? That seems fine. Alright, that seems fine. Just trying to break the uniformity of It a little bit more. Let me leave this up, rotate. Okay? That is fine. We also have a ship in here. We have like I believe a triangular shape in here. Let's flip this. Then rotate it this way. Yeah, that should be fine. So just kind of slowly build up slowly build up the shape you need for this. I think I'll bring this down a little bit small. Okay. Cutting down some more, that should be fine. Then we go back into our strop. You can see ship around here. Ship around here. Let's try and create that fis more, let's like a triangular shape also. Let's see how far as far out as in here. Okay? We can create a shape here, go all the way here, and then create some kind of curve around these parts. Yes, it's like, so it should be fine. That will work just fine. Okay. So moving on we go in and flip this to stroke. There's a shape that comes in here all the way that shifts. Oh, when it takes two instead, let's go back to pin two. Okay. I think from here, how do we close? Let's see. Oh, spot own is actually interesting, so we come down here. Then we do let's scroll down kind kind of guessing a little bit tricky but we make it work. Okay. Rotate this, flip this rudder. Then we go down all the way. Okay, I think it comes all the way to these points all the way to these points. Let's see, uh, around here should be fine. Okay? We can go all the way. I think we can go all the way out. Close this. But I need to say this to whites. It should be on full white. Click Okay. Then We can set these two and bring this closer, increase thickness for this, let's do CT. Yeah, it should obviously be more, but that's fine. We'll fix that. There's still a lot of fix we can also do in here. Yeah, so now we can convert to make sure this is stick enough first to begin with. Make sure that stick enough, right amount of thickness. This is the right amount of thickness, then we can go in to objects, expand. Okay. Then we go to direction select, direct select. We would select this and do that. I want to select these points here. Around, so when I would select these points, we can get this in around here as well. Select these points as well. That's fine. I will work just fine. Okay. So moving on, moving on. Going to kind of clip all of this out in Photoshop, but that's fine, just carry on. Then we see another point, another edge that goes in here. So rotate this pen to. You can see an edge around here. Can just say this in here, its enth apply that. But we need to increase the thickness for it, select it. Use thickness of Let's do thickness of 60. But we need to make modifications to it. So let's convert this to rather I expand this. Click Okay. Then come in close, select need to select these points, extend this out. Extend this out some more. Okay. Maybe that's way too much. I can see smaller ship in here. Let's shing this down some more, shing this down some more. A bit more. That's fine. Go back to penhip additional ship in here. So that's going to capture the essence of this ship in here, old way here, and the way down here. Flip this, go back to select. Select the shape again. Let's do 60. No, 60 is way too mot. Let's do 40 instead. You're boosting to we need to make modifications to this. So we can do modifications to this by expanding the selects. It's supposed to be like a span in here. Spans supposed to be around here, but it's not, let's just go over and expand this. Click Okay. Okay. Then we would shing the top. Let's get this a bit smaller undo that. Select the points, shing this down some more. Let's do something like so. Okay, select these points. Do that, select these points, extend out, select these points. Move this down. Okay. That should be fine. Select these points. Let's do something a bit more interesting. Let's push this this way. Okay. Select these points around here should be fine, a bit closer. Maybe too much. Just bit too much. Let's do around. Around here should be fine. Okay? So control zero to zoom out. So we're going to continue the next lesson and then keep blocking all of the details for this. I'll see you guys in the next lesson. Bye for now. 44. 43 Metal Mask Alpha In Photoshop: Welcome bad guys, so we're still on kind of creating the parts and inside of Illustrator. So let's just let's just carry on and then keep working on that. Come on. Okay. So we have done this, we think we need something on here. But before I do that, let's fill up this piece. I feel we need to fill up this piece just to compensate for what we have not really done in here. I'm looking at this, now I feel I need to make some adjustments in here. For one, I'll select this and bring this down some more. Okay. That should be fine. Then I'll go over and then add points at ankle points. Add the points in here. Sled out points. Can just move this around here like so. Okay. I should be fine. Then I'll go back in. I'm going to kind of make this feel a lot more like my own, but then some modifications to it. So by doing, you can start by adding a modify shape in here, something that goes across all the way. Okay? Around there should be fine. It's enter to apply that then I'll go back to direct select, select these points, and move it in this way. Okay? That's fine. Let's fill up the gap we have around here. I would like to let's just create another straightforward shape in here first. Enter to apply that. Okay? Then let's create some thickness for it. Let's sisti All right. The sister should be fine. Then go back to pin two. There are a few things we need to do here to begin with. Okay, so I'm going to tap, tap, tap around here. Okay. Go around here. Flip this to fill. Okay. I think on the last step, do the last step. Let's go far out a bit more. Set this to fill. Okay? All the way out, this should be fine. And go back to the origin points and close that up. That's fine. That works just fine. As in the ship in here in the ship in here. So we can still use the same brush. We can just do something like so Okay. Close this up. Yeah, that's fine. We can work with this. So let's go downwards. Let's fill up these parts. So the same pen to. For the most part, the pen to do most of the work for us. I think we need to select these points and then get this out, create some Oh, do that. That should be where it is actually, so leave that as it is. Let's start creating shapes in here. You can see triangular shape in here. Okay. Let's do creat a bit more gap. Close this up. All right. Now, this one actually looks interesting here, so we're still going to use the same pencil. We will do a shape around Let me move this fill. Move this fill. We'll do something like so Okay, do that. Let's get this done some more. Yeah, it should be fine. It should be fine. Enter, move to. Then let's select it again. Add a bit more thickness to it. Okay, push this forward some more. That should be fine. Then I'm going to create a shape inside of this. Not a few shape precisely. Let's not create a few shape. Let's just do another shape like this inward. Okay. But this time around, I'm going to take down the stroke thickness for it. Let's say this to 40. Alright? Maybe 40 is actually a bit too small. Let's do 50 instead. Let's do 50. That's fine. Okay. Then we would create No, let's just use the same pencil. Pen do we enter to apply that do that actually. Let's go a little bit higher. Okay. I think we can continue on. Going to clip all of this out at the edge. Let's just do something. Undo that. Undo that. Let's get this down here. Okay? Around here, all the way down here should be fine. Enter to apply that. Yeah, that's fine. Okay. So kind of feel. Okay, we something in here, something needs to be in here. Let's zoom out a little bit small. Okay. I need to move this forward some more. Let's go into select two. Let's move these points forward a bit more, make it slightly ticker. Let's make it slightly thicker than it is right now. Let's do seven instead. Let's move this forward. Yes, I think we're getting something interesting in here already. Guess we can work with this. Okay. Let me select these points, move this out some more undo that. Get this where it should be down here. Okay? That's fine. Okay, so back to de pensu. But to dependsu, I think there's a shape around there. We can easily create that. Let's just steal this old oats. Bring this down here, squash it some more. Squash it this way. Yeah, I think should be fine should be fine where it is for some more Okay. Let's see. I think I think that should be fine. So back to the pens. You can start creating shapes. Undo that. Let's go further down. Okay. Do that. Let's go all the way. Then, then swap that. Okay? I'll eat enter to apply that. Then let's make sure we have some thickness going in for it. So 40. Let's do 60 instead. Yeah I think this is fine. Let's just squash this down a little bit more. You can actually see the tip, bring this out a bit more, else is fine. Yeah, this will work just fine. We go back to the pen to. We can just create a shape inside of it, Enter to apply that with another shape inside of this. Do that, let's move forward a bit more. You should be fine. Enter to apply that. Let's do a shape in here enter to apply that. Then for this, we can do a fill undo that. For this now, we can do a fill. Let's do filling the air. Close this up, flip this. Here, that is fine. Okay. So let's same on the lower part, go back in there to depend and then let's create sink the shape goes in this way. Flip this. It's enter to apply it. You need to add some thickness to it. Let's do sisti Okay. That's fine. Hot duplicates it, rotates it. Let's do sets. Set it where I feel it should be around there, get another copy. Another copy do that does get another copy. Get another copy. Let me move this distance this way. Okay? You should be fine. We can do a fill in here. Let's say this to feel can just create a triangular shape and do that pen to Let's just create a triangle in here. Collar this gap, that's fine. And let's go up and then finalize on this top piece. A little bit difference, some difference in here, though. But there are more intricate details inside of it, actually. So for this, I think eventually, eventually, you might need to kind of use some Zbrush bro kind of art cuts in between in between you, too. Okay. So let's do that. Let's create the shape we need to have in there first. So the shape comes in all the way across, I believe, around here. Okay, then up up around up around here, then it goes up a bit up a bit higher all the way this way, then colla ups this. But we need to make modifications to this. Let's go to select. Let's select this points. Okay? A little bit more. That should be fine. So let's create a shape that comes in around all the way down here instead. So we can do sipenc Okay? Let's do feel instead. Let's do feel instead. Okay. Oh, I see an interesting shape in there actually. Let's come around her. Do that. Let's come around here instead. Then we can do a ship this way all the way up down shift. Then close this up. It ends out to apply it. All right? That's fine. Also have a ship around. I think I would like to extend this out some more actually. Let's extend this out this way. I think that's a bit much just a little should be fine. It should be fine. Go in Let's start from here. How do we do we. More or less like a triangle shape in here. Okay? And to apply that. Yes, I think this should be fine. We can create shapes in here if we need to. But I think this one we need to get it closer closer this way. There should be gaps in between. Extend this out some more. Yeah, that's fine. Then let's go back to the pencil. Say this to Stroup. We can do something of this nature. It's apply, then we go back into Zadi on Stroup. Move brush, select it again. Let's add some thickness to this. Let's do 40. Yeah, 40 seems like a good one. 40 seems like a good one. Then we need to go in and begin to add some some separations in between. So additional ships in between, actually. So let's do that. So back to the same pen too. We can just kind of follow the same pattern we have in Pena to apply that. Okay. To apply that. Can do a small one around here. Okay, we need to make modifications to it. Select this point, move this down some more. Yeah, this is fine. This is fine. This This will work just fine. Except we need some cuts in between these, though. Um we can do. Let's say we select this for now, let's flip this and give it this instead. Lift it up some more. Then we can go inside of it and then just manually create an interesting pattern india. Actually, a very tight pattern India should be fine. Okay? I think all they should be fine. Okay? Kind of like how this kind of poking out on the y bot, it's going to be an issue in zebra, so let's squege that back in or better still we can shrink this. We can shrink this. I shrink it way too much. Let's do a value of 30 instead. Okay? Squche this down. Okay. I think this would work. This would work. Is there any kind of make any adjustments to this? We can always go in and then. What easily do that? Except me, yes, yes, we can do that. So we can flip this now to the opposite side. This we can flip to the opposite side. I'm going to select all of these this way, put them in a group. Then rightly condemn Let's do reflect on the transform transform, let's do reflect. Reflect with its copy. Okay? Then we just down shapes, move the copy to the opposite side. Okay? Get it even closer. Okay. Yeah, this should be fine. This we can work with in here. Except for, I think we can work with this. So we need to kind of import this into Photoshop now. So let's open a photoshop. All we need to do now is to import our texture file in there. So it's a texture island drag and drop this inside Photoshop. And then we would get something working in no time. So, yes, this is fine. Let's unlock that, get that from the view. Let's go back to Illustrator. Then we'll grab all of this. Okay, grab all of this, Control C, and go back to Photoshop, Controg V. Then we want to pase a smart objects, that's fine. Come on, okay, Zanie now. We just need to accurately position this way. It needs to be enter, apply that, move this up a bit more. I think we also need to kind of think drag this down, So should be fine. Okay, up a bit more around there, as well. Becomes just get this perfect where it needs to be, but I think it fine. Eat enter to apply this. Then we go into the lower layer. We can do a let's do magic grab. Come on. No, This is not the magic magic wand, grab this red color in go back and turn on the vector shape, then we'll do a Control J to get a duplicate out of it. So now we can see this now directly inside of the mesh, which is precisely what we want. So for this now, we're going to add convert this to a smart object and then we let's d the lower parts, create a new layer, get this down, flip, get it to full black. Then it going to blow the edge a little bit more, egg needs to be blowed out some more just to get sound some smoothness on the edge. So let's do gosh and blow. Okay? If it does we too much, let's tune this down some more. Click Okay. I'm going to come in close. Let's see if this is the right amount. I think this is fine. This is fine. Doesn't need to be too extreme. I'm going to save this out. Let's save this out. So this is going to save this out as a PNG. Save it as a PNG. Then we're going to import this back into Z brush and then get this extruded out or inflated out. So PNG, let's do PNG instead. PNG. Let's do let's name this to meta Max. Or else name this Alpha Max instead. So that should be fine. Click Okay. The next step would be to come, okay, save this. Next step will be to come into Zbrush and then import that in and then get this extruded extruded out. There are actually a few ways to do this though. Actually a few ways to do this. So we can we do this in a more precise way. So just to do this as precise as we possibly can for this. So Okay, so Zbrush now, but before before I can get this in, there's still a few things I would like to do in here though. There are a few things I would like to do. Like, for example, it's to create a more earpiece out of this. Then we're going to merde of this down and then work on it a bit more so. I'll see you guys in next lesson, bye for now. 45. 44 Metal Mask Ear In zbrush: Okay, welcome back, guys. So in previous lesson, we kind of finalized on creating the pattern for this meta mark, so I'm not seeing here that we have a ear piece that comes out of it, so I would like to I would like to get that in place. Let's create something that should capture the air in there. I'm thinking I can do. Let's just create it from scratch actually. Let's use. Let's come over. Let's use this pols fare. So we just do one side and then we'll flip it to the other side. So to do that, let me get this out first. All you need half of this. I don't need the entire outing, so let's grab half of this Control W to give the separate pool group. Then we'll do it delete ding but let's duplicate of this mesh. Okay? Then let's delete Eden. So under geometry, modified topology, deletes dent, then I'll need to squash it down down completely actually. So let's center this, make it completely flat. Okay? That's fine. So just to use the move brush now and then let's get something that looks somewhat like a year in there. So we would just pull up, come on. Move brush. Let's pull this up. Okay. That's fine. Do that. Let's get this lower part a bit flattened out a little bit small. Get enclosed. I think this should be fine. Get this way. Okay? Let's do Let's don on double sided for this double side. I think this should be fine. Let me just make sure we kind of shing this in some more. Let's make the top part to be sharper. Yeah, it should be fine. Then I'm going to add. I'm going to add, so I'm going to kind of put a a loop actually around the middle point just to hold that sip a bit more. I smooth this out now, I should be getting something like this. Okay This is actually fine. You can actually work with this though. This is actually fine. So let's do I have subdivided this. Let's keep the subdivision level we have in here. Let's keep this. So delete lower. Yes, delete lower, okay? Yeah, that should be fine. It's not net we need to do to add some thickness to this. Let's add thickness to this. So I'll go over to dynamic sub div. Okay. Turn off, take down the smooth, increase the thickness for this a little bit more. Okay. Then we can use our gizmre and do that not yet. So let's apply this out first. Let's apply the supply. Then we can do a bit of work kind of scale this out some more. Scale it out a little bit more. Okay, that's fine. So we need to kind of fix through the outer edge. So let's do B Okay. I think that should be fine. I just need to extrude out the edge, so B, Z M. Let's skip this. So we need to be on the edge loop. Let's do extrude and let's extrude. Poly loop poly group. That's what we need to extrude. I'm just going to extrude this out more. Some around there should be fine. A little bit small. Okay. I think this should be fine. So I would like to push this in. So let's go over to let's make sure on the face mode, and let's do polygroup island instead, so flat polygroup, so it should be the one. So I'm just going to let's use let's just push this down. Not too extreme. I think somewhere around here around there should be fine. So let's add some insert on the edge around here also. Outwardly, also to here as well. Let's do one in the middle. He should be fine. Let's go through the back piece also. Let's do one here and here. Okay, I think this we can actually work with, can definitely work with this. Yes. So you just now kind of set this kind of pull this where it needs to be. So let's just turn off symmetry for now. Shift F, scale this down. Scale that down, move this all the way, skil it up some more. Rotate it this way, a little bit more that back in all the way to the back. I think around there should be fine. Yes, around there seems fine. So that's kind of mirror to the other side now. So mirror to the opposite side. Now, I'd like to merge this down with the edge lobes edge in here. So let's make sure we send this down, shift, select that down. So this, I'm going to merge it down. We have sublution let's take down the subution level we have in the delete ier then let's merge down. So do a merge down. Click Okay. So ship he. So this is now completely merged down to as one single piece. And I'm going to scale it out a bit more, pull it back in, like, so Okay. Yeah, this should be fine. Yeah, this should be fine. Shift F. Yeah, we can definitely work with this. Let's do auto group also actually in your son Auto group auto group, select this group for the selection and then scale this out even more. Bring this back down. Yeah. Yeah, that's pretty much it's pretty much fine. It should be fine the way it is. This I can work within here, then I'm going to make a duplicate a duplicate of it, drag this duplicate up, select this piece, make a duplicate of it also. Then that then I'm going to merge this down. Let's they merge down. Let's measure of this down one single. That's one single piece, so they merge down again, merge down. Okay. So all of these nice now one single piece, which is fine. This is what we need. So now we can now subdivide this as much as we want to get the extra, needs to be subdivided quite a lot. In not too extreme, though. I think 3 million should be fine. Let's see. Let me and control. Shift select this piece. Let's see, we have 1 million for this. I think we need one more. Let's do one more. Subdivide one more. Okay. So this now should hold. You can see gaps in between here and we need to fill up. So let's go to lower subdivision level. It the mark, invert the max. Then with the move brush, the move brush selected, turn off dynamic. Then we just need to get close, take down your brush size. Okay. Just basically trying to cover up any gap we find in between these rights. Yes, I think should be they should be fine. Hope a little bit more. Yeah, that should be fine. This we can work with now, okay? So next lesson, we're going to go in and then bring in the Alpha we created and then kind of extrude the Alpha out of this source. See you guys in next lesson. Bye for now. 46. 45 Metal Mask Inflation In zbrush: Okay. Welcome back, guys. So in previous lesson, we kind of created the earpiece. So now let's input it in. I've already saved it out on Photoshop as a texture file. So let's import this in, so I would just select Let's do okay. So I go to the highest subivison level. So let's create a layer for this actually. Let's go to the highest sublution level. Then let's go over to layers. So layers. Then we'll create a new layer in here. Okay. That's fine. Then we want to name this layer too. Let's name these two. Let's use all caps instead. So how far. Come on. Let's do how far max. Okay? That's fine. So then we'll go over to let's come down to Oh, just one thing though. I'd like to make sure I'd like to make sure our UVs are still in place actually. Can I move this This action layers. We have layers in there, so I'd like to let's delete this layer for now just to test if our UVs are still in place. So more UV. I should I actually be doing this on lower subdivision level, actually. Anyways, should it should show us what we need. Okay? That's fine. Okay, then let's exit this more UV. Alright. Okay, so now let's go back to the we're still on the subdivision level, then we can create a layer in here. Then we can rename the layer. So Alpha Max then we'll go down to texture map, Shift F. So new texture. Let's import the texturing in instead. So Import. Let's import the Alpha. I believe this is the Alpha max. Okay? So you can see how we kind of get this directly on the mesh. Yes, this is actually fine. This is actually fine. Though we have a few gaps in here, but that's fine. For these gaps in here, we can create something unique around those spots. That will still work just fine. We can leave it as it is. That will create another tr level of detail for us. But for the most part, I think I think this is actually fine. Yeah, it is actually fine. Now the next thing we need to do will be to extrude this out. Let's extrude this out to do that, we need to go over to maxing then we'll do max by where it says, Let's do max by color. We do other marks by color, we do max by intensity. Is it done already? Let's confirm if it's there already now. So we'll go over to Text shore and we'll turn it off. So it's there now, so we can see clearly what you kind of created now is in that texture file into an actual Zbrush max in here. So with this now, we can now do an extrude. Let me just make sure everything else is excluded. Okay, this part is maxed out. That's fine. Okay? That's fine. So let's go over to deformation. Next we want to do in here will be to inflate this lets. Let's do inflate. Okay. Let's see, but you want to be careful though. You don't want to do not want to push just too much, and then you begin to have weird deformations on the edges. Almost like something like this now. So I'm going to undo this. Let me just blow out the mark just once. So tap on the surface to blow out the marks a little bit more. Let's even try the inflate balloon. Let's see what the inflated balloon actually does. This might be too extreme. But I just wait and then give this a moment to load up. It doesn't actually do much, though, so I'm just going to go back and stick with my inflates. Okay. Maybe we should inflate this a little bit more. Or maybe not. Just checking just to see. Checking just to see if I need to inflate this a little bit more than what we have right here. Okay? I think as far as this go, this might actually be just fine. Maybe let's say we do instead of inflate, let's come to our Gizmo and then put things out a little bit more. Okay? Yeah, I think it should be fine. So if I should clear out the mark, we should be getting something like this. Yeah, this is actually fine. This would all do just fine. But it's going to make probably a little modification to it, though, or maybe not, but I think it should work just fine, actually. Okay, so this we can work with. But we need to make some let's say, a little modifications in a few places. So let me undo this and bring back the mark. Then I would invert the max. So I turn on symmetry for this asymmetry is turned on. Let's go to the I think we can use the brush. Let's just use them standard brush. Let's just use the fourth brushes in here. So Dam standard brush. We also have deco brush Deco brush, won't do much, not really. It's not what I'm going for in here. So Dam standard should be just fine. Basically, I'm just going to let me increase the brush size a little bit small. Turn off dynamic. Let's turn off dynamic in here. Take down the brush size. Then I can just add cuts in this way, same here and do that. Anyone that is a bit straight on this, then I'm going to do something like so, something like so here as well. Okay. Yeah, I think that's fine. Just to add a little variation to it. Do that. Let's do something that goes ig zag this way. Yeah, that's fine. We'll do the same thing also around here. Let's do something that flows this way instead around here. Alright. Yeah, awesome. Seeing that work just fine. So we can before we clear the max, I'd like to do some details for this year piece. So undo that. Let's do okay, undo that again. Undo that. Let's use Lazy Mouse senior to get something straight. So increase Lazy mouse radius. Okay. Yeah, that's a good starts. Reduce the intensity of the brush. Then we can no that let's do sharp lines. Undo that. Okay. Okay. I think around there should be fine. Let's do the same also around here. I think this should be fine. You don't necessarily need to go to extreme in there. I think something like this should be fine. I can tighten it so let's do PI to use the pinch brush. Do that. Let's do it with a bit more precision so it. Tighten all the edges a little bit more all right. Yeah, that's fine. Yes, this is fine. This we can work with so we can clear the marks now. So we should be getting something like this. Awesome. So now into just to move this back to the other canvas. So let's do that. So to do that, we can we can just copy this entire sub too cause every single piece there is in one sub too, so let's just copy this copy this, then we'll go over. Feel like I should kind of add a ship in I feel like I should add the shipping year or better still, better still. Instead the shipping year, we can inflate what we already have in here. So let's go to a lower subution level. Go to lower subdution level, then we do let's inflate BN. Then we'll just inflate this this way, Let's see. Inflate this a little bit more. Yeah, I think this should be fine. Yeah, this will work just fine. Then we can go back to the subdivision level again. So now holding holding up quite nicely, which is what we need. Then let's copy the sub two, copy the sub two. Let's go to our original CTA or I believe in okay in here. Then I can let's hide this. We don't need this anymore. Let's paste that sub to in here. So on the same sub menu, we can just do paste. Okay? Yeah, let's paste it in now. Then just to move this where it needs to be. Let's go to lower selected. Let's go to lower subdivision level. And move this way. We need it to. Squash this down. Turn off symmetry for this. Move this forward. I think we to kind of make this even thicker. This edge piece a bit ticker, but we'll see. Yeah, let's actually make that ticker first. So let's do Control Shift click on this. And then we'll just extend all of this out a little bit more. So more should be fine. Okay. Shift F. Then we can easily move this where it needs to be. The scale just to be sure if the scale is no bigger than what needs to be move this in. I think this scale for this is too big, reduce this down a little bit more. Move this in place. Should be up around here should be fine. Scale this down a little bit more. Move the this way. I think the I created for this might be too might be too high, but we'll see, let's just rotate this rotate it this way, push this down, rotate, push down some more. Okay? Yes. Rotate this way. This way, it should be fine. Push this down some more. All right. Just kind of get the right balance for this, rotate this in, pull this out some more. Right. Yeah, I think around there should be just fine. Then let's go to the highest abbation level. Okay? Yeah, I think that should be fine. Based on the reference image, it's all straight on because this is like two D. So it's kind of perfect this in three D. It looks slightly different. Definitely looks slightly different. So let me just rotate it this way, see if we can rotate this way a bit more. Okay, that's fine. That will work just fine. This will work just fine. So the next we need to now will be to add more like create an indentation in here. It's kind of create a pocket piece. Then we're going to have a bit go in there and across. So let's do that. Come in and then select this mesh. So now we can subdivide this n bit more and create a layer for it. So let's subdivide some more Okay. I feel like I should make this even higher, so let's go to lower subdision level to begin with. With the more bro selected, we can extend this out some more up a little bit more, okay? Then subdivide let's subdivide some more, maybe up to 1 million should be fine. Okay, and 2 million should be fine. Okay? Yeah, we can definitely work with this. I'm going to create a layer for this actually. So it's also to keep the hi bits organized, create a new layer for it. And I'm going to name these two bid parts. Alright, so but let's first start by creating the pocket piece that needs to be in there, so with them standard brush. Us the brush size. So I believe we should be somewhere around. Let's do somewhere around. Oh, B size, reduce the brow size actually. Let's do something across this way. Okay. Let me solo this. Since we have everything here now, we can go in there and do a little bit more work. All right. Undo that, cre little bit more depth. Undo that kind of straight off. That's fine. Then we can do Let's pinch this in f. So B look for the pinch brush, pinch brush, increase the brush slightly little bit more. Okay. Yeah, like so, and I'm going to inflate the edge. Let's try using this standard brush to inflate the edge. Yeah, I think something more or less like so should be fine. Let's zoom out on the edge, do that a few times. Ppeat this part a bit more, smooth this down. I think it should be fine. Let's go to lower subdivision level. So you need to kind of create a part where this building should be in. So we just need to bid in for this so we can use the standard brush actually to do that. So one year around there, undo that one around this edge. Then we'll just carry this continue this on all the way to the back. I think all the way, should be fine. Let's do, all the way. But we still kind of create this same pocket piece also This pocket scoped at the back as well. So let's go to the highest subdivision level. I'll do that around here. So let's start with the dam standard brush. Basically just going to repeat what we did for the front parts. So let's do bit be on the keyboard, pinch this. Let rent out a little bit more, use this standard brush, create an edge for it. Yeah, that should be fine. Let's go to lower subdivision level. I still on the same standard brush. O out. O out and dig in, Old out and dig in all the way here. Okay. So this is where the building should actually be resting in. Let me create a little bit more depth in there. Okay? That's fine. Let's go to a little bit of an IR subdivision level for it. Yeah, that's fine. So just to kind of create star ratings fares or kind of draw out a curve, and then the curve should be should be having an IM of this office of a police fair, then we can also wrap this around it. So that's pretty much what we're going to do for this. But to do that, we need to go, let's bring everything back out, actually. So I will go back to my sub too. This fair we created. That's fair we created. I don't have any subdivision level in there. I'm going to use this as a base to draw our IMM. Let me reduce string this down. Put this inside of the body. Click Okay. Yeah, that's fine. So it's still selected, which is what we want, it's visible. Then let's go to our IMM brush to be Yes, I am ambrose. Let's do police fair. Police fair selected now, could go over to stroke C curve mode. Okay? We need to make some correction system adjustment to this but for now, let's leave this at the default and then let's reduce the bros. Let draw out where we want this to be applied on. Let's start by dragging out the selection around here. Okay. It's actually working except. It's not following the it's not following the shape a bit more. I draw this a bit better and then also reduce the brow size. So it might get a little tricky here though. So let's just Okay. I think this is slightly it's kind of pushing in, which I don't really like. Let's see if we can do this from this angle. Still still not flowing accurately. Still not flowing as accurately as I would want it to undo that. Let's do some things that's a bit faster. So it's quite faster but I will give you add a little more time to was trying to get it right. So let's just select this piece. Then we duplicate. You have a duplicate of it already? Let's see, I think we have we have a duplicate of it. Yes, we have a duplicate. So let's isolate these duplicates. Awesome, good thing we have duplicates. Then let's duplicate these duplicates also. Yes. Then I'm going to Control Shift click on this piece. Then let's do delete ding. Modified topology, delete ding. Okay? The next thing we need to do is to add a cut around this. So let's look for a good angle for this and add. It's going to be a tricky one thou. So I'm going to use the slice cove for it. So let's do slice cove. Slice cove. Get this frame, zoom out a little bit more. He around there should be fine. Then we can slice this way. Here, there's one.This that be fine. Clear this out. There's another one around here. Get this in view. Yeah, so bring everything back out. I think I need to code this part delete all of this, bring everything back out. Okay. Let's do an auto group also in a Holly group auto group. Oh, come on. I think I need to mark this instead, let's mark this instead. Control doubly to get a separate polygroup. Then let's do delete Eden. So delete Eden. So with this now, we can go over to stroke. We will do cough function, I believe, poly group. So frame group. So let's go back to the IMM brush. Okay. Let's see if this would work now. Yes, this is working just fine. This is precisely what we actually need to do. I'm trying to figure out the sizing for this is fine, no. We need to make this share a bit smaller. Do that, let's make this spare a little bit bigger. Okay? I think this is fine. Is will work just fine. I work just fine. So let's go into the stroke and delete cuve and then we should be fine. So the next lesson we want to carry on and then arrange this cup. 47. 46 Fur Strap Beading In zbrush: Okay, welcome, but, guys. So in the previous lesson, we kind of finalized on the meta max, and they were trying to create this beading that goes into the low pad skin for. So we created this in the previous lesson. We're just going to kind of set this up and then the way should be good. So let's do that. Let's set this up properly. I'm just going to Control Shift click, click, click. Then let's split this out. So let's split ding. Okay? This is the beading. I'm going to hide this. Okay, let's bring everything back out and I'll select the beading instead. Let's go to the move brush. There are still a lot of corrections you need to make in here, but I think at least we have most of the piece we need for this, what's more important. You just make modifications and start adjusting this is the way we want it to be. So this is fine. This is on the opposite side is fine, so we're just going to delete say. Yes. So let's do an auto group. Let's start by doing an auto group for it. Okay. Then I'll try and move this closer to the fk piece. Let's get this down a little bit small. Okay? We'll still make adjustments and then get everything where it needs to be try and closely push this down. Okay. Shift F. Let's see. But the beds are quite smaller, though, quite smaller. But that's fine. I think we can let's see, we can actually shring this down if we need to. If we need to, we can shing this down. I'm just trying to see if the sizing for this is fine. Shift F again, let's do transparency. I'm going to start by moving the parts that we don't need. Let's use the max last so we can work a bit faster. Max lasso, I'm going to max out all the way here. Let's go so first. Control W, give it a single poly group, Control Shift click. Then let's do delete Eden. Let's go over to geometry delete Eden. Then we can get close Control click. C sheets click, delete Eden. He that's fine. Then let's bring everything back out. Let's turn of this transparency. Yes. Okay, now let's string this down. Let's string down the bits. Or maybe if you push it in towards the four makes better sense. Let me just center this. Say shrink this down a little bit more, kind of try to bury it inside of the four. Okay. Shift F. I think this is fine. The building for this is actually fine. I don't need to kind of create SSS for this though. The bidding for this is actually fine. Let's work on the back and then fix this at the back, so shifts F. So the same mark last two, I just going to max out this part, Control W, grato single polygroup Control Shift click, delete Eden. Control Shift click, shift click, delete Eden as well. Okay. Shift F. Yeah, I think, yes. I think this should be fine. So those things kind of start making individual movement and corrections to it. Let me start. Let me start by doing a little inflate or deflate instead, but we're using the inflate brush to do it. Let's just showing this down a little bit more to begin with. Okay, now we can start doing individual movement to this, going to select this move this back a little bit more. Go to the next piece. Move the back so more get in close. So I think this mostly. This is what we're going to be doing actually, just to get them in place. Go back to the first one we selected. Move it in place. Okay? I just going to try and be a bit more precise on this. Let me actually move them quite close out to themselves. Move them quite close. I can do that. I don't add any rope rope bits in between them. Though, ideally, there's supposed to be like a rope piece inside of that, but rope is not actually visible, so we just need to get this close enough. Then if we need to kind of multiply or or duplicate, then we can easily do that. Since we are still on the Gizmo, we can do that easily without any issues. To then move this down some more. Okay? Move this in around the should be fine. Old control, get the duplicate out of this. Okay? Get this close. Move this closer, right. Get a duplicate out of this. Move the next piece, move this out, bring this closer closer, make a duplicate out of it. Move this back some more. Select this, move this closer, move this closer. Select move this back actually, then make it duplicate for it. That's much better. Select this piece, move this closer, move our camera around, moves closer. I don't think we take too much time to do this though. I see something I need to fix in. Let me select old and and select this piece in general. Let's use the move brush. Leave this up some more. Let's go back old and select this piece again. Okay, let me just select this all down control, make a duplicate of it. Okay, rotates. Get this down. Okay? Select the back piece, move this closer, move this closer. Move a camera. Oh, we already done, safe? We haven't done? We haven't done. So let's just move this all the way around down here, it should be fine. Alright, let's go to the opposite side. Move this down. I think we need to do a little bit more working here by moving it down some more. So it's kind of buried into the surface, actually, so I just bury this down. Bury this down. We see bringing it closer to themselves, though. It's important to bring them closer to themselves. Seleg this bury down. Okay? We need to push this back. Then bury this down. Okay. How control, make a duplicate out of this. Move this out, rotate this out, and push this down instead. So this one is supposed to bered down even more. So let's find a good angle for this, bear this down some more. Select this bring this closer, Bry down. Move these out. Move the close make it duplicate out of it. Let's zoom in so that duplicates, move this camera around. Get a good angle on it, move this forward. Around should be fine. Let's move our camera out a bit, select this, get this closer, get this closer, move a camera, make a duplicate out of this. Okay? Select this, move this closer. I think it should go up a little bit more. Let's leave this up some more. It's buried down way too much. Same also as this. Okay? Move our camera out a bit more Get a good angle on this. When this closer, make a duplicate out of this. I just want of mesh together. So we need to separate them out a little bit more. Let's just get a space in here. Then we can space this out, space this out. Space out a little bit more. Okay? Get a rotation around there. I think we need to leave this up more up some more up a little bit more. Okay. Move this out. And all of this is buried down way too much. Let's create spacing in between them. Bing this closer, leave this up a bit more. Move our camera, move this up some more, bring discloser, duplicate it. Select this, create some spacing in between, move out our camera, leave this up some more, leave this up some more, bring this closer, bring this closer, lift up some more, move out our camera. Almost done already. Let me just make it duplicate out of this. Select this. Select this. Let me lift this up some more. Let me move this in in this way, create a bit more space in between them for this to kind of rest in. Let me lift it up a little bit higher. All right, so let's help to frame out, then frame back, close up. Let's select this, bring this closer up a bit more. Yeah, I think this is actually in a good place. When we move brush now, we can now manually move some of this up a little bit more. Okay? So you still have control over it, which is fine. It's good to still have control over this. Then I'm going to shrink it down a little bit small let's use inflates and shrink this down some more. Okay? Maybe that's a bit too much. Let's get this sink around. This sizing should be fine. Okay. I think I went too much way too much. Let's fred this out a little bit more. Okay. Then we can go in and begin to bring some things a bit closer. Let's done auto group clear this out let's do auto group. So under poly group auto group, then we can keep making adjustments to a little more adjustment to it actually. Just moving them a bit closer. Kind of shrunk this down, so we need to go back and then make additional corrections to it. Because I'm trying to make sure it's not too big. I'm trying to avoid getting something too big for it, so modifications and corrections to it are in order. Move this closer, move this closer. Move closer, get a good angle like this. Move this closer, leave this up some more. Win this closer, make a duplicate of this. Shing this down some more, bend this in. Okay. Yeah, I think that should be that should be fine. So it's still fine to still have little a little variation in the sizing for it and bring the clothes to themselves. But they should definitely be touching each other. General idea is just to make them touch each other a little bit more. Okay. I'll make it duplicating here. Move this out. Make this touch each other. That means we is gonna make additional create some additional phase in here actually. But I think we're doing just fine, moving this in. I just need to create you just need to create an adult sphere here, we'll just do that. I think I'm going to make this butler bidding here feel a lot more unique by adding some kind of texture, pel, making it more like a textured, like watercolor texture, peels in here. That will make better sense Llue actually blue texture, peels in here should just fine. Something a bit more reflective. Yeah, that's fine. Let's go to the opposite side and then fix this up also as well. Get in close. Move this closer closer. Move this this way. We can duplicate out of it. Fill up that gap, get in close. Touching this is touching. Most of these are touching around here. Let me move this even closer. Okay. Maybe skill this out some more. Make she look slightly not too spherical. Bing this close. Extend it out a little bit more. Okay. Move this out. Let's do from continuing here actually, select this being disclosed. Close. Okay. I mean in this part might need to kind of create additions, getting close, rotate this, select, move this up, up a little bit more, move our camera and go out some more, being disclosed. Duplicate of this. Let's move up higher rotates a camera view. Bring this closer this way. Move a camera view up. Move this closer, move this closer. Move this closer. Alright, I think it should be fine. Yeah, I think we can definitely work with this. This will work just fine. Clear this out. C. Actually I'm moving off. So we can just rotate this to this way. So kind of it's not bending somewhere else, so let's move this in, rotate it out a little bit more. All right, T trying to get this a little bit as perfect as it needs to be. With the move brush, I can move this in some more. Yeah, awesome. Awesome. This will work just fine. I feel like I should I need to extend this even kind of make this little bit bigger than it is right now, so Let's just go for it. I just go for it, move this up. Okay? Should be a bit more obvious in there. Alright. I think that should work just fine. This will work just fine. What you need it for. Okay. Yeah, let's see if there's something else you need to do in here. I don't think so. Okay. Yeah, this is fine. But yeah, there's one now I'd like to add in here. I'd like to have some kind of like to add some kind of piece around here. Put some kind of piece around his face in front of his face. I don't have the reference for it. Let me see if I have reference for it here actually. I perhaps I have something for it, Oh, not really. We don't really have anyone in here, but we're going to create it actually, just to give it to push the detail for this even a little bit further. It make a lot of sense to add that just to push it a little bit further. So we'll do that next lesson. Bye for now. 48. 47 Horn Rings In Zbrush: Okay, welcome but guys. So now I have the reference I need for this actually a few references, but this is one I'm going to be working with so let me just show you guys the references first. So I'm basically trying to create this own piece in here. Is the on piece. So I would, these are references we need, but I'm going to be sticking something closer to this particular one in here, but with a few modifications to it actually. So I'm making a few modifications to it, so let's get into it. To do that, we would need to I've kind of first thing is to figure out where to kind of hang this. So looking at this now, I feel like I can I feel like I can hang this somewhere around here. Or somewhere around the year, actually, somewhere in here should be fine. India should be fine. So we need to pull out out a little bit more, then I think we have gaping we have a live gaping there that we can actually utilize, okay. There's going to fold or rather fold down around. This part should be fine. Maybe even come down here. So let's get to it. Let's get to it. So I would go back and sell it that police fair. Let's go up a bit higher select this police fare. The one we kind of buried into the body actually. Is buried into the body. So what I need to do is to create another cylinder for this. So let's go over to I think we can actually steal one of these though. We can steal one of these if we need to. Let's see. Subdivision level in there Okay, no, we don't. I believe we can steal one of these. So let's frame into it. Let's start by doing a duplicate hits. No, not yet. So let's just go in hold down Control and select this so down control and then move this out. Then let's solo this out. Okay? I collate the max. I'm going to max out this piece. Max out also Control W to give them the same poly group, select this. Then let's control shift and select it, and then let's do splits Eden. Split ding. Then let's go and bring everything back out. But I would like to delete this Control W, Control Shift click, Control Shift click again. Let's delete ding because I need to work on the left hand side and we move right to the right hand side. Let's bring everything back out again, Shift F. This is a piece we need to work with. So let's scale this out, center, scale out. Undo this symmetry turned on. Let me isolate this again. Okay. Scale this out. Out a bit more. We out of solo mode. But we need to deflate this. Let's defleate this. So let's go over to deformations and then deflate it actually. Let's deflate it more more some more Come on. This might take a while. Almost there. Come on. Okay? Yeah, this should be fine. Probably not so let's just shing this down first. Let's shing this down. Oh, I think I went overboard, but that's fine. We can get it we want it to be later on. Let's just get this, put it where it needs to be and then find a good angle for it. So it should be something rotated this way, scale out some more we need to make a lot of modifications to this. Let's pull this out, rotate this way, come in close, rotate this way, get in closed, move this in here up a little bit more. Let's go and select this bit piece. I need to move it out actually. This symmetry turn on. Let's just create a little gap in between there for this to actually rest. Create a little bit gap. All right, go back and select this, move this in. Hey, I think that should be fine. Let me move this down some more. Okay? Move this up. All right. I think I need to rotate it even more. This part needs to actually be in here actually. This needs to be in here. Let's bend this this way. Yes, I think we're getting something out of this now. Move it out some more. Yes, yes, it should be fine. It should be fine except when you need to let's see. Let me just check the sizing for it. I think I need to inflate this a little bit more, make it slightly thicker. Maya maybe way too tick. Let's reduce this a little bit more. Yeah, that's fine. Go back and select move this out some more. And let's go and select the threading for it. Move the threading back in. Yes, yes. Yes, this I can definitely work with. So now we need to kind of select this. Then we control drag this out. We need a few more now.Tring this down. I think this sago be fine. We're going to rotate this. Come on. We just need to kind of make good corrections in here, and then we should be fine, rotate it this way, move this in up a little bit more. So we need a series of these around this. Okay. Um, Okay. Yes. Let me rotate it this way, actually. Rotate this way. Okay? Shrink it down a little bit more, move this up, bring this up a bit more. Rotate this way. It's actually a lot of a lot of rotation in here just to get it in place a little bit more. Okay. Down here, now let's duplicate this down control, extend this out. Up some more. Duplicate, rotate this way. Just to create slight variations in there. Control, drag this out, move this forward, bring this out some more. Okay? Yeah, that is fine. That is fine that we can work with. Let's rotate it this way. Okay. Then we'll drag this out. Put down control, drag that out, scale it out some more. Yeah, scale it out some more. Okay. Let's shrink this down a little bit more. Just a little should be fine. Okay. Then we would rotate this. I think we need to shrink it down a little bit more. Should be slightly slimmer. So should be fine. Bring this in. I should all of this should go in inside this ring. So let's rotate this. I think my scale is way to be let's scale this down. Move this out, up some more. So just a matter of finding the right angle for it. Okay. Uh, I think there should be semi rotate it this way, push this back in. Okay? So as much as I was trying to get this right I would want to kind of intercept with some other machine there. So I think around there seems fine. We would need to scale, deflect this down a little bit more. Okay? Pull down control, pull another one out. Okay. Rotate it this way. Get this up a bit higher. Yeah I think around that should be fine. Okay. I think at this point now, we need to do poly group for this actually. So we can make sure all of this is working just fine. So under poly group, let's auto group, auto group in here, go back to gizmo, con control select this. Then move this out this way, rotate this way, move this out some more, old and control drag this out, scale this out a little bit more. Just to get variation on this scale, rotate it out, undo that. Let's cent reents rotate this way. **** tf, let's get this at a different view. Let's see if this is working correctly without intercepting and breaking up without machine here. Move this out. This way out some more. Yeah, that's fine. I think we can work with this. Okay. I also need to inflate this a little bit more. Let me just create a slight variation in terms of their thickness. So let me scale this out a bit more. Okay. I think I need to make this rest a little bit more, so let me select all of this. Do this. Oh, come on. I'm supposed to kind of set remove this last slice cove and then set this to select rec int the mark out. Invert the mark get in the Okay. Trying to clear something slightly similar to what we have here. Let's rotate. I rotate it this way. Yes, it's the right rotation for this actually. Then move this back in. But we need to make modifications to this now. Okay? Select this, move this two in, select this, move this in. Yeah, that's fine. That is fine. I work just fine for what's needed for. Okay. Shift F. Just check in. Just checking to see, clear this out. Compare this to the yes. It's actually bogo actually comes out a bit more. I think I would like to make these rings. Come on. Let's do an auto group in here. Another auto group should be fine. Auto group. I'll select this marks them out, inverting max Inflate this out a little bit more. Deformation, inflates that's fine. That's fine. Let me see. I think it's not completely similar. It's not completely rounded, so I think I can break this can break this a little bit more, but it isn't a move brush. Let's use the move brush now and then break this up a little bit more. Okay? So it's not completely rounded. No completely rounded. So this will work just fine. So the net piece you need to create now will be this on piece now. But just before we create the own piece, I'm going to invert that. I think we need to push this back in some more. Let's use the no. Let's hold down Control, select this. This is what we need to push back in. So I'm going to push that back in. Yeah, that's fine. That's fine. Move this up a little bit more. Alright. I think we're in a good place. I think I will need to select let's select Control Shift. Click, and invite selection, Max this out. Invite max, center it. Why not? Oder Control, get this out. Would this shring this down some more to add the same interesting shape to it. Clear this out. But I want to make some variations to it. So back to ply group. Auto group. Okay. Come on. Go down control and select this, rotate it this way, bring this up, select the next one, up some more, rotate it this way, move this forward. So it doesn't look the same as one at the top. Okay? But the max center bring this out a little bit more. Okay. Scale it out some more. Yeah, that should be fine. Yeah, that should be fine. So the next thing you just to create the on that comes all the way around here. I think I will do that in a different canvas. Let's do that in a different canvas. But before we do that, let's mirror this to the opposite side. So under geometry, modified topology, mirror ld. Okay? Yeah, I think this should be fine. Just looking at the silhouette now. Basically just eyeballing the silhouettes. Okay. From this silhouetting year, we have something similar, right? Similar, similar silhouettes. Yeah, I think this is fine. This is fine. Is fine. We need to change direction 94 this is a little bit small, but that's fine. We do that. Let's won't do that now, actually. Let's do that now. Okay, so I'm just going to let's select all of this. Select this also in v max. Oh, I think Let me go all the way to end again. I'm going to symmetry ton off so Ton off I'm lec of this Control W a separate poly group. Control Shields click max out, bring everything back out, invert the max. Let's center it. Basically just to just rotate it a little bit more, make it slightly different from the other side. That's basically what I'm doing. Trying to make it look different from the opposite side. Okay? Yeah, I think this should be fine. Probe a little bit more. Yeah, that's fine. Hey, that is actually fine. I think I would like to do something similar on this side also, too. Just going to rotate. There's good or sent it on the opposite side, rotate a little bit more up some more. Yeah, it should be good. Yeah, this has a better there's a better angle to it. This we can definitely work with. Just to break uniformity with your feet, we can do an auto group in a shift F. Auto Group. Okay, I'm going to let's bring everything back out, Control Shift click. Control Shift click, Control Shift click. I max this out, bring everything back out, invading max, pull down control, and duplicate it to the opposite side. I would like to rotate it all the way this way, then bring this in there. I just get variation in just to get so it doesn't look completely symmetrical on opposites on both sides. So I should actually help. Should actually help. So you can see a little bit different in here now, which is actually fine. So yes, as far as this goes, this is actually fine. So we just need to kind of create the on here now, and then we should be good. So I think we can do that next lesson. Let's do that in next lesson, just to keep things a bit more organized. Okay? So I'll see you guys in next lesson. Bye for now. 49. 48 Horn Base In zbrush: We come about guys. Previous lesson kind of created this ring piece where we're going to be putting in on mesh in there. Let's create your on that kind of fits into this. I'd like to create you on a different canvas. So let's go over to believe this max Canvas in her Okay. Let's go over this. I think I can delete this now. I don't need this anymore, actually. So I can delete this just to save up on just to save up on room space or five size also in here. So deleting that we would I think I'm just going to do an append, append append append, append, append. No, not an appendix stage should be fine. But we can just duplicate this actually. Let's duplicate this instead. Then let's create a police fare to B and then police fair selected Oh, these caps these caps looks like a good one, though. These caps will actually work just fine. Do have good topology in there. I doubt that. That was the issue. I doubt if it has good topology around there, and I need something that has good topology. So let's just stick with the police fare for now. I'll modify the police fare to get what we want out of this. So yes, let's do let's go over to geometry. Let's do mesh for brush. Great. It's kind of it's down. It's down way too much. So this comp comparison size for its way way too small. Way too small. Got smooth brush. Center this scale scale this out by lots. Oh, undo that. Undo that. So you want to be careful, though. Scale this out. Yeah, around this size should be fine. Okay? So I'm basically trying to use something that has good topology around it. But at the same time, I would still like to try, you know, B C. Let's use the curve Curve tubes, cove to instead. Let's draw out a cover around there. Let me just see. Try to see if this cover has good topology around it. Now, there's not good topology. You can see triangles around there. I don't want triangles actually, so I wouldn't do that. Do that, go back to move. So this is the best one to still use. I'm going to duplicate this police spare. Hi this. Let's work with the one down here. So what I need to do now would be to grab the top parts, grab the top parts, Control W. A separate poly group. Control Shift click on this. Control Shift click again. Dubsr is ready tonne, so we'll go over to geometry. No, mistake. Delete agent rather, deletes agent. The next step would be next step would be to grab, clear this out. Let's shift. Let's grab. These top parts invert the max. Then extend, oh, no, no, blow this max. Come on. Do that. It's going to be a tricky one. Not tricky per se, but I think we need I don't add too more subdivision level actually for this. It's better. Is what we need. I'm just going to extend this out to the length I need that should perfectly create a own piece like so. Let's do it from this angle instead. Okay. Yeah, this should be fine. This length should actually be fine. Okay, then clear this out. We can do a's a small polish. There's a small polish. So let's go over to deformation. Deformation. Look, that shins way too much. Nah. So let's do polish by feature. Nope. I still not working. Relax. Nope. Polish crip edge. Nah, definitely not. Actual Polige actually works, but I think before we use the actual polish, let's let's let's add some more segments around across this so BZ et's skip this. Let's do an inset multiple loop, zoom this out. There's quite a lot to be fine. Around this should be fine. This will work just fine. So we have 360 polygons now, which is fine. Then Control W for this, we can now do the polish now. Yes, I think polish should work just fine now. Polish again. It's kind of creating some bulge, bulgy look at the end. I don't want that so Control W again. Let's do polish by group. No do that, do that again. Before we move on, I would like to let me duplicate this for now. G to duplicate. I always do you get to duplicate. Yes, then we subdivide this Control W, subdivide this one more, then I can delete lower. Yeah, this would be fine. This will work just fine. Then what we need to do is to go to A gizmo. Then on the setting of a gizmo, let's do bench. So select this tip. Then let's scale this down. Squash this down first just to get the point look to it. So more. So you should get the point look now. Yeah, this is fine. So you can work with. Then let's add some more resolution to it. Let's do three for now. Okay. Let's go to the side view. Is our side view. A side view. I'm going to move this up this way. If you guys get the idea already, so so this is just basically I would create on for this. It's a lot more accuracy to it. I think this should be fine. I don't need this to be too extreme, though. I think this should work just fine for what's needed for. We can go in and add more resolution to this and then bend this over a little bit more, if this up some more back in some more down some more. I think this should be fine. Okay, so shift F and let's accept this geometry accepts Awesome. So this will just fine for what we needed for. This we can definitely use. Okay, so now we have our own piece now. So the next thing you need to do would be to cover this up, actually, let's cover this up. So I'm still going to using the same is our sphere here duplicate this spare. Okay. I just lift this up, gives up some more. Let's go back to this. I think we need to make some corrections to this. Tonal asymmetry for it, ton of dynamic. Tonal dynamic in there. I need to lift this up some more this up some more a bit more. Okay. I think this should be fine. Yes, it should be fine. Then we'll go back to this. For this, we're going to repeat the same. So let's just max out these lower parts. ControlW, we can Control Shift click, Control Shift click. Let's delete Eden. Delete ding, delete ding, delete ding, that's fine. Then let's max out this out. Let's max out these parts and add the max. Put this out some more, squash it in some more. Here this is fine. Control W. Do that, Control W again. Okay? So we can dot's let's add B. Let's add loops across this. Here, that should be fine. Control Shift. Control Shift click Shift click Control W, do that one single polygroup. Then let's go over to deformations and then polish by group. Little polybgroup should be fine. Basically this is going to be a cap for it. It's going to be a cap for it. Click blow max ton asymmetry, center this orient, squash this down some more around that should be fine. Play this out. This needs to cover this up, get this in, orient a little bit more. Get this in, squash this down. Okay. I think we need to subdivide this actually. So let's subdivide. Okay, before we subdivide, let's give you some thickness. Let's add some thickness to this. Yeah, I think that covers the cap. Yeah, that covers it quite nicely. So let's add some thickness to this. So we can do Let's do Shift F, BZ, no, maybe not. Let's push this back. Let's just do let's just normal regular thickness from setopin so we can actually measure how much we need for this. Dynamic stop div dynamic takedown the smooth, increase the thickness for this. Need a bit more. I think we need a bit more than this. Let's do one point. Great. Going to type, click and combines that so. Let's do two. I feel like we need a bit more than this? Let's do three instead. Okay. Doesn't get thicker on this. Shift F. Control Let's see. Control Shift click, click, click. Oh, wait 10 minutes. Let me go in naturally and see Stickness is for everything. Yes. Stickness for everything, actually. Let's go to a poly group. Let's do group by normus. Yes, it should be fine. Condo ship click, click, click. Nah still not working the way I want it to. Let's go back and I have not really applied this yet. Can we still Can we still get increase the number? Let's do five. I can't even increase more than five. Okay. I think we need to use another approach instead, let me turn this off BZ. Let's do extrude instead. All polygons. All right. Yes, it should be fine. Stickness should be fine, actually. So let's add. Come on. I think two should be fine there. Go back to move brush, bring everything back out. So we need to kind of scale this down now and make it fit. So let me move to an angle. Scale this in. N to fit. Control W or control this kind of add more subdivision level to this. Skill it out some more. Okay. Ton of dynamic, reduce the brows size. Just need to make modifications in a few places, and then we should be good. Bring this closer. Just make this kind of, let me move this out. I, I need to hide this marks. It's just in my face. I don't need to be my face, so let's hide that undo this move this aside. Symmetry tonal asymmetry for this. Extend this out. Asymmetry ton doo now, we can rightfully push this in. But it needs to touch the Come on. It needs to touch the unsurface, so just need to push it back in. This is going to be like, some kind of leather piece for it. So let's just make sure. I was thinking making this metal instead, but we already have metal for the rings, so let's just make this a bit more of a leather piece for it. Okay? Taps moons. Right. I think this should be fine. So you can merge these two together as one single piece. Let's merge this together as one single piece. So let's do we merge. Before we do we merge down. Let me do duplicate of this. Okay. Let me send the downshift, send this down. So this is this. We need to duplicate of this also. Let's do duplicate of this. I'd not so ablution level in there screw down. It's an At ablution level in here, so we can take this down. No, actually, let's delete lower instead, right? So delete lower instead, then we go and then select this on and then we merge down. Let's do a merge down, merge merge down. Okay? That is awesome. Okay? We can still modify this v once. That's completely fine. Let's go over to Pol group. Let's do an auto group. That's fine. Okay. 50. 49 Horn Surface Details In zbrush: Okay, welcome back, guys. So on the previous lesson, we created the base for this. So let's now bring it into our main canvas and then set that up and then start doing some sculpted details on it. So I'll go to Stop two. I'm going to click on Copy. Let's go over here. And we'll paste this in here. So let's do paste. Okay. Well, that is quite large. It looks really weird. So let's just get this scale back to how we supposed to be. Scale this down, get this up. Move this ton of symmetry for this, push it this way, scale it down some more. Okay, out a little bit more, drag this up. Okay. We just need to plug this where it needs to be then move this this way, rotates this way, rotates this way. Yeah, I think that's right orientation for it. Then let's move this I think all the way to the back, should be fine. No, no. I think it should be up to the front a little bit more. Move this forward, rotates. And basically just looking for a good angle to kind of set this in. I think rotate this again, pull down it's intercepting with our piece. I don't want to interstate with the earpiece. I think I will leave this up around there. I think around there should be fine. Let's see around here, rotate it this way, bring this forward. That basically create the engine that should be on top of it. I think we can do well, yes, we can still we can steal one of these. So let's let's go in the Shift F. Control Shift Control Shift click. Let's on auto grouping here, Auto Group. Poly group, poly group, lygroPlyGroup, Auto Group. Okay, that's fine. Control shift. Bring everything back out. Control shift. Click on this. Okay? Oh down control drug. Hold down control, drag Oh. Sometimes it's often you let's figure out what that is. It apen sub visually every in day. So why is it not working? Come on. Something seems oddly wrong. Clear this out. Okay. Let me bring everything back out first. I think what we should do first would be to create a copy out of it first. So let's go down con tres. This will work just fine. Create a copy. Then we can do let's do splits. Let's do split on marks points. Splits on marks points. That's fine. So we can go in and select seats. Sent our orientation on this, bring this in here try get seats where it needs to be in her increase the size a bit more. Okay? Even more. Lift it up, kind of dig this in here should be fine. Get this down so more around there should be fine. Okay. I think I might need to I think I might need to drag this out a little bit more. I think we can do, I think one should be fine. Yeah, one should be fine for this think around there should be fine. Shift F. Alright. Let me move this out a bit more. Yes. So let's just merge this down. Let's merge this down. So shift select this shoot this down. Say with this one piece. A shifts, shoot this down. Then we can merge these two down together as one single piece. So let's merge down. Okay? So shifts he now this antine one single piece, is fine. Get this here. I'll just need to orient it where I like it to be Shift F rotates. Okay. I think this would actually work. This would actually work except if let me just see. I want to try this put this down first. Let's say around here. We get this done around there, how would it affect the entire mesh or back where it should be. Let me scale it out a little bit more. I'm just trying to find the right scale and the right positioning for it. This is a bit too extreme. Let me leave this up. Let's say we have this one's going to figure out the right position to fix this day, we're going to live that day. At the moment, I'm trying to figure out the best position to get this fitted in. Okay. Protect it this way, no. Intercepting with that. I think the previous place where it is actually a better place bots. The scale for this is way too much, let's tune down the scale. Get this this way. Okay? But forward, it needs to go a bit forward forward a little bit more. I think somewhere around there let me extend this out. I don't want to completely cover the piece at the back, so let's extend this out a little bit more. Rotates this way, out more. I rotate it out this way, a little bit more. I think should be just about right. F is just about right. Okay. Rotates this way. Yeah, I think around there should be fine. Then we can mirror this to the opposite side, so let's mirror this to the side. Geometry, modified topology, Modified topology, we will do I'm just looking at this side. I don't know I think I feel like I should leave this up a little bit more. Let's de duplicates. Let's de duplicates. How do you duplicate for now? Let's work with this. If I pull this up here, how does it look like up here? Rotate this back in. Let's say we get this this way. Take down the scale. Okay. Yeah, I think actually, for me, most prefer this looks like something that should work except we need to bend this. Might need to kind of bend this down some more. Bend down some more. Okay. I think I personally prefer it around this place because I can I can still see more of this ring detail. So I don't want to use this kind of this kind of completely cover it up. So that's what I'm trying to avoid because I would like the details to be obvious in there not completely covered up. Okay? So now, it just left to us to kind of log this in where it needs to be so we can do Control, select this. I think for this one, just a matter of rotating it on see we have this e somewhere where it needs to be. Okay. Maybe lift it up a little bit more up some more. Rotate it, bring this in here, rotate some more, rotate this way. Yes. I think this part lava interlocks with that perfectly. Yes, I think this is fine. Yeah, this is fine because when we side view, we get something like so. So I think at this point now, we can make it even bigger. So we undo that invert the max. You can scale this out a little bit more. Okay? Yes, we can rotate this down some more. So for my angle light, is this actually lose cool? With move brush, compensate for it down here? Yes, I think this is fine. This is fine where it is. We can work with this around here. You look at it from this angle and then we do a test render for this. Let's do Shift. Let's render this. Let's see some shader information coming from this. Yes, this is fine. This is fine. You can work with so now we can now begin to add some details to it now. Now let's mirror it to the opposite side. So we clear the max mirror. Yeah, so we see all the details that needs to be in here a bit more accurately. Undo that first. Do that. I would like to Max is out. It Undo that invert the max. I would like to till this I'd like to til this a little bit more. Oh, I think if I t this to be too extreme, yes, to be too extreme. Just leave that as it is. Let's just mirror this to the opposite side. Yeah, so at this point we can start texturing this or adding some surface detail to this. So let's solo this. The first thing I'd like to do would be to subdivide this, let's subdivide this no first to begin with. 1.1 0.6. Let's do one more. Yeah, 6 million should be fine. Yeah, 6 million should be just fine for this. Alright, so let's go to the dam standard brush. Iolate this out. Let's work with this for now. Okay. So we're just going to add undo that. Let's go to lower subdivision level to do this. On the stroke, lazy mouse, eggs down. Okay? Maybe before we undo that, let's use the He polish brush and make some planar changes to this, go to lower subdivision level. So I'm not going to make planar changes to this first. Okay. Yeah, we're not doing asymmetry. We're doing asymmetrically, which is fine. So let's work asymmetrically in here first. Okay. Increase the brow size a little bit more. Let's do this with a bit more aggression to it. We use the browse size gets close. Reduce the brush size. Get spines. Let's move on to the opposite side. So this is just going to break up the surface a lot more before using the dam standout brush to add sharp straight cats in between. Okay? From the top, you actually acts really weird way when you're kind of navigating this. So try to avoid being on the top. Yeah, I think they should be fine. Then we can go back to the dam standard brush, use the brush size and do that. Intensity is way too much. Use the brush size even more. I think we are getting dotted lines in here. I don't want to do these dotted lines. We can smooth that out. Let's go back in here, turn this off. Okay? Street lines across. I don't personally, I don't do too much. I don't do too much, if you should be fine. Because I still like this kind of maintenan smoothness around it. Okay? Yeah, this should be fine. There's something we can do to make it even more interesting. But we do that in a bit before we do that, let's do something else. Let just first carry on with this. But that requires us to use, epotlar Alpha to break up the shape. Let me increase subdivision level one more. Okay? Go under this. Let's do under here also. Okay, smooth that down. I should be fine. Let's go to standard brush. On the alpha, we'll change up change up the alpha. 51. 50 Horn Leather Details In zbrush: Okay, we come about, guys. In the previous lesson, we kind of created some surface breakup for this mesh. Sally for the horn. So we're going to break this up even more by using DL surfacing detail in here. Let me smooth this out. Okay? So I'm going to them standard bro selected, or rather standard bro selected. We'll go to the Alpha. We're going to change this up to let's use this instead. What this basically does is that with this now if we drag a selection, we have this interesting surface detail coming out of it. So let's just go do that actually. Take this down a bit more. I don't need to be too aggressive in there. Let's see Okay. So this will just add another additional level of surface breakup to it. Actually, an interesting level of surface breakup that would actually help, especially in the texturing process. Most of these details are going to be popping out quite nicely. Okay. Let's go to the other piece. And then just drag out the detailing in there. Let's use the mask cap gray instead. Symmetries don't offer. I want to do this asymmetrically. Increase intense a little bit more. Go I think that's way too intense, let's undo that. Undo that. We use intensity. Okay? Yeah, that should be fine. Yeah, definitely this we can definitely work with. All right. We're more around here. Okay? Yeah, I think this is fine. This is definitely fine. This we can work with. Okay. So let's invert the selection. Then let's kind of make this piece feel a lot more feel a lot more leather like. So I'm going to use the Dame standard brush. Let's start by going to lower subution level. Let's start with at least with the H Poly brush. Increase sublution level, increase subluton level again. Let's start by doing some surface irregularities around this first. Okay? Use the bro size, go to lower subdivision level. All right. Go at the top also. Let me clear this out. Let's select just this alone. Use the brush size. Let's Let's take down this moon's intensity. Let's moon some of the edges out. So this is just going to another extra level of surfacing in here. Let's smooth this out. Is it going to drag out Alphas in here, let out fas in here. But for now, let's just get this feeling quite irregular, increase intensity a bit more. Go over it. Smooth out. Okay. Yeah, it should be fine. Let's go to the opposite side. Don't do that. Let's go to lower, we're already on the lower subdivision level. Okay? All right. Gets closed. Let's make sure we don't neglect the top parts. Let's get something for the top parts. Okay. Then we can start smoothing things out now. Reduce the smooth intensity. Okay? Smoos out. Smooths out. Get up close. Okay. Smoos out. Yeah, I think this should be fine. Yeah, you should work just fine. Then we can use the dam standard brush now. Undo that dam standard brush. Let's go to higher subdivision level. Reduced intensity bra size increase intensity a bit more. I'm just adding coats around this. Okay. Et's do a bit more around here also. I think for the most part, this should be fine. Let me make sure okay, let's turn on lazy mouse, smooth this out. Oh, that's a bit too deep. Dus the brush size. Okay. Smooth out. Smooth this out. Seems like our smooth intensity is not high enough. Let's increase smooth intensity. Okay. I entirely sure where this is coming out from, though. Okay, coming up from the previous one we kind of sculpting details on. So back to them down that brush. Okay. Let's be too extreme. Reduce the bro size. Let's move this out. Smooth this out also as well. Let's bring everything back out. I think this should be fine. Don't need to go to extreme in here. I think this should work just fine. Then coming close with them standard brush, we can smooth this out. I'll asymmetry for this standard brush. Set this back in here. I'm just going to elevate this part. It's getting close. Oh, undo that. Undo that. Let's make sure this is the only thing that's selected. Then the max, then gets close. Okay, then we can do this now with a bit more ease. Basically trying to elevate this edge. Let me increase intensity a bit more. Increase the brush size even more. Increase intensity a little bit more. Okay. Reduce intensity. Okay. I think what you need to asymmetry do that as bro size we to be less coming close. Okay, with them standard, let's elevate this up also with them standard brush, we can do a carving in there. Ton up symmetry for this. Go to the opposite side. Add a bit more got around here, undo that. I think this should be fine. This should work just fine so we can bring everything back out. And we should be having something like this, that should work just fine. All right, so the next lesson, we'll go and then create. I think there's some glove for it, and then the meta piece for the arm also. So we have a meta piece for this metal ring along the arm. Then we have this lead out glove also for him. We're going to create that also in the next lesson. I'll see you guys in next lesson by for now. I 52. 51 Hand Glove In zbrush: Welcome back guys. In the previous lesson, we finalized on the horn piece. Okay. So in this lesson, we're going to be working on, I see there's a bit up modification we need to do. But after the modification, we're going to be working on the gloves for the hand. So I would like to solo this and fix this. I can see this penetration we're having in here, so I would like to fix that. Let's go to lower subvison level. Okay. Let's max this out via the max. Then I'll just pull this up, make sure symmetry is done off. Give me the move brush. Get this out. Okay. Then we're going to check around this just to be sure. I think for the most part, this should be fine. Okay? Yeah, for the most part, this should work just fine. Bring everything back out. Clear the marks, frame in. Okay. Let's see. I would like to tighten some of this a bit more. So let's isolate it again, do solo, use the paint brush for this. Tighten this out a bit more. Okay. Back to the pinch brush. Alright, I think this should be fine. Do that that's way too extreme. Okay, so let's work on the gloves for this, bring everything back out. So let me just zoom in a bit more so we can see better representation of the hand glove in here let's be on this position first. So there's quite a lot lot going on in here, but typically the leather gluve should go inside of where this metal armor is, but we're not going to do that because there will be too many polygons that we don't actually need, and that's not going to be visible on a final render, so we're just going to kind of optimize that by just having or blocking out what is going to be visible. Let me get close let's that let's start the creation process for this, so I can see a few layers in here, can see firstly, secondly standard third layer around there. I think secondly Tanjos. I can pretty much easily create that with by just using them standard brush. Okay? So let's carry on with this. So I'm going to select this body mesh. I'll make a duplicate of it. I'll shoot these down all down shifts and shoot this down. So we only need Oh, we need to hide the one that's at the top. Let's hide this. So we need to work on the duplicate now, which is all the way down. Shift F. Okay. So I'm going to grab. I think most of what we need would be let's just grab this and do that. In the selection. This is the only piece we need because once we are done with this, we cror we can mirror it to the opposite side. That's pretty much what I'm going to do. So yeah, let's carry on with this. So Control W, give this one single polygroup. Then I'll go over to geometry, modified topology, delete Eden. That's fine. I think I need to sub subdivis increase the subdivision level. Okay, they do delete lower. This is going to be the base where we can max out and extract out measures we need for this. Alright, so I'll start by maxing out or moving out this major piece. I think we have an piso so to at the top. I think we can grab most of that. Let me just zoom out a little bit more. So can properly visualize this. So in this instance, I think, let's see if we can use the max last one and grab what we actually need. It's going to be tricky though, but let's see, let's grab all the here. Okay. Yeah. Yeah, I was afraid going to kind of max out these parts that we don't actually need. Okay. Um, I think we can now manually make some corrections. Let me slow this out first. Getting close. So I'm going to use the pen to mark pen. And I'll start erasing and do that control and O. I'll start erasing parts that I don't need. Okay? Then let's go up to Tink brush automaxinTurn on backface maxing. Why? Because once I'm erasing this party, I don't want to affect the one in front, so that's a general idea for that. So I can continue cleaning this up. Okay. Let's see. I think all the way should be fine. Let's see. Let's clean this part also a bit more. I think I would like to get the same similar or maybe this should be fine. You can actually leave this like this, though Ies look like it's going to mess things up for us on this side. Because in the reference, we don't really have the side view for it, so I think this should work. I can just clean to undo that. Reduce my brow size, I can just clean this air just to make it feel a lot more ungod. Yes, I think for the most part, this should work just fine. Yeah, this work just fine. Let's grab. Let's see if I need to grab something a bit higher. Yes, let's grab something a bit higher. Let's do Mac sla so. Okay. Let's get this steet like so. Let's add the sweet. Yeah, that's fine. Just a little bit more so Shift F. And I'm going to do I also of duplicate this piece too. I'll need to duplicate this piece. So let's duplicate again, add this, go back in here, Control W to give this one single polygraup. Okay. Yeah, a lot of undo dots. A lot of interest to this last fine, Cro W again. Control Shift click to isolate this. Then we need to kind of go to deformation and then do a polish for this tone of these dots. Polish just a little bit more to get something sharp. Okay. Let me show Wu side of this so let's turn on D side. Let me max out these top parts blow the marks, inviting mark. Let's get this kind of flattened out. Undo that. It's not flattening it out very much. But that's fine. I want to subdivide. I'm using kind of I want to make sure this is smoothed out. Is because once I z matched this, I don't want it to look a bit messed up, so let's just see if we can still fix this yes, that should be fine. Clear this out. Yeah, I think this is fine. For a base, this should work just fine. So let's go in and then delete Eden. Delete ding, then let's Z rematch this. So before Z remage this, I kind of add some poly group to this just to tell Let me use my slice of just to tell Z masher where I want my edge float kind of be on. So let's get this properly positioned this way. Then we'll do a slice around. Hi darts. Okay. Let's do one also around. Also around here. Okay? I think this should be fine. I should be fine. Three should be fine. So now we can zero marge this. But before zero marge this let's duplicate for this also, just to have another additional backup for this. So now we can easily zero march this now. Let's go over to geometry, zero marcher. Turn off adaptive, keep grooves, detect edge, take this down. Let's set this to two. Then zero mash. Okay, doing a really pretty good job kind of matching this for us. And kind of taking up the flow of the poly groups we added in here, which is precisely what we want. So let's do I mean, we have a four k. Let's do half of this. Let's do half. Two k, let's do half again. Here, one k thing. Whoops, undo that. Ok is messing this part I think two is. Let's run this again, actually. Let's see. A, don't do that. Hold Os, select that again. So yes, he's holding it properly now. So holding out and then tapping on Z match actually helps. I don't know these signs behind that though, but sometimes when you hold out and you tap on Z mash, you get a better result. So this will be fine. We have a one K. One k is completely fine. We can Control W for this. So we have good proper flow around this, which is what we want. Okay? So let's go out of isolates. Let's bring back the main body. Let's bring back the main body. Okay? So now we need to push things up or rather out a bit more. Let's get things out some more I will still make some modifications to it. Let's start by lifting it up a little bit more. Aeqenotickness for this, do that, reduce the bros size. Let's just first get all of this out some more. Up and out. Okay. Especially this edge needs to be out a little bit more. Shouldn't collapsing too much on the skin. Seduce the brush size, do that. Get close, leave this out. Leave this out also. This out. I'm just being careful, though. I don't want to lift it up up or rather out way too much than we need to. Get this out. Okay. Out also as well. Let me rotate it this way. Okay. Out also around here, out also Zebra cycles get in a bit close. Get in close out. Get in close. Yeah, I think we're pretty much almost done with this. Okay. All right. A, so, yeah, I think this is fine. So yeah, we got something pretty good in here, which is precisely what we want. So now we can add I think we can easily add thickness to this. Let's add thickness for this. So I'll just go over to come over, let's do dynamic sub div. Okay? Take down the smooth, increase thickness all the way up. Okay. Way too thick. Way too thick. Let's find a good value for this shift F. You can see this a bit more, a little bit more should be fine. Yes, I think around there should be fine. Then let's add segments in between. Okay. Let's apply this subdivide. Let's see what we get when we subdivide, perfect. Here is perfect. Should work just fine. Should work just fine. Do that. Let's go in and then max out another piece. We still have another piece in there. So just to get this to look right, let's get that piece in. So we'll go over to this for now. Scroll down. I think Christi have a copy of this, isolate it. Let's duplicates it. Get duplicate for this. Oh. Let's see. Let's start with the one at the top. Let's start with one at the top. So I think for this, we need to draw it by hand, actually. So let's go over to the marks pen. Weduce the bros size. Getting close, then we can manually paint where this needs to be. Let's do all the here. Okay? All right. Then this goes and then let's reduce the broad size to begin with. Collapses in the air. We have a band going across this around the. So let's connect that band. Okay? All right. I'm just checking just to be sure everything's working correctly. I think we need to make some more modifications to this. Make this even ticker. Let's even do it a multi car band. Oh, this actually looks interesting. Let's do around the as well. Okay. Yeah, that's fine. That's fine. Except you need to get an angle to this. So let's erase let's erase this down here, get something sharp. All right. Then erase also around here, get an angle to it. Get an angle to this. I think I need to add a little bit more around here. Clean this part out, get an angle to this. Yeah, this would be fine. So Shift F, Control W to get out one single poly group. This is fine. Just need to check if there are no gaps in between. Checking to see if there are no gaps in between, this should work just fine so we can Cth click on this. Then let's polish this some more polish this. One of the dots, polish this a bit more. Okay. Then with the move brush, we need to make a little adjustments in here. Come on. You need to make a little adjustments down here. Oh great. This down. I think this is fine. Make sure double sided is turned on to display properties double side. Yeah, it's pretty much fine. So let's do delete ding. So down modified topology, delete ding. Yes, that's fine. Okay? So it's just the same reptive process actually for this. So let's start slicing these things up in here. So let's do one across here, so also one across here. Undo that undo that. Let's get something quite straight on. Kind of fighting with my view right now. Trying to make sure this is properly centered. Let's do that slice up around here. Do that moving the wrong key slice up around here as well. Yeah I think this should be fine. Let's go in and then let's make a duplicate of this, like we always do. Duplicate I duplicate. Then there's the zero match for this. Geometry match ton of adaptive. Is I'm turning off adaptive because I want the squared, the space, the size of the squard to kind of be proportional to the others. So it's supposed to have taken them, okay? I think let's leave smooth on. Let's say this to two. Let's merge this let's see what we gets. Let's do F check around. This is actually looking good. Z marge this again? Oh, I see initial at the top parts. There's an issue around There's an issue around here. Undo that again. There's an issue around here, so I'm going to max out these points invert the max. I'm going to actually polish this quite well. Polish this very well. Just to eliminate any I think we have another edge in there. Let's see if we can actually get that out. It's something we want to keep in mind, just to make sure everything's working correctly, so not sure if that's not sure if that actually works, actually works. Undo, undo. To make sure this doesn't give me any issues. Mark this inverting max, smooth this out again. Deformation, polish. Okay. Then polish by group, clear that out. Let's remerge this again. Yeah, I think that works. All right. Let's go off of this again. Yeah, this is fine. So we're having this at 900 roughly 900 polkons. This is fine. So contro W for this. This will work absolutely just fine. Let's go thickness for this. Maybe just before we are thickness, let's make sure we lift this up. It's going to buried in. So let's get it out. Shouldn't be buried in should be out. So we're going to do a lot of work pushing this out actually. Or maybe do that. Let's do an inflate instead. Inflate should actually help us pull all of this out. Okay. Fantastic. This actually did a very pretty good job for lifting this out. Okay? Maybe it is out way too much too, but that's fine. Now we can now make our own manual corrections in there, so let's push this down because if we're extruding this is going to be extruding out and not in. So let's get this closed down a bit more. Okay? Yeah, that's pretty much fine. So let's go a thickness for this. So let's go to dynamics of the dynamic, take down the smooth, increase the thickness for this. Way too thick. Take this down some more. I think somewhere around seems just about right. Let's add a segment to this. Then apply if we subdivide this should be getting this, which is fine. Then we move brush, take this down. With the move brush, we can move this down a bit more. Okay. Yes. Awesome. This is fine. Let me get this down some more around there should be just fine. Yeah, that's fine. So we can move on also can create an ke creating same repetitive process for the entire out. So I think we're actually in a good place, yes. So let's carry on with this. So we're going to carry on with the next lesson instead. So I'll see you guys in the next lesson. Bye for now. 53. 52 Hand Glove Band In Zbrush: Welcome back guys. In previous lesson, we worked on creating this or rather we're still working on creating the glove piece. Let's continue on with that there's still some more work to do on it. Let's go back to the arm piece, duplicate it. Isolate, clear this out. We need one that comes across Okay, we need one. Mia comes across in here all the way in. So I think let's see if we can grab this with undo that. Clear this out. Let's use the max lasso instead. Try and see if I can grab this with the Mx lasso a bit more accurately. Okay. Close enough. Close enough. But a few modifications though. For one, we don't really need. We need to let's make modifications to this. Let's do the marks pend that, clean this out to begin with, clean this out. Yes, on this part is way too thick on this part so let's level this down a bit more. Okay. Let's see, clear this out also. Undo that actually. I think we can add to it. Yes. I think this will work just fine. This will work just fine. Let's do a delete ding. Let's sharpen this. Let's sharpen this. I'm going to do and tap on the surface to sharpen this and do that. Or control O to kind of sharpen this. Sharpen this some more, that's fine. Then we can me a duplicate of this already Shift f12w, get a separate poly group control shift click. Let's go in and then turn on D sided. Okay. Now, let's polish this. Let's go in and turn off the dots. Polish this a little bit more. Let's do a few more times. Try to eliminate any edge that will give us issues in here. So kind of polishing that's a little bit more. Okay. Yeah, I think this should be let's come in here. Let's see. Yeah, this might be an issue. Problematic parts, in valdblod the marks. Polish this a bit a bit more. Let's do polish first. Nope. As a bit old. Polish grips edge, polish. Yeah, that's fine. Now let's do delete eating because it's still attached to the full hum. Let's detach that by deletes eating. Yeah, this should be fine. The slice this up until this way wants zero meshed polygons to be flowing on. Let's find a good angle for this. Control shift and we slice it this way. Do that find a good angle for this. Okay. Yeah, this is much better. This we can work with. Then we'll go and slash slice this in, slice this all around here. I think this might. I think this should be fine. Let's see how this works first. I'm skeptical though, because we have too many polygroups now. I'm hoping it does not affect our topological flow around this. Let's do duplicate for this duplicate hide this. Let's go over to the geometry. Zero mesa, to this off, wrack this down. Okay. Let's say this to two, 20 mash. Awesome. Actually did a very good job maintaining this polygroup across this. But we need to take this down. Let's do 00 mash again. We have this at nine red, this is fine. Just checking around just to be sure everything's working just fine. For the most part, it is awesome. Control W, you give this one single polygroup Okay. Yeah, this is fine. This is fine. So let's go out of isolates. This is what we need. Let's let's bring back the entire body so we can actually see. Maybe not the entire body. Let's just bring out the duplicated harm piece. I think this one, let's turn this on. Let's see. So I will need to inflate this out a little bit more. Let's done inflate s on inflates instead of deformation, inflates, inflates, inflates, Allright? That's fine. I use move brush now and then manually move things out some more out some more yeah, I think this should be fine. Also, I'll go back in here. I need to leave this up a bit more because this band that is kind of wrapping into the d is supposed to supposed to be supposed to have thickness in there, and then this gap is supposed to have a little bit of higher gap in here to accommodate for the thickness would add for it. So I'm just going to pull this up some more I think this should be fine. So let's go back to the band, and let's reduce the bros size and let's add thickness to it. So dynamic up div, on its own, take down the smooth. Let's increase the thickness, a bit more. Oh, oh, that's way too much. Let's see. Shift F. This seems like a good one. Let's add segment, one segment, that's way too much. Two should be fine. I think this should be fine. Let's apply this subdivide. Let's see what we get. Well undo that. It needs to be a third thicker than this. Okay, I think they should be fine. Apply, subdivide. Yeah, this is fine. This thickness will work just fine. Increase the bro size, reduce the subdivision level, and let's move push these things back in some more Awesome. This is fine. I work just fine. We're moving this a lot faster in here now. We still have one more band. There's this band around this, I think I can still be band from this instead. Let's do a duplicate for it. Let's duplicate. Solo this out, Shift F. Then let's grab Control Shift. Click. Let's delete's delete Eden. Geometry, modified topology, deletes Eden, that's fine. We need to grab the bond. Grab the bond. So I think a much easier way to grab this. Grab this bond would be to see we can grab the bond all the way here. So let's do BZ. Let's get a loop. So Q mesh, pull the loop, pull the group. I think that's what we need. No. No. Come on. Do that. Delete ding. I deleted ing already. So why are we having issues in here? Come on. I still don't know why this is pulling out, though. Everything seems to be fine. That's just my issue. That's just my issue with this sometimes a bit acts a bit weird. On the right so I've done this before, so dontly show why this is we're getting extrude out of this. Undo that. Come on. Well, I think I'm just going to use the approach for this. Let's deletes instead. Delete. For the deletes zoom out. I think I'm going to delete this. Let's delete a loop across this and do that. Yes, this is fine. Let's do this instead, then I'll do an auto group. Holy group auto group, AutoGroup. Go back to a move shift control shift. And then I'm going to do it deletes agents. This is the piece we need. Let's bring everything back out. So I'm just going to scale this out, so I think the more preferable way to do this would be to let's Can we use scale to? Let's just done inflates instead. I think that would be a lot more better. So let's go to deformation, deformation. Inflates Inflats inflates. Oh, you have this on the opposite side. Ah, I don't didn't mend you have this on your opposite side, actually. That's fine. That's fine. That's completely fine. That's completely fine. Let's just inflate this some more inflates. I think this size should be fine. Undo this last one. I think this is fine. Then we're going to use the move brush and then and move this up slightly. Yeah, I think around there should be fine. Like this, I feel like I should maybe drag this up some more. Maybe I should add a bit more eye to it and do that actually. Let's use the Max so instead, Max so. Mv at the marks, blow this out. Move this up a bit more, undo that. Undo that. Come on. Undo that. Blow the edge, drag this up a little bit more. Clear this out. Okay? I think it should be fine. At some more less add thickness to this one. Let's do some thickness. For this. I let's go and then under geometry, dynamic subdit this on. So it automatically memorize what we had before because we kind of extracted that out of one of the previous piece. I think the thickness for this is way too much. Let's take down the thickness down some more. IT around J should be fine. Heft F, apply subdivide undo that. Undo that. Let's add some more thickness to this apply, subdivide. Yeah, this is fine. Undo that. This will work just fine. Except we need to bring this in some more. Let's get this more closer to the skin. Getting close. Bend this in some more in some more just to be at least close to the wrist. Kind of tape out this close to your wrist. I think around there should be fine. Let's move to the side, move this in. In some more around there should be fine. Alright. Still had no idea we're having duplicates in here though. So let me I would like to I'd like to delete these duplicates in here. Maybe not yet. Not yet. Silo let's just finalize on this before we merge everything down as one single piece and then we mirror to the opposite side. Now we need to go up a bit higher, bound around there as well. We just need to figure out where that is. I think I see it now. Let's select this. Let's duplicate of this. Do it duplicate? Fine. Yes. Yeah, it is fine. I'm just looking at the loop. There are very interesting loops going across this. But I think instead of using the Z modular broach that kind of gives me strength to get a loop around this. I think I will just do what we did before by just maxing out maxing out regions where we need. Let me isolate this, clear this max out. Oh yes, let's just figure out where this should be. Then we can let's see. Uh, yes. Let's do a max lasso. We can do a max lasso for this. So it's somewhere around here, like so. Okay, I think definitely somewhere around there. Somewhere around there should be fine. Let's see. I'd like to raise some of this. No, I won't do that. I'll leave that in there, actually. Let me leave that in there. Let me that in there. So this will actually work out fine. So Shift F, control, no. Let me save this. So Control W to give that a separate polygroup control shift click. Ships click again. Let's do let's delete in first before we start smoothing things out with deformation. So, let's go over to deformation, polished by group, polished by group, polished by group, polished by group, polished by group, a bit more. Let's make sure Dub sided is t on. Double sided is turn on. Okay. I think I need to make some adjustment down here with the move brush, pull it down some more deformation again, polished by group. Alright. Now, let's add some cuts to this, so let's slice this down here, slice this down here as well. Okay. Yeah, it should help. So let's go to Zima ZmchGeometry, ZmchTn of adaptive takes down. Keep group, keep groups, detect edge, targets plicon, let's do two. Z masch. Let's check to see if there are any issues around this. For the most part, no issues. That's awesome. Then let's go do half of this. Check this issue. You see an issue around there. There's an issue around there. Don't do that. Let's get close. That's why it's important to check this properly. I won't do this. Let me Mark this out first, invert the marks, blow the marks. Let's polish this do that. Polish this quite well, it should be fine. Clay the marks. Let's go back. Let me allow to save out. I would like to make a duplicate of this also too, like we always do. We as to fall back to select the duplicate IDs. Now we will clean all of this up in a later video, actually. So, Bole just keep creating the piece we need. So geometry, let's Turn off for now, set this to 20 mesh. Then we can do, zero mesh. Z mesh again. Z mesh once more. 500 seems fine. Let's check a lot. Check this out. This is fine. Control W to give this one single poly group. Let's go in and then make this arm piece visible. It's completely hidden, so that's fine. Let's do inflate to bring it out. So inflates, inflate, inflate, inflate, inflate. No, this deformation inflates inflates. Just keep doing this until we get something out. I think should be fine. Then we can smooth brush and then just manually put things up and out a little bit small. All right, out around there also as well. Get close. Alright, that's fine. This should work just fine. Let's go and add thickness for this. So let's add thickness. So dynamic sub dive take down the smooth. Add thickness to this. Go close, increase thickness a little bit more, a little bit more than add segment to this, apply, subdivide. Yeah, I think this does just about right. Take this down. So kind of grab the next piece now. So I'll select this m and then let's the duplicate of it, duplicate, hide this, go in the heaped F, play this out. So now we just need to grab the portion we need for this. I think this portion like soap, all the way to the back. Oh, I think, no, no, rights not in the right place. Clear this out. I think it should be somewhere around undo that. Let's come down a bit closer. Yes, I think somewhere around there should be fine. Go out of solo. Let's see. I think around there should be fine, but it needs to be a lot slimmer than this. So we need to make modifications to it. Isolate that. Let's Okay. Oh, no. Ah, okay. I think I accidentally hit something. Let's just just close up and then open this up again. So we got our fight back. What I needed to do was to erase some of this dynamic. Is a bit slimmer than what we have here. So go down control and then all do that, we use the bros size. So we just need to just clean some of this out some more Okay. That's fine. So no, Shift F, Control W. Give this one single polygroup which is what we need. Then Control Shift select. Then let's delete ding. Delete ding. Let's go over to deformations and then polish this a bit more. Make sure W steroid is turned on. Okay, a few corrections I need to do in here. So with the move brush, with the move brush, I'll move this down. Move this down down as well. Down. Okay. Then back to deformation. Let's polish this some more. Okay, it should be fine. I should work just fine. Okay. So now, those things kind of separate them out. Oh, I need to bring out my slice cough. Let's create poly groups for this, one, one, as well. Yeah, as well. That's fine. Then we can subdiv then we can merge this. So let's first de duplicate Let's de duplicate of this. So duplicate, this. Oh, it's about this one we actually need. So in the next lesson, we're going to carry on and then make some more modifications to this. I case, I'll see you guys in next lesson. Bye for now. 54. 53 Base Hand Glove In Zbrush: Talking about guys. We're still working on this piece. I think on this now chapter we can actually round things up a little bit more and then move on to something else. Okay? Or rather move on to adding surface detail on it. So we've already kind of separated this outline two different pol groups, so it's now up to us to kind of give what kind of zero mag this and get better topology out of this. So the same repetitive process actually detect edge keep groups, and let's start with two, then zero march check this around just to be sure. Okay, we see an issue around there. It's an issue around here, so I need to mark this part out, invert the marks blow. Let's do a polish polish by groups again on those parts a little bit more. Okay, clear out the mark let's zero match this again. So zero match. Let's go off. I feel there's an issue here. Strongly feel like there's an issue. If I should mag this out again. Let's do Polish Polish. Yes, I knew it there's an issue there. So we need to undo this I would go in and then grab all of this around here. Undo that invert the marks, blood out. Let's do polish. Undo that polish by clips edge. Then do polish, polish again. Let's see. Now, let's go in and then zero march this again. So geometries zero mash don't do that. Turn on this. Let's say this to two, then zero mash. We're still having that issue in there for some reason. You having that issue in there. Let me just grab this grab all do this. Let's use the max last one instead. Grab all of this, add these to it. Invert the mark blow this out, and I'm going to polish by group, polish by group. Then go back to geometry. Let's make sure that this same issue is not repeating on other parts. Let's make sure repeating on other parts. We see one also around here. Repeated around here. Invert the max polish this there is quite a lot happening here actually. I see also if there's something happening around here also as well. Polish by group, letting out. Let's do a general polish by group for the entire outing, so it can expose regions where we have the echelon. Okay? Then we can do let's do Zi mesh. Okay, that's fine. Zepino's fix the issue for us. That's cool. So now let's go out of this Z mesh. Let's do Z mash again, 431 pool counts, which is fine. Control W. Give this one single poly group. Okay? Now, let's polish this a little. Okay, bring everything back out. Let's make sure the body is visible. The arm is actually visible, so. Let's go to our sub too, make the arm visible. Then let's inflate. Polygroups deformation is rather, let's inflate this. Okay? One more should be fine. Then we can manually move things. Let's polish this again, rather inflate this again. On the move brush, we can move things out some more, move out some more. Let's see how this is. I think we need to pull this in around some more, get this in. Then generally leave this up a bit a third more out some more. Up in coming close. All right, less thickness for this, let's go over to let's go over to geometry. Dynamic sub dynamic take down the smooth, increase the thickness for it. **** F. Let's see if this thickness should be enough. Yeah, this thickness is actually fine. Thickness is fine. Let's do segment two, apply. Then still on the move brush, we can move things in, reduce the brush size a little bit more, push things in all the way on the other side. Push in push in some more Okay. That's fine. Yeah, this will work just fine. So there's one we need to do, so I need to get close. I can see this on this band, there's a bit of an elevation. So I need to get the elevation in there. And for that, I will need to extrude. There's a piece, I will need to extrude out actually for it. So it might get a little tricky here because I need to start selecting some part of this so let's solo this out first. Okay? Control Shift click. So we would need I think all the way, let's see. Okay, we can do this loop. So Bus hopefully we get this right, but I'm not going to use a more friendly approach for this, so we can can do this a bit more correctly. So let's see first, we can do the friendly approach would be just to mesh single pul figure out where that should be first again. We can do, we can do from around here, so I'm just going to do. Okay. And then just grab all of this. Think of the way here should be fine. Then put all and drag through. This one is a bit more easier, so I don't run run into issues, do that. Okay? All the way up, all the way up, stop here, okay? Then I'll surround y. Undo that here as well. Then let's do Control shift. Click on this. Let's bring everything back out first. Control shift, click Move brush, Control Shift, click on. Oh. Great. Get a bit tricky here. I'm just trying to select the whites. Yes. This is fine. I we need to go back to Slice let's slice cove. Skip, keep the neurontinm select this select wreck. Involve this. Okay. Control shafts click. Control ships undo that control shafts click. Control W. Come on. Move this aside Control W to give you a separate Pulley group. Okay. Control Shift click Control Shift click. Control Shift click, do that. Okay. Do an auto grouping here. Let's see. Control Shift click. Yes. Yeah, that's fine. So now, let's do an auto group in here. So auto group, photo group. Yeah, this is precisely what I want Control Shift click. Control Shift click. Invert this Control W. Yes. Condo that Control W again. Give it a completely different color for it. This is precisely what I want, so I just need to extrude I just need to extrude this out. So we can easily do that we can quite easily do that with less than extrude. So extrude instead. We want to extrude a flat island. FlatulFlat island, flat flat island. Poly group island instead. So poly group island instead is what we need. So we just come in and inflate this out a little bit more. So around should be fine. Okay? This we can work with heat F. I don't think I necessarily need to add loops across this Y because if you have subdivided, let's go to geometry to subdivide this. So you should be getting something like this, which is pretty much the look I'm going for actually, something like this should be fine. So let's bring everything back out. Except is undo that undo that I think I made it way too high, it's way too high. Let me get this up a little. I shouldn't be too high. Then Control **** click on it. I'll squash it. Undo that. Let me center it, squash Undo that symmetry todo for this. Let me orient this. Try to orient this the way it should be. Turn of symmetry now. Squash this this way. Squash this this way. I think symmetry was turned on. That's why we're having issues. Bring this up a little bit more back out. Okay? Squash this in some more. Okay. Bring this down some more. All right, clear this out, Control D. Okay. I think I think we went a little bit too extreme. But I think this is actually fine. We also need to kind of add an edge loop somewhere around there should be fine. Control D. So those helps shape a little bit more and do that again, let's add an edge loop around here and here. Control D, Okay. Let's bring everything back out. Let's see what we get. Yeah, this is pretty much fine. Undo that ship theft. Yeah, I think this is fine. This we can definitely work within here. So back to the move brush, out all dots like this piece, a move brush, increase the size, take down the size. And we also need to move this up just to compensate for it. Okay. Yeah, that's fine. Clear this out. Yeah, this is fine. This will work just fine for what we need it for. Yes, I think in a good place, select this, get this down down as well. Down. Okay? That's fine. So the next step would be to merge all of these down. So we need to merge all of them down a single piece. So that's what we need to do next. So let me go in select let's start with the lowest lowest one. Make sure that no delete her shifts, select to send this down. Go to the next piece. Make sure that no sub divition level in there. Okay, there isn't any sub dilution level in there. Old shifts, send this down. Okay, so we can select this two now, we can merge it down, meagre down. Select this. Make sure there are no subdivision levels in the delete On shift. Send it down. Select this. Is there any subdivision level in there there's none Oder shift, send it down. Okay? So we have this and this and this so we can merge of these downw measure down. Awesome. Select this. Check if there's any subdivision level in there, delete ayer Od shift, send this down. Okay, select this. Check if there are no subdivision level in there. That's fine. Send it down. Wow shift, send it down. Then we can select the top one, me down, mese down. Awesome. Then the other piece is a bit messed. All of this is messed up. So we need to fix that. We just do mirror and weld. So geometry, modified topology, mirror weld. Awesome. So let's go and then hide this arm. We don't return anymore, so let's hide that. Let's go in and turn on the main body. Okay? The arm is still visible, so we need to make sure it's hidden. Okay. Is this selected actually. That's why IT visible. Let's select this instead. Ship F, this is fine. So now we have this piece in here now exactly the way we want it to be and where we want it to be also. So now we can subdivide this control D. So with this subdivided now, we get this in here, which is fine. So we also need to go in and then make some modifications to it and then add some leather material to it. And, most likely, I think we can do that I'd like to add some pattern in there, but we can easily do that instead of substance painter. Okay? So this is fine. I'll see you guys in the next. Let's talk. We need to make some modifications to this. Let's start by doing an auto group. Auto group. Then Control Shift click. Zoom out, turn on symmetry, symmetry turn on. G turn on symmetry now, gets in close, gets close. Then pull this out. All right. I think we're fine. Okay. So now we just to get this. I see issue around the opposite side. I need to move the other side, I can see some of the spoken out. Okay? It the max. Get in close. I think we need to do both side independently. Okay? Control Shift click. Get in close. Pull out out. We can push this back in closer to the skin. Okay, goes out to the skin. Yeah, well, because it needs to be touching the skin. So let's just get this wrapping tightly around the skin. Freeze boss a little bit more. Okay. Yeah, this should be fine. Let's do for the opposite side. Control Shift click, invert the marks, and then let's push this in. Okay, that's fine. Yeah, this is fine. So this we can work with in here. So in the next lesson, we'll start doing some surfacing detail on top of it. I'll see you guys in the next lesson. Bye for now. 55. 54 Ear Metal Loops Details In Zbrush: Right. Welcome back, guys. So in previous lesson, we kind of finalized on creating this glove bond piece, okay? But I see some few things I would like to do. For one, Oh, let's see. Internal symmetry for this. I would like to push this back in some more. Okay? That's fine. Okay. What I would like to do would be to add some beating up metal look for this year loops. Let me go up a bit more. Select these loops, so load them, frame into it. This year loops in particular, so I would like to give them some beating up metal look. So let's subdivide this a bit more. So to do that, I would like to subdivide this some more let's do one more. Then I'm going to create a layer for it, so great layer. And I would like to do this symmetrically, I believe. Yes. Let's do this symmetrically. So ton of symmetry for this. Think you're in the same place. Yes. Okay? So I'll use the H polish bros. Let me state this to them standard. Then H polish. I'll take down the intensity. Okay. Just brows it a little bit more. And I'm just going to tap across this just to break up the look some more. Okay? Or across this also. So I'm just using this just to break up the surface or more. Now, it's fine to do this completely symmetrical, that's fine. But at the same time I don't want this to be too extreme, so that's why I'm using the low intensity for it. Alright. Get close. This is going to make it look a lot more interesting. So you shouldn't be getting a surface that's too flat and too clean. A little a little breakup should help these by lots. Okay. So we need to go across most of the surface actually to get this to look right. Let's do this from the side view. Okay. Move up some more. So it should also be affecting the other side instead of doing this symmetrically, which is precisely what we want. Okay. Move this up a little bit more. No, we don't want to go to extreme, though. Just on the surface should be fine. So we're just supposed to go over the surface, and then we should be good. Okay, so moving our camera angle different area, so we can actually see this a lot more properly and then add surface details. Okay. Go over this angle, get close. Okay. Yeah, this should help. I also as well. Okay, up some more around these parts. Okay. I think we can brick symmetry now and go to the other side. Get close. Here interesting. We're getting something interesting on these other parts. There's the gentus moons on regions where was a bit too extreme. Okay. Make sure we symmetlytn off. Yes, ultimately turned off. Smooth this down. So extreme, smooth this down. Smooth down, smooth down. Okay. All right. Then let's start doing the breakup also around the air. Okay. This part is a bit off. Let's smooth this down. All right. Go to the next piece. Get an angle to eat. Okay. This we need to smooth out some more. A bit a bit too extreme. Beat this up a bit more. Gets closed around el so should be fine. Okay, undo that take down the brrse size. Okay. Here, that's fine, also, as well. Okay. Put it to the side, increase the bro side a little bit more. Also. Let's look for these smaller rings. Reduce the bros size. Dg that beating up. Look also to this, change the orientation for the camera angle. Okay. Go to the one at the top. Be slightly gentle with this. Hs around here. Okay, here, hos as well. Here, as well. Okay. Routt. Okay, let's do also a inward part a little bit more. I think this should be fine. Yeah, this we can work with. Let's bring everything back out. Even looking at this now still kind of contemplating if I need to bring this on down some more. Taking if I need to bring this on down some more. You know what? Let's do a duplicate of the horn and try and bring it down and we probably push it back. Let's see the result that gives off. So let's select it. Come over here Okay. So form this in here. I'm going to the duplicate this again. I'm not entirely sure where I would like this to be, but let's just make a few corrections. Let's sent out the orientation. Let's say we bring it all the way to the back, do this tunnel symmetry. Move this all the way here. I think this is actually more preferable place to have this. Tono symmetry, se let all of this invert the max. Let's get this properly angled. We move this back some more. So it hangs on these der rings. Shift F. Escalate the mark. Let's do an auto group for this. Auto group, select this. Well, we can't just move that in because we have actually scopted details in there for that. I think there should be fine actually. Play the max. Okay. But this we need to make some corrections. Let me frame into it. The symmetry is off. Think I need to mark all of this in the max, bring our selection in here. I move this this way. Okay? Maybe we should hang it up here instead. Yeah, that makes better sense. So it doesn't feel like they are both in the same place. So we can hang this around here. Yeah, I think around there should be fine. Maybe we should bring it down some more down some more around there should be fine. Yes. Rotate it this way, some more, lift this up, get close. Bring this forward down some more. Let's get in a closer viewing there. Yeah, that's fine. Let's see. I think this makes better sense, actually. So you can actually see this loop some more. So it's not completely eating with this on. So I think this we can definitely work with. Okay? So this is fine. So in the next lesson, we're going to work on this bond piece instead a little bit more. So I'll see you guys in next lesson, bye for now. 56. 55 Hand Glove Surface Details In Zbrush: Oh Alright, so welcome back, guys. So the previous lesson, we kind of adjusted the head horn. So now we can work on the unstrap leather piece. Okay? So let's do some work in there. So I'll go over to I'll select it to begin with. So I'll go over to sub two. I'm going to subdivide this a bit more. Let's get something. I think 2 million should be fine. Let's test that out by I think we need a bit more. Let's test this out first. So let's go over to standard brush. Light box. Let's go to Alpha. Okay, let's use Let's look for a leather alpha in here that we can use. Okay, we have tib then flip skin. Let's go over to Flip skin. So we should find something leather like that we can use in here. Okay? So we have the sun damage too neck. Then we have the skin. I think skin seems we can see leather risk in here, so Leader risk, we can use this. Let's double click on that. Let's just test this out in here. I'll go over to stroke, set this to drag wreck I'm just going to drag this around here just to see if we have enough resolution holding this. We do not do that, so we need to subdivide this one more. Okay, that's fine. 11 million should be fine. Then let's say this back to default, okay? What we need to do is to start, let me solo this out start by creating edges around this loop edges around this what I want to start with. To do that, let's use underbrush. Look for sm brush in here. I look for a sm brush. It's no less trying to create seem on the edges, so we need a seam brush for this. We can use this on this. Let's look for a good sim brush we can use for this. Okay. Well, let me just use this instead. No. We need something that has some kind of not threading in there actually. So let's try this on. Let's see what we get. Yes, this is interesting. This we can definitely use do that. So we need to create layers for this. So let's create a layer and name this layer to SIMs. Let's do all caps for this. Okay. Shift F. Yes, that's fine. Let's make sure we're doing this symmetrically. Symmetry turn on. So I'm going to take down the intensity of the brush and let's do the second Control shift, click on this. Let's isolate this. Is is isolating just one part. Let's fine Control shift, click on this. Go to the lower subdivision level, get enclosed on the opposite side. Invert this. Shift F, let's give you the same polygroup. That's fine. Let's do the same also around here here also. Symmetry Tondon already. Tonal symmetry, inverted selection, give you the same polygroup. Okay. I want to shift click on this. Here as well, inte, give you the same polygroup. It this same polygroup Okay. This also inverts same poly group. I think we should be good now so we can control Shift Click on this. Symmetry turn on Shift F. Let's go to the IS subdivision level for this. Is the IS subdivision level for it. Okay. I think I need to smooth this part out. It's looking a bit odd. So I'm just going to do a gentle smooth around there. But that part is still going to be covered up, so I don't really matter. I'm not doing that so we can avoid any weird baking we have in the later on, unless you increase the ablation level. Okay. Shift F. All right. That should be fine. Now, let's add s across this, so I'm going to start from around let's go to the highest subdivision level. Although that's increase intensity a little bit more. Yeah, that's fine. Okay. This will work just fine. Feel like it's way too deep actually way too deep, so. Take this down a bit more. Do this again. Yeah, this should be fine. So we're just going to go over around the edge. Okay. So we need to be on the edge for this. Undo that. I don't think it's straight enough. Let's come from around the. Okay? That seems that seems a lot better. That seems a lot better. No. Get this in a Okay. Undo that. N something that flows quite nicely across that. Undo that undo that. Undo it needs to be as perfect as we can get it to be. Okay, that's fine. Then we can continue on Okay. You need to go over crossing a Right. Undo that actually. Undo that again. Okay. Undo that. Zoom out. I'm just trying to make sure I do this as accurately as I possibly can. Okay. I need this to be on the edge. Come over on these parts. Undo that right. Yeah, that's fine. This we can work with. We do also the same around here. Undo that, increase the blows a little bit more like so. Undo that. Let's do this again. Rotates. Undo that. Undo that. It needs to be as clean as we can get it out to be. Undo that undo that. Reduce the brush size. Undo that, reduce the brush size. Okay. I think that's way too deep. Let's go a bit light handed. Os, that's a lot better. Increase the bra size a little bit more. Okay, I think that should be fine. Then we need to do one on top of this. Around. Let's continue this on. Okay. Like so change the angle of view. Okay? Here, that's fine. Then we can cut this across. Continue across this. Okay? Then we can get this all the way down around here as well. That's fine. Yeah, this will work just fine. This we can definitely work with. Also the asymmetrical that's fine. I also on the opposite side. Yeah, that's fine. So let's bring everything back out. Let's go to the next piece. Let's do this piece instead. Okay. Go across Okay. Down here, change the angular view, do that increasing broad size. Go across this. Continue it on. All right. Follow the same pattern across. Well, let's just continue on from this around the. Okay? Undo that. Okay. Increase the bro surge a little bit more. All right. We can just continue this on here and then just connect this. Yeah, that's fine. Bring your thing back out. Select this piece. Okay. Let's start from the back. Undo that, increase the bright siidee some more. Undo that feels like we're losing a lot of undo that. Something somewhat like so. Rotate this different angle of view. Undo that B side is way too big undo that. We use the bro side some more rotates Okay. Change this angle of view. Undo that. Increase broad size some more. Okay. Find a way to connect this. Here, no, no, that doesn't look right. Do this again. That doesn't look right. Let's come undo that, undo that. Actually. Let's do this from here instead. Okay? Undo that. That's a lot better. Then we can do one that comes across move our camera view, undo that move this along. Let me come in from around the duzebr size. All right. Yeah, that's fine. That should be fine. Okay, that we can do for this. Both of them is selected. We just go and cut this across. Okay. Don't know why I just shrinks itself when we come to a different edge. When we go to the bag, it kind of shrinks its Anyways, undo that. Connect that up, let's do also for the top parts. Okay. Rotate. Get this across. Brows just massively increases on the edge. Undo this way too deep. Okay? That is way too deep. Just get this facing us around here like so. Okay. Undo that. Yeah, so it should be fine. Bring everything back out. Let's go to the next parts. Okay. Yeah, I think it's around there. There should be fine. Okay, isolates. Reduce the brows size. All right. Increase the brows size. Increase the bro size. Rotates. Okay, increase the brow size some more. Undo that, let's repeat that again. We use the bro size. Undo that. We use the bro size. All right. That is fine. Undo that. Continue this on. Let's come across this. Undo that that's way too thick. We use the brow size. All right. Then we'll just convert this up. Bring everything back out. Let's do the final piece. Undo, use the brow size. Undo that. Reduce the bre size. Undo that. Undo that again. Okay. All right, continue this on. Change our camera orientation, increase the bro size. All right, come to this angle, increase the brow size. Nds messing with my view use the bro size. Okay. Let's confirm this direction and then connect it. That's fine. Almost done. We can connect this. Undo that brow size way too big. Okay. Yeah, that's fine. So we're done with this actually. So just need to kind of add the leather texture on top of this, and then we should be fine. So let's create a new layer for this. So I'm just going to name this layer layer to leather. Okay. And I need to hide, maybe not. Yeah, definitely. You need to hide the first layer we added in there. Then go back to standard brush. Let's use the leader, drag rack. Let's do under the Alpha, modify mid value. Let's say this to 50 radio feed. Okay, let me give you some moment to save up. Let's go back India and continue modification. Radio fed should be at ten. Okay? Obviously we're too intense, so let's reduce the intensity. Okay? So I'm trying to get this with a particular directionality to it. Here, as well. We're doing it symmetrical that's fine. At this point, it's fine to do this symmetrical. It's completely fine because even though we're doing symmetrically, when we're texturing the detectior will be broken up some more. Right, rotate this. Okay. Here, this should be fine. Let's get something for the edge. Okay, that's fine. Bring everything back out. Let's select another piece. Go kind of work on top of it, that's fine. So we don't need to do too much work in there. We just need to fill up parts where we don't have this laid out texture alpha in there. Okay. And I'm doing this with a certain directionality in mind, so it should work quite nicely in here. Smooth this down some more. Okay? Fill up the back parts. All right. Let's go and do the next piece. Let's do this instead. Okay? Yes, this is fine. Move on to the next piece. All of this sort detail is going to make a lot of sense later on when we start texturing it because the Cature map Aquatmp is going to be derived from this. So this is fine. Let's just do something for the top also. The top part doesn't look feel neglected or at the edge, it doesn't feel neglected. So let's fill up these parts. Okay? All right. Here, that's fine. Move on to the next piece. So it's just the same pte process, nothing too fancy. So I'm just going to fill all the parts up. Okay, we've increased intensity a little bit more. So it's a bit more a little bit more obvious. Okay? Yeah, this should be fine. All right. Let's go to the next piece. Select this. Come on. Control ship select, select, drag this leather alpha on it. Okay? Move to the side. Okay, same thing I'm going to do for the strap. But I think we're in a good list for this already now. Just adding something for the top. Okay? This is fine. Alright, add one more year around here, fill more the gaps. Select this now as the final piece. Okay. All right. Yeah, I think it should be fine. Let's add something for the edge. So the edge doesn't feel neglected. All right. Let's do s for the under part of the edge. Okay. Yeah, this should work just fine, so this we can work with. I'll see you guys in the next lesson bye for now. 57. 56 Arm Rings In Zbrush: Welcome back, guys. So in the previous lesson, we worked on adding leader to this hand glove. So in this lesson, let's work on grab this. Let's work on creating or are you adding the cylindrical cylindrical piece to this. That's what we're going to be doing there. It looks very much like if you use actual reference, it looks pretty much like this, so this is what we're going to in as a guide to block that in. So to do that, let me make sure. Selecting this now, let me go to lower subdivision level so we can work a bit faster in here. Then I would use let's go to SubT this ferry having a tiny ferry, police ferry having that's buried inside of the mesh. I love the one buried inside the mesh. I believe this is one buried inside the mesh. That's the one. So we're going to use that. Then let's hide the body for now. Let's use that. Let's use the arm that we extracted out. Let's use this instead. We selected, come on. Uh, I think I did not turn it on. It's supposed to be turned on, so yeah, that's fine. So, let's let's go over to B, we're going to be using the cylinder. I'm going to drag a cylinder around here to begin with. Okay. Then to move. Let's set the orientation for this. Okay? Let's facing this way. That's fine. Let's start by shrinking it down to the size we need it to be. Okay? Then I'm going to do an inflate. Let's inflate this quite thin. So we're going to go towards a negative value for this, actually. So I'm pushing this towards a negative value. Also shrink this down. Okay. So more Come on. Oh, I think I completely messed this up. I sont shrink in the wrong place, Itend this out again, then shrink this in again, okay? All right. Get this front facing. Do this again. I need to do a bit more. Yeah, I think around this should be fine. Then I'm going to squage this in a little bit more again. Then subdivide, do that. Oh, supposed to spit this out first. If I was subdivide this, let's spit this out so split on mark points, select this. Control O, now, that is not looking good. That is not looking good enough, that's fine. We can easily fix that. We can easily fix that. So let's go to deformation, inflate this, inflate some more, inflect some more, Control D. Okay? Let me isolate this. Then I'm going to undo that. Squash this down this way. Yeah, yeah, that's a lot better. Let's inflate balloon instead. Inflate balloon, inflate balloon, flat balloon a little bit more. Yeah, I think it should be just about right. But we subdivide this again, start getting something a lot smoother. Do that. Then let's go over delete delete lower? Let's go to Sub to send this down. Duplicate for it. The first one, lets the one down. Then let's go to geometry, delete lower, bring everything back out. So just to manually position the position it where this weight needs to be, so let's get this out, move this in. Rotate this up and down shifts. Rotate this rotates, get it in, down, squash this down. Now we're going to do a lot of working here just to get this to look right. I'm going to rotate it this way. Okay. Down some more rotates, rotates. Okay. Get this out this way, scale this out some more. Get this down. Let's see. I'm not checking around just to make sure this is fine. But this can only be done a bit more accurately by hand. So I'm just trying to get the orientation properly before I start duplicating this. I think they should they should they should more or less be fine. Okay, let's move this out this way. Okay, then we can control and drag this out. Okay. They need to be quite close to themselves, quite close to themselves. They should be definitely touching themselves for one. Okay, move this up. Scale it down some more, move this up. Okay, scale it down a little bit more. Okay. Scale down a little bit more. Drag this up. Okay. Scale down, up, scale scale down. Okay. Oh, I see an issue here, do that. Undo that. We definitely need to be moving this undo that actually. I think I need to be checking the opposite side, the other side also to not just one side. Hold down control, get this out. Okay? Scale this in. Bring it down. Get this up. A new copy for this. Let's undo that. Move this in, squash it down some more. Okay? I think I need to select all of this and rotate a little bit more this way. Yes. Yeah, I think that is fine. Yeah, that's fine. So let's carry on. So Shift F, let's go down and then do an auto group. Auto Group. Okay. Control Shift click on this max this out invert the max. So down Control, get the next piece up, Shift F. Okay. Move this back in. Scale this down, drag this down. Yes, I think this is working just fine. Yeah, this is working just fine. Scale it out a little bit more. Okay. Move the next one up. This means to scale out some more because the arm starts getting thicker around these parts. Scale it out a little bit more. No, undo that scale. Undo the scale instead. Get this up. Scale this out some more, move this back in. In this way. All right. Make a duplicate of this. Move this back in. In some more get this touching this around here. Do that actually. S to be as neat as as we possibly can get this to be. The scale this up and that duplicates. Skill it out a little bit more. Skill it out a little bit more. Scale out some more. Push this in. Undo this, undo this push this in. Okay, then get a copy out of this up. Okay. This we need to scale out. Move this in. I think this should be fine. Get other copy up. Scale this up some more. So I'm basically checking this around just to make sure all of this is working correctly. Get under copy. Scale this out a bit more. Okay. Scale this out some more. Undo that old Control drag this out. Okay? Yeah, that's fine. Let's get this out. Make under we don't need to go all the way up. You need to kind one more. If you still see what we have in here. So let me clear this out. I feel like we need to make some adjustments to this. For one, let's do an auto grouping Control Shift click, select these three, the marks, max them out v the max and scale them in some more. Okay. Something pretty much like so. Then select this piece. I need to push the clothes out of the skin. Come on. Come on. S, increase brush size. With the move brush, let's move this in in all. Okay? Just trying to make adjustments to the sem fits. Okay. Let's go back and select this. All right. Then shift F Control D. Let's done inflate. I'm going to inflate all of this, actually. Most of them should be touching itself. Except note. Let's just grab all of the marks this inviding marks, invert this inarti, scale this down, bring this down even closer. Undo that. That seems a bit off. This way should be fine. Rotates. Basically trying to get this as neat as we possibly can. Then this we need to make some adjustments to drag this down out. Okay. Scale it out some more right? Bring this in here. Go back and select this, grab this out in. Okay. Go back in here, clear everything out. Feel like I can rotate this a little bit more, then push this back in. Just trying as much as possible to get this as neat as possible. Okay. Select this. Bring this down. Let's do a copy for this. Bring this down. Let's do a cop we have, what's it called? We have subdivision levels to this. So let's ignore that let's just drag all of these down. Drag all of this down. Okay. Now, we definitely need to make a copy. So let's go back to our subdivision level, go down, delete hier. Then I can duplicate this. So down control, get a copy out of this. All right. Seems to make quite some corrections in here. Like this, for example, the center move this this way, squash it down some more. Okay. That should be fine. Elongate it a little bit more. Okay, let's go to undo that. I'm trying not to lose I'm trying not to lose the directionality of the Gizmo. Let's put this down. You can grab these two. Invert the mark, select this, invert this, drag this down. Squash it down some more. Okay? Clear this out, grab all of this. Bring them down some more, scale it down. Okay? Oh, I can sanise on the opposite side, but that's fine. Oh, then give you some moment to save out. So basically, I think maybe I won't use the move brush. Move. Maybe not. Let's just scale it out a little bit more. Okay. I think this should be fine. Go back in here, use the move brush, move this in undo that get close, move this in some more, get this out. Here, I think it should be fine. Select this, clear the marks, subdivide. Okay. Yeah, this should should be fine. This will work just fine. Maybe we need we need one more. Let's look at the main reference and try and compare that. Let's see if I need one more for this. Okay? I think this should be fine. This should be fine. I'm trying to follow something that's a lot more realistic. Now what is on the concept because even though we have this in there, we need to use something that is is quite realistic in there. So it's important we still use something realistic. All right subdivide this Yeah, this is fine. Then we can duplicate this to the opposite side. So do that first. I do this smooth then let's mirror this to the opposite side. Let's just mirror this to the opposite side. So mirror weld. Okay. Then we can subdivide this. Let's go over and turn over this. For now, let's bring out the main body. Okay? Yeah, this should be fine. Okay. Yeah, we can definitely work with this, so that's fine. So the next lesson was going to go in and then start working on the Sanders for this character. So work on the Sanders and then after working with Sanders and we think we can now safely go over to Marvelo Designer and then create this sketch for him. And continue with your piece, so I'll see you guys in next lesson. Bye for now. 58. 57 Arm Rings Variation In Zbrush: Okay, welcome but guys. So in the previous lesson, we worked on this metal and piece or armor instead. So I would like to make another variation of this soon. The variation I would like to make in here would be something quite close to what we have in here already. So let's do that. But I would like to keep things a little bit organized for now just so I can know where they are. So let's find this in here. Okay. So this is ten years. I'm going to name these two. Let's use all caps for this. Rings. Okay, that's fine. So I'm going to temporarily hide this for now, let's go to the I belies the hum. Let's isolate this, clear the marks, make a duplicate of it, get enclosed, and I'm going to grab I'm not going to grab grab grab the piece I need for this. Okay? I will just do let's just get this at an angle, shift F. Let's make sure we're using this slice cove. All right? I would like to slice this as perfectly as I can. So let's go slice this around here. Then slice this also around. Let's come down around here. Okay. You can see how slice is not completely perfect. Do that, do that. Okay. Let me do this from this angle instead. Let's do something straight on. I think we can work with this with a few modifications, should be fine. Control shift click. Let's go and turn on Double sided for this. Okay. Here, that's fine. Go to modify topology, delete Eden. Okay. I think this is fine. Under the formations, let's go and then polish this make this a bit straight on the edge. I think we need to do a lot more on the top edge also because we might be having issues around here, so let's just mark this out invert the marks, blow. Let's do polish nod that. Polish this by lots, get something straight going on in there. Okay? I think, we need to make some modifications. Let's use the move brush. Ton of dynamic, use this. This is not completely straight, so let's get this undo that looking straight, reduce the brush size again. Okay. I'll max out these parts, invite the mark below the edge. Let's go to our gizmo. Orient this gizmo. So the Gizmo is not properly oriented. It's going to be an issue to actually straighten this out accurately. So let's just try and see if there's something we can do in it, get this to be straight. No, it's not going to be straights. It's not going to be straight. I think we can see straight things out later on. Let's just undo that. Let's do polish by group again. Okay? Urets zero marge Before we zero marge, let's make a duplicate of this duplicates. Okay. Let's go out so. Let's see. Oh, I think I actually made this longer than it needs to be. Yeah, I need to make corrections to that. So it's actually longer than it needs to be, so let's come in here. Let's do transparency. Okay. I think I can code this. Let's this better still. Let's do B CM Skip this. Let's delete a loop for this. Let's delete a loop and we should be fine. So I can let's figure out which loop we can delete for this. I think somewhere around somewhere around there should be fine. So let's make sure one deletes deletes delete, delete PulyopPuly Loop, okay? Undo that undo that. Okay, that's fine. That seems fine. Okay, I think around J should be fine. Just basically checking just to be sure. Just to be sure if I'm doing this on the write angle. That's fine. Let's go to Tran dynamic. Let me change this to them standard. Let's do an auto group in here. Poly group, AutoGroup control shift click. This is what we need. Then geometry deletes Eden. Yeah, that's fine. Tn of transparency, solo this out. Okay. And I need to mark the top parts and then smooth this by using the polish by groups. We go to the formations and then just do polished by groups a few times. Okay? With the move brush, let's move this down some more. But we're better precision when we're working with something lower clear this out, polish again. Now, let's zero mash this. Geometry, zero marcher, ton of adaptive, take down the adaptive size. Keep groups detect edge. Let's say this to two. The topology around is already following paler patterns. I think that would also by itself help to create something that flows in the same quad flow around this so this is looking fine. Let's go half of this. Okay? So we're at almost two k. Let's do half again. I think 900 should be fine for this. Let's test this out to be sure if there are no weird edges to it. So let's just polish, undo that. There are no weird edges for this should be fine. Okay. Here, I think this we can work with. Let's bring everything back out. So I will need to inflate this. This needs to be inflated. So let's go over and inflate keep inflating this. Okay? Inflate some more. Flit a bit more. Okay. Almost there. A bit more, a little bit more. I think around here seems like a good one. I'm noticing also down here that we kind of pushed it down way too much, I guess. So we're still going to make modifications to that also. Or probably actually in the right spot, maybe this we need to actually move down instead. Let's just keep flatting this out so more I Okay. I think we just need to move it up or we can just delete what we don't actually need. Let's do transparency. BM we can do from around this loop. Okay? That's fine. Then let's do auto group also in here. Let's go back to move Brush. Let's Auto group Auto Group. Control sheet click on this. Let's do delete Eden. Geometry deletes Eden. Just checking this around again just to be sure. Undo that first, undo that. Okay, I think it just this. You need to delete undo that. Undo that. Move on step forward again. Find a good angle for this, do that. Do that. Okay, that's fine. I think this is what we actually need. Okay? So we can do delete ding now, so modified topology, modified topology, delete ding. Oh, that's fine. So move brush. Ton of transparency. Ton of this dynamic. Let's see what we are Okay. I think this would actually work. And pull this out some more. Let's just do genera inflate instead. Let's done a general inflate to deformation, inflates, that's fine. So now let's go in and add thickness for this song under geometry dynamic sub div turn it on, take down the smooth, increase the thickness for this. Oh, we have this mirror to your side. Which is not really what I want, but that's fine. Let's just leave it for now. So add more thickness to this. Okay. Shift F. Let's see, thickness for this we added. If this is fine, or we need to work on it a little bit more. Okay. I think this thickness is actually fine. So let's do one segments, apply, subdivide. Okay. I think this is fine. This is fine. We're going to move this up some more Okay. I think pretty much around here seems fine. Get enclosed. Okay, extend this out some more. Dig this down, delete higher. Yeah, I think this will work just fine. So but we need to kind of add rings. We might need to add rings on the lower parts. I need to add a ring to fold this a little bit more or we can just create or we can just create our own. But I think it's much better if we add rings in there, so we can just go in and then still come down. Let me shoot this down instead. We can steal one of these rings. Let me just duplicate for it. The duplicates Okay. So lo this shift. Let's go over this, take this down, delete higher. Control Shift click. Control Shift click on this need to invert everything. So let's go back and select La. Great, do that. Let's auto group in there first because this part Lao mesh these two mesh on top are the same poly groups. So let's invert that, Autogroup Clear this out Control Shift. Undo that. Control Let's do select. Control Shift click, Control Shift click. Invite selection. Come on. What are we having two in here? Auto group again, Control Shift click. Yeah, much better. Then we can do deletes Eden. Let's do delete Eden, modify topology, deletes Eden. I go out of ILD or solo. Then we can properly position this where we need this to be control shift click on this to begin with. So this just needs to be on the edge. It needs to be on the edge. Okay? Shring this down some more. Shring this down some more. Alright. Let's use mart cap, gray instead. Now we see where we need to make some corrections on, rotate this, scale this out. Just need to get this as perfect as we can possibly get this to be. Okay. No completely there yet. But the other thing we need to do now will be to select this. And with the move brush, we can just force it in. I should just to make sure it's lining up inside of it, so we can force this back in. Okay? Yeah, that's fine. Get this in. In as well. Yes, I think around there should be fine. Let's do for the top piece now, bring everything back out. Let's do for this piece. Orient, lift this up, scale out some more. Orient it this way. As once you get it to match in your other parts, we can now make modifications to it. So let me move this out. Go back and select the wider piece, and then we can properly align this in. Okay? Yeah, I think this should be fine. Yeah, we can work with this. So now let's mirror this to the opposite side. Bring everything back out. Let's do a mirror. Then we need to merge it down. So let me send this down first. Okay? Then let's do a merge down. Let's make sure that no subdivision levels on this. Okay, that's fine. Then let's merge down. So merge down. Okay? So we have these two now merge down as one single piece. Then we can subdivide this Okay. Yeah, I think a lot This is a lot better. This we can definitely work with. That's fine. It's fine. We can work with this. So now the next lesson, we're just going to let me save this up. Next lesson, we'll start working on the Sanders for it for him. So we'll do that in the next lesson, bye for now. 59. 58 Foot Front Cover In Zbrush: We come about, guys. So in previous lesson, we made a difference and amo vibration. So this is where we get. So today, we're going to be working on or rather, in this lesson, we're going to be working on creating the Sanders for him. So let's do that. I'm going to select this Base mesh. I will do a duplicate of it. I think I have to let me delete this one. I don't need this anymore, so let me delete this. Okay. So duplicate of this high dis, I would shoot this down Shift F. So I don't need to grab. I just need to grab just this top part. So let's use let's use max in two and just max out. Think all the way, something out the way, should be fine. Now selects selects or demark the right hand side. Control W. To give this a separate poly group and then control shift, click on this to isolate it. This is all we need for this, so we can use this actually create the standards for this. We don't really have something based on the referencing here. Referencing here, squares is for the most part, good enough, but there's quite a lot you need to do in here to make it work because it's not quite definitive, so we need to improvise on it. Carry on. I would go over and then let's do delete Edding. So let's go over to deformation. No, not deformation. Geometry, delete ding vertices, we have sublbution levels in. Let's take down let's increase sublution level actually. Delete lower and then delete Eden. That's fine. To work just fine. So now is now to begin to select and max out regions we need for this one. I'm going to start with the Bs. Start with the Bse the core vsue for this. I'll start with that. So let's go in Shift F. So in here, I want to be Let's uses this way. Let's use the max lasso. So Max lasso is our friend in here, so max lasso. I'm going to max out yeah, it gets a lot trickier tricky here actually. But no worries. We'll make it work. We definitely make it work. So I want to start by maxing. Let's max out. This thing, should be fine. Yes, somewhere around there, somewhere around there should be just fine. Then we go on down defeats. Let's solo this. Yes. So now let's go and use the Max Max pen, and this selects underpas. The select this select, select, right? Oh, it's affecting the tops. I don't want this to affect the top. Do that. Let's make sure do side is underbrush, automaxin automaxin automaxin automaxin back fix maxin, okay? I shouldn't be affecting the back face of this, which for us, based on the perspective you're looking at, this should be the front of the fit I think around there, let's mark this part also marks the parts, mark these parts. I was thinking to break this up some more ou. But for now, ship F, Let's the duplicate of this duplicates this Control W. Okay. Undo that. I think there are better ways to do this. A a preferable way to do this. Oh, it needs to be on this since need to be on the top one. So select the top one. Top one, we have the undo history for it. So let me send this down again. So we have the undo history, undo this. Shift F, Control W. That's fine. Then we would isolate it completely. Let's see. I'm just checking this again, undo this bring everything back. I'm just checking to see if I think I think I need to grab more. I need to max more of this. I undo that. Let's do the max last, so I need to max a little bit more and a little bit more to hold this properly Control W, country shaped click. Let's do it deletes Eden. Geometry deletes Eden. Double sided. Double sided for this. Okay. Close hole. Okay. That's fine. Now let's go over to deformation and polish just a little bit more to kind of erase this jag edge were having here. So let's do polish by group. Turn of the dots. Polished by group. Yeah, that's fine. So yes, we're getting something in here. So the next thing we need to do now would be, I think it would be to create or rather slice the apart. So slide to slice apart. So using a different brush to do to slice apart so control shift. Let's do the where's it again. Trim trim co fam cove and we'll just do around here. Yeah, should, this will work just fine. So this is what we need. So yes, so we go back and then go out of isolates. Okay. Let's bring back the duplicate of the fit we had. Let's make the duplicate visible. Then we need to start moving sins in a bit more, so I would like to can I smooth this out to begin with yes we can? So let's smooth this out. Okay? C to folate, then we start pulling this out. We need to pull this out. It's a bit weird do that. So let's dynamige this first. Let's dynamage this Control W and let's dyna mesh for it. So we get better topology to work with. Not the best topology, actually, but something good enough to work with. So let's go to dyna mesh. All this at 1:20. Let's see what that gives us. So we want to look at the pulicunt for this dynamesh. No, that's way too dense. Undo that that's way too dense, we need to take down the resolution value. Let's do a value of ten. So it is a value of eight is fine. I think eight works just fine. So let's go out of folates. Then pull this out. It's pulling out in a very strange way. Dynamze this again. Those drag a selection out. Those dragging marks out, I would dynamsh it, so let me move this a bit drastically first to invite the mark below the edge, bring everything back out, use our gizmo and pull this out. Okay. Center this put this out some more, clear the mark, smooth this down, smooth this down. So it's just now a matter of trying to make this fits a bit more accurately. Reduce the browse size, Dynamize this again, smooth this down. Same time we have weird topology around this, wed pinching. We're going to dynamih it and then we should fine. Dynamo smooths out. Let's get this out. Get all of this out as well. Okay? Pull out, smooth this down. Pull this out as well. Put this down. Okay. Go to the side, pull this out, smooth this down, pull out some more. So yes, this is just the part we need to do some extra work just to get it to look right. The main part, we can just use the same method we use for the handglove. So it just needs to have something clean enough to work with first. Okay? Let me use the intensity of this move brush out. Yes, I think around there should be fine. So we need to make this look a lot better. So let me smooth this in. It needs to feel a lot more like actual an actual shoe cover. So that's fine. We can go over clay brush and then we build a shape around the edge. Something somewhat like so. The smooth this down. Smooth this down. I'm just trying to get an angle to it, trying to get a flat angle to it. Smooth down. Smooth down. Yes. I think this will definitely work smooth this down. Okay. Let me make sure this is what we need smooth this down. Okay. Add a little bit more to fill this part up the smooth down. Alright. Smooth down. Check this again. I'll use the edge polish and then just polish this edge do the bit too extreme. Polish it, smoothes down. Okay. Smooth this down, smooth this down. Smooth down. Smooth down. Okay. I think we have this where we need it to be. Okay? I'll do transparency. Let's just see the fit inside of this and see if we can make more modifications to it. So we can with a move brush. I'll just push this clue. I'll push this Come on. Is not pushing in ton of transparency. Something feels off. My moving brush is no longer working. That's stringe. He's working on this side. Why is not working on this side? For goodness, why is not pushing in? Something seems oddly wrong. Let me go back in and then turn off Bface Maxine. Yes, he's working nothing. These work from the backface Maxine. So I'm just trying to push this in some more Okay. Here, that is fine. Okay, polish this smooth out. Alright. So now we can now easily cut out the part we need for this shift F. So I would just let's start by doing it duplicate for this Because might just need this duplicates. Okay? Yeah, that's fine. Then we need to grab this portion now out of this. Let's see. Okay? So I'm going to start by doing a slice cove. Let's do a slice cove instead. I still like to maintain the polygroups in there without flattening the mesh out. So let's do a street cut down here first. Okay? Yes, sin need to make it a bit more accurate, so I need to push this down some more. Let's use the move brush and pull this down a little bit more. Okay. Then do slide go again around think around all the way, should be fine. Let's see. Yeah, that's fine. That's perfect. Actually. We can actually work with this. Then I'm going to Control Shift select this. So now we can see how we get at least a ship now going on for us, which we actually need. Then we can now continue on and then slice of parser we don't need. The tap on the oats and I'll just do something around here. Okay? Yeah, that's fine. We needed an good sweet. Okay. This we can work with Control shift control shifts, click on this. Control shift, click on this. That's awesome. This is fine. Then we need to kind of cut out. We can see this opening in here, so we need to cut out the opening. That depends now if you need to cut out the opening on one side, or me the coat on both sides. I would like to make the coat on just one side alone. So to do that, I will just go, let's solo this. I think I think for, let's just do it in here. So we can either use the max instead. We can use the max or we can use the slice. Let's do the slice instead. Okay. Somewhere around here, double tap on the Os to get a sharp angle to it, get this slanted down double tap, get this down here. Okay. Awesome. So it's affecting the opposite side. I think, which I don't. Okay, let's see. I think we might Let's see. We have a reference for that side, so I'm trying to figure out if I need to keep this notes. Trying to figure out if I need to actually keep this. Um, it's a tough actually tough. Actually a tough decision. You know what? Let's just exclude it on both side. Let's exclude it on both sides. You should be getting something like this, which is fine. Okay, so this we can definitely work with. So now I can go in and do delete Eden. So geometry, modified topology, delete Eden. Awesome. Seems like this is precisely what we need, actually. This is precisely all we need. So what we need to do now is to zero match this. Oh, we do Can we undo? Let's make a duplicate of this first before we delete Eden. Another backup, very important. Okay. So control his click. This is all we need precisely what we need. Then we can do delete ding on this. Geometry deletes den. Then we can slice this up so we get good topology around this when we use zero masher, so let's add the coats here. I'll do another coats here. Okay. Then I'll do another coats, as well. I think this should be fine. Okay, let's do one more. Let's do one more coats around, as well. Okay. Yeah, this should be fine. So now let's zero merge this, so we'll go over to zero Maser ton of adaptive, keep groups, detect edge, take this down. Then let's set our target polygons to two. Then So supposed to mean two polygons, but sometimes doesn't really flow that.Flow the numbers, you apply, you apply in there, that's fine. Let's just zero marge this and let's see what we get. Okay. Awesome. So we get something quite good. Let's see, yes, so let's go half of this. Let's do half of this. Woo. So the half of this completely reduces or squashes down the resolution we have in there already. You know what? Let me control W, and then let's do half. Let's see what that gives us. H, let's see. We have Low Apo leucon, which is good, which is what we want, except for the fact that it's kind of smoothing things out way too mooch do that. Let's take down the smooth. We don't want the smooth in there. So z match. Perfect. So this worked just fine. So the smooth groups that was actually smoothing things out way too much so I think for this, it worked just fine. Okay, so for the first part of shoes of our shoes is actually done. But we need to add we need to add. We need to hold the GB tightly so it doesn't fall apart when we do or not we kind of smooth things out. So to do that busy, Okay, let's do one year, one also around her, one around year also. Yeah, that should be fine. You can do one year, as well. That's fine. That's fine. The edge literally goes a crossbars, it shouldn't matter. I shouldn't be too much of an issue, actually. We can definitely work with this. Or if we want also to weaken we don't necessarily we need to add this extra edge loop if we feel like we don't actually need them. Because once we add thickness to that, it might still hold up properly. So let's just do that instance. Let's do this. Let's on do. Let's test this with thickness first. But before we test with thickness, we're about to move brush. Let's go out of solo. Now all of this we need to push down. We need to bring this down. So let's just use our gizmo, extend this out, a bit more pull this down. Okay, down should be fine. Ton of dynamic. Then do need to make fear adjustments to this. So let me extend this out. Pull this out, pull out also around here. Okay. Yeah, that is fine. Now let's add thickness to this. Let's see what we get. So let's go over to dynamic. Okay. Take this down. Add thickness to this. Now this is way too thick, so let's reduce that. Let's get something good enough to work with. I think somewhere around there should be fine. Let's add segments to this. So I'm adding two segments, which is let's increase the value to three, but that would only add two segments to this, so I think this is what we need. So if we choose apply this now and then subdivide, so it's fine. We don't really need it to add that extra head loop, so it actually holds up quite nicely, which is precisely what we want. So let's take down the intensity, the subdivision level we added in there. Feel like I should move this pull this down some more Okay. Down some more, just flatten it down some more. Okay. Increase the brush size. Crease the brow size some more. Let's get this down towards the skins a bit more. Put this down. Okay. Lift this up. All right. Yeah, I think this is a good place. Let's use the He polish and then that's be too extreme. Take down the intensity, then let's just do something around there to flatten this out. We still want to keep that slide on evenness on the surface, though, still want to keep that. Yes, this will work just fine. This will work just fine. Alright, so we can move on to the next piece for this. I'll see you guys in the next lesson. Bye for now. 60. 59 Foot Pad Cover In Zbrush: Okay, welcome about guys. So in the previous lesson, we worked on creating this front cover piece. So we're going to carry on and then continue working on this, so. In this lesson, I'd like to make the sole piece for this song. Let's do that. So to do that, actually a few ways to do this, though. There are a few ways to do this. So anyway, we still works long we get the desired result we're going for. Okay. So yes, so I'll go over to let me let me first move this down some more, okay? So let's use a flat plane. Let's use a plane instead. So I think a plane will be just fine. So let's do delete a for this. Okay. Then go under this. All right. We can definitely easily extract it from this and the movie. Let's do that instead. Let's extract the soul from this food base. So let's solo this. Okay? Play the max. Let's draw out a new max in here. For this, I'm going to be using the Max pen. So I'm just going to create a kind of grab all of this down here. Okay? Yeah, this should be fine. Let's grab a little bit more. Okay. That's fine. I'm going to duplicate the fifth, let's duplicate for it, hide this. Let's work with this selected already. Shift F, Control W to do that, complete W again. Give it a more obviousl in there. That's fine. Control Shift click. Then let's do it deletes Eden. Let's do deleteden Mfatpology deletes ding. Make sure Wu side is done on display double side. All right. Then I'm going to use the deformation polish polish by group, polished by group again, then that center this squash it down. It should be completely flat, absolutely flat. W something absolutely flat, that's what we need. Yes, this is flat. This we can work with. So you can see already have almost base for the soul, but we need to make some few corrections to it. For example, we need to push this forward a bit more Okay, pull this forward some more polished by group. I'll need to squash it down again. It should be completely flat. Like, so let's go out of solo mode. Don't have this dynamic solo. Okay. Then I'm going to bring it down. Let's turn on the fits. Let's turn on these fits. I'll bring this down this way. Okay? So you can see we still need to make some corrections to this. So with the move brush, I'm going to move this out and fill up these gaps. Okay? I should extend out even more, a little bit more. Okay? Extend this out. But you don't want to overdo this because there is this part, there needs to be a cove around this part. So we still need to maintain that cove there. I'm just going to extend this out. Extend out. I think this should work just fine. Let's rotate it this way. Then squash it down again. Center this scratch down completely, sqratch down again. Should be completely completely flat. I think this is flat. This is flat enough. Okay. Yeah, I think this should be fine. Maybe just rotate it this way and bend this in some more. Yeah, it should be fine because I still need to I need to bend this in. I need to bend this in. So maybe we should do this even now. Let's bend this in. Okay. Bend this in also. Defeat in there in some more in all around here. Okay. Get this at a different angle, bring this down. Okay? Yes. For this in, that's fine. Yeah, that's fine. This will work just fine. So now we can let's move so, move this up a little bit more. Somewhere around there should be fine. Okay, let's make a duplicate of it. Let me solo this out. I'll make a duplicate of this, let me move this out a little bit more. I would like to pinch this in some more. Okay. Let's make a duplicate of this. I'm going to duplicate it, hide this. Then you need to do zero match for it. 40 march, let's polish by group again. Then we can zero march this. Let's go over to geometry, zero march. I will take down the groups. I don't want to smooth the groups, so I'll take that down, take this down, ton of adaptive, set this to two. Then let's slice this apart so we get so we kind of tell Zi mash how we want our word flow to be so it should be flowing in this direction. So, it should be fine. So let's zer mash this OO and click on Zimsh. Okay? Also, getting something quite clean. Let's do half of this. Let's go half again. Okay, we have this at 400. Let's do one more. Let's see what we get. Yes. I think this is way better Wave greater control over this. This we can use, and it's all in Quarles which is precisely what we want. So let's go out of the isolate or the solo mode and check this again to be sure if it's working correctly. I believe it is Se move this in some more. Oh, I think way too much. I'd like to get this forward a little bit more. Yes, like, so it should be fine. Go and select this, extend it out some more. Okay? Yes, I think somewhere around should be fine, a little bit more forward. Okay. Just checking to be sure if everything's working correctly before I do anything else. Yes, this is fine. Then let's flatten this down again, squash it down again, Control W to give this one single polygroup. Now thickness. Less thickness for this one. Let's just go over to dynamic sub div, dynamic, take down the smons increase the thickness. This thickness seems like it would work. Okay. Maybe take it down a little bit more? No. I think somewhere around here. Ship let's see. Okay. Yeah, I think this would work. But there's no now I like to do our Control shift. Let's apply this first. Let's do two segments, two segments for this. So let's drag this segment three. I should have to loop cut across this so then we can apply it. Then Control Shift click on this. I'll use the Max lasso, I'll grab all of this. Okay, Control W, get out a separate Poly group. Okay? That's fine. So what I'm going to do now will be to bring everything back out, control shift click on this. Then BCM, like to inflate this in. Let's bring everything back out actually. I think we can inflate this in. So let's do insets. Let's do flat island. You know, do that. We need to do poly group island instead. Okay. Let's see how much of this we actually need. I think somewhere around here should be fine. That's fine. Then Control Shift click, Max this out in the Max with the gizmo do centers. Then we'll pull this out. Just a little, not too much, though. Okay, square this down some more. Okay, Shift F. Let's move this up some more. Let's see. Trying to figure out if Ily need this Itly need this or not. But we generally need to scale this up a little bit more. No, I don't think I need this. I don't think I need this. Let's completely undo that. Bring everything back out, scale this out some more. Okay. Shift F. Let's see, Control D. Here, this is fine. This This will work just fine for what we need it for. So do that. So now we can select this again with the move brush, ton of dynamic, reduce the brush size. Then we can push this in. Let's get this in. I also as well. Pging out here. Let's fill that up by dragging this out. Okay. I think this should be fine. Push this in some more more in some more. I think this should be just about right. Let me select this. Maybe we can move this out a little bit more also to compensate for it. Out some more. You just want to be slightly genuine by pulling this out. I think this should be fine. Yeah, this will work just fine. This will work just fine for what we need it for. We can do something in here. So mark this lower part out. Then we can orient. We can do something like so bring this down a little bit small. Just get a little bit of slant in there. A little bit of slantedness in here should be fine, I believe. And let's move this up a bit higher. Yes, maybe too much. Do some more. Okay? Yes, this should be fine. This would work just fine. Yes, this is the first step to second step to completing this entire outing. So this is fine. So let me save my file. Then we will continue working on this. So let's see the last piece we need to work on. So looking at this now, I see I see one piece in here. So this one that comes across this way all the way up. Okay? Yes, we can do that. I need to make sure the two of these are visible, actually. So let's select this. Do we have a duplicate? Let's get a duplicate out of this. Duplicate this again, hide the top one. Isolate everything. Isolate let's just visualize this alone. So let's start by I think for this, I would like to kind of unpaint this manually, introduce some manual un painting in here. So I know it. Come on. Let's Let's go and change this to marks pen, increase the bros size. Okay? So we have something around here, no doubt. To begin with, then it comes across this way all the way this way. Okay? Yeah, well. On the opposite side also, well. Okay. Then we see it's going upward. Let's see how far out this goes. Okay? We can say undo that, reduce the broad side a little bit more. Okay, like so, this would work. We can let's grab all these parts, get a shape around here, like so. This is fine. Let's get the same around here. Okay? All right. Now, let's sharpen this. So I'm not going to s and tap on Oh, supposed to erase the lower part, so let's erase the lower part. We can just go down underneath it, increase the brush size, raise it out completely. Okay? All right. I erase what we had in here, so that's fine. We can withdraw that again. Okay? Well, that's fine. All right. So yes, something pretty remote like this should work. We can probably erase this a little bit more. Okay. So let's go in and sharpen this some more **** type Control W for this. Yeah, this is fine, so Control, Shift click Control Shift click inside of this instead. So let's do turn on double sided for this. Display double side. Yeah, this would actually work. Okay. Well, we'll make some modifications to it later on, but let's just refine this some more. So polish by group. Ton of the dots, polish by group some more. Okay? Yes, I think this is this will work just about right. Okay? Like to get this treating out some more P by group. It is fine. So now let's add or let's duplicate this and zero M so. Let's go and do a duplicate of this. Let's delete this phase. Delete duplicate we just made, select this. On shape, send this down. Make a duplicate now, hide the duplicated piece, select the one that is down, and let's die this up. So topology flows in a certain way. Okay? Yes, we can do around there also. Yeah, this should be just about right. Yes, this we can work with. So now let's go and then geometry, Z Z masher ton adaptive, take down the adaptive size. Okay? We can reduce this. Yeah, let's reduce this. Let's set the value to two, then out and zero mash. Oh, do that. Forgot to delete in. So delete d in first let's do and do this again. Okay. I think do that we need this news a lot more. I need some more help. So select this we can do a slice like so. Then dot zero mash, F zero mesh. Okay, undo that. We have an issue around we have an issue around here. We have an issue around here. Let's go in. Let me dice it this way. Let's Okay, save the tone of this, let's say this back to two. Zero mash again. Let's do Zero mash. Um, no, I don't think I'm liking this though. Undo all of this. Undo this. We have this in here, let's make sure we do delete ding. I want topology that is kind of clean, so delete ding. I want good clean topology across this. Let's do this like this instead. Let's see what we get. Let's turn this off, say this to two. Zero mash. Yeah, this feels a whole lot better. This a lot better. Let's do, zero march this again. So we have this now at 900. P counts at 900. Onto W, let's just do same Zero mash, okay? That should mix do that's zero mash. Okay, same zero mash again. Okay. Yeah, I believe this feels a whole lot better actually. We can work with this. Let's do. Let's see what that gives us. Not just making its way too slim. I think this should be fine. Yeah, it should be fine. This will work just fine. Okay. So now we just need to go and bring everything back out. Let's turn on the leg. So we can make modifications to this. We have a lot of modification. We need to make to this actually. With the move brush, let me start by moving this up. Thi should actually cover most of this. Okay? Pull out bring this down. Pull out down some more. I might need to march this again, actually. But that's fine. Let me push this out. Let's just get it out where we want it to be first. Okay. I see a lot of mistake actually made in here, so but that's fine. We can correct that. This needs to push forward even more. It should be sitting just around here. Okay? So now let's get this closer on the skin. Not the skin, actually, but this padin we add in here. Should be quite close to it, even touching it. We're still going to extrude this out though, but let's just make sure we get this quite close. Should be quite close. Get a good angle like this. Maybe not entirely touching it, but at least it should be on it this way. Okay, let's extend this part out. Okay? Yeah, I see it in a good place. This is fine. So now let's let's polygi little bit more. So deformation, turn on the dots. Polygslitt just to make the as kind of spread out evenly across this. Okay, out down some more. Okay? Yeah, that's fine. So in next lesson we're going to call Caron and then keep working on this and get this to look right. I'll see you guys in the next lesson. Bye for now. 61. 60 Foot Heel Pad In Zbrush: I. Okay, welcome back guys. In the previous lesson, we created this padding piece. So we're going to continue. There's still a lot to do in here actually, so let's continue on and keep refining this. I would like to make the leg visible linear, so I can make modifications based on that. So for example, we need to pull this out some more. I'm just going to pull this out. Okay? Here as well. Pull this out. Okay, up around around there also as well. Here, I think this is fine. This has to be just about right. Then I think now we can safely add thickness to this. Car thickness to this, I would like to add a bit of cove in here so it doesn't it doesn't feel boring kind of. Let's add some push up cove in there and get this kind of flatten back into this piece below it. Yeah, I think ya should be fine. Ya should be fine. So let's see if there's something else we can do in here. Okay, I would like to create some more cove around here as well. Okay. Do some more cover around here. I'll do some more cover around here, pull this out, drag this to the back some more. Okay? Yeah, this should be fine. Then I need to do a little bit of polish in there, clean to clean, stretch out the surface squar in here, so it gets evenly distributed. Um, yes. Okay, now let's add some sickness to this, so I would I would do, let's get this out. Let's just go back in here and then do an extrude. So, yes, I think we can add some let me move this out some more, get that cove in. Okay? So at this point now we can add thickness to this. So let's go back to dynamic sub D. Okay? Then we take down smooth increase thickness. Well, now this is way too Take it down some more. Get enclosed, let's increase a little bit more. I need to at least a good amount. A good amount should be maybe this is maybe too much. Take it down a little a little. Okay? Think we are at a good place for this. Let me move this in. Okay. Let's add segments to this. Let's do two. But we're going to set this to three in here. So Shift F, so you can actually set Okay. Here are three now, that's fine. Shift F. Let's apply, subdivide this. Subdivide this is what we should be getting which is fine. So undo the subdivision level added to it. And then let's see. Let's start moving since it's a bit closer it a bit closer to the skin. Okay. Out some more. Then this sound needs to bring down even closer. All of this now we can bring closer. So she'll be just resting on the first part piece we added in here, so move this in out some more. See if you should subdivide this now, should get something on top of it this way, which is fine. She's precisely what I want. Put this down some more. This is fine. So let's take this down, delete. All right, so this is fine. Let's create the next piece. So we created this in word piece. We need to create it out to create it under outward piece. So the output piece is going to be is going to be this piece goes all the way inside. Okay. Yes, that makes sense. So let's do that. Select this. I'm going to isolate it for now, reduce the bro size. Let's duplicate of it. So duplicate. Okay, let it duplicates. So just to figure out where it needs to be now, and then we should be good. So it should be somewhere around. I think we can do use the brows size. Make sure we marks pen, we marks pen. Just need to do this as accurately as we possibly can. Okay. This way, we can reduce the browse size now, drag this all the way in the air. I think this should be fine. Then we can collapse this around the air, fill these parts up. Pretty more somewhere around the and she's clean this a bit more. Okay. I think around here should be fine. Maybe add a little bit more. Okay. Yes. Around here also control shift out. I do that Control O dab to sharpen this. Let's go out of solo. Let's see what we have. Okay. Yeah, this should be fine. Yes, this should work just fine. Just checking just to be sure where this needs to be, I think. I'm supposed to go to extend this out some more, but let's extend this out some more. This is supposed to be extended out a little bit more so with the move brush, I'll lift it up some more. Okay. Yeah, that should be fine. Pop a little bit more around there should be fine. Go back and select this. Okay? Yes. Yes. Just checking just to be sure if I'm doing this correctly and then we can extract this out. Okay, we need to make some modifications here. We need to draw it out all the way here, for example, and then push this in, reduce the bros size. Okay? Wo sharpen this out some more.O through out, sharpen this more, okay? Yeah, this should be fine. So let's solo this. Let me check this out again to be sure if I'm doing this correctly, yes, I am. This is fine. So Shift f, Control W, Control Shift click. Control Shift click. Okay. Then we would start by doing a deletes Eden. Modified topology, deletes Eden. And let's go, and then we defer deformations polished by group, polish some more. Okay. Make sure double seed is on double side. Okay, while I'm here, let me just make sure the food itself double sd is torn on. I keep doing this everything good time, I really duplicate out of it. So let's make sure double salt is turned on. She send this down, D duplicate of it, I duplicates. I think we should be fine. Let's go in and then polish this polish this even more. Polish by group. I can ignore this. Let's do an auto group for this. I shouldn't be a major issue. Autogroup should work just fine. Then let's do deletes Eden, deletes Eden. Okay? So now we can Z remerge this. Let's remerge this. But let's first get, we already have even flow around this already. So let's remerge this first. Let's see if it's going to mess up our age flow for this. I believe not. But let's just test this out of adaptive, take this down, keep groups, take this down, set this to two, Z remerge. You see an issue, there's an issue here. There's an issue there. Marks are out, invite the marks. No, let's even let's just do it for everything instead. So polish by group. So you see issues around okay. You see one issue up here, one around here, one around here. So I think if you subdivide this n you should if you zero marge this should work outs and zer march. Okay, then let's go F. Checking your numbers in here, 800. See, we have this at 800. I think 800 should work just fine. I'm Learning to get this. Let's do A again. Let's see. More space in here, though. But we have wow topology across this. So let's just do same Ah. Um, let's see. Let's do F. I think we can work with this like this actually causes not too much of a It's not too much of an issue actually around there. So maybe we won't do this. Then do same then run this again. Okay? Then do. Run this again. It's pretty much the give know the same thing. Pretty much the give know the same thing. Yeah, that's fine. I work with this. Tisho be fine. It shouldn't be too much of an issue. Okay. So now let's do some other work on this. Let's make sure we review the previous one, the main leg in there, and we can make modifications based on that. Okay? I'm going to this needs to be forward, this needs to come out especially on these parts. This needs to come out on these parts. So I'm going to get it out this way. It should completely be on top of it. Yes, it should be on top of it. So let's get this out out also around here. But the parts will be inward. I should be inward. So something pretty much like this. Get this out also as well. Okay. I think we can make this work. Select this, pull this out around it to accommodate for this piece. Okay. Put this out. Okay. That is fine. Pull this out also. I think this is fine. The less artickness to this. So let's go over to geometry, dynamic subdivTurn this on, take this down. Okay? Increase the thickness. Let's come close. Let's see how much thickness we need for this, a little bit more should be fine. Okay. I think you should be fine. Let me pull you towards the skin some more. Shift F. Shift F again. Let's do three segments in here, then apply, then subdivide. Okay. I think thickness is way too much. Thickness is way too much. Let's take down the thickness some more. I think somewhere around here should be fine. Apply this again, subdivide. Okay? Yes, this is fine. Spartl is fine. Wood this out, delete air Okay. Pull this in some more O, some more. Okay, let me make the move quite close. Okay. Put this in some more. Yeah, this will work just fine. I work just fine. So we can continue continue on also with this would like to push this in some more glad this in some more because this part is going to be covered up, so we don't want it to be put footing out way too much. Let's get this in a little bit more, especially around these parts. Get this closer to the skin out some more. Okay? That's fine. I work just fine. So the next lesson, we can create another of the pits. But before we end this lesson, let's create I see a piece around her. Let's create that soon. I'm just going to select this and I'll do duplicate for it again. Let's duplicate, hide this solo clear the marks underneath it. For this one, I can actually use the max lasso. It can move a lot faster or faster with the max lasso. Let's bring everything back out. We can do this while this is still on here, so so it's more or less like, Oh, I think I need to do this again. Let's grab all of this. It goes in here also. Okay? Yeah, pretty much, pretty much something like this. Maybe we should erase these parts. Okay? Maybe not. We should actually, I think this should actually be fine. This will work just fine naturally. Let see, we need to kind of grab a bit more. Let's use the max pen instead and then pin in some more. Can solute this now. Pin some more. We can erase a little of this around there. You can erase a little of this around there as well. Okay? You should be like so Okay. Like so. Okay, it should be fine. Control O, tap in the Control W Control Shift click unless the deletes Eden. So delete ding, modified topology, deletes Eden. Then we can polish this. Let's just polish this some more, tone of the dots. Polish this even more. Get something clean out of this. Polish a bit more. Then down, move this up, polish a little bit. That's fine. Then we can do a duplicate of this, let us send this down first. A she send this down, make it duplicate, hide this. Let's bring everything back out. Let's see what we get. Isolate Alright, then let's let's do zero match for this. So zero match Don adaptive. Take down smooth, take down the adaptive size, set the value to two. Then let's zero match this. Let's go. Okay. Let's do A one more. Yes, I think this should work just fine. Let's do same. Let's do same. Okay. Yeah, it's work just fine. So let's bring everything back out. Let's turn on the top fits. So let's go up and then make sure that it is visible. Select the fits, clear the marks, select this again. With the move brush, we can move this out. Okay? Move, out, move this out also as well. Okay? Move this out on the opposite side. Okay. Move out around there as well, right. Then we need to add thickness to this. So let's do add some thickness to this, go over to geometry so deep. Take down the smoons. Let's increase the thickness for this or more. It undo that. Move the wrong button. So let's solo this. Let's see what we get. Let's do three in here. We did for that's way too much. Three should be fine. Apply, Shift F, subdivide, Okay. Yeah, I think this is fine. Take down the subdivision level, delete higher. Then we can do some more working here by pushing it in, which is in in some more in around here also. Okay? Yeah, this one should actually should be buried in. You need to buy it in bury this in o? Yes, I think this should be fine. I think I need to move this in some more, get this out. Okay? Yeah, I think this should be fine. Yeah, it should be fun around here. So let's subdivide this lesson where we get. Okay? In some more in some more, okay. Take this down, delete again. I think this is fine. So in the next lesson, we can continue on and then keep creating the other piece kind of food, all of these together. So I'll see you guys in next lesson. Bye for now. 62. 61 Foot Strap Pad In Zbrush: But guys. So in the previous lesson, we kind of worked on this EU strap, but we're still working on the entire Sanders in itself. So let's carry on with that. So the next piece I would like to create in here would be this piece that comes all the way down here. So the same piece, the same piece also wraps all the way to the back and sees something somewhat like this here. I also wraps around the back part. Okay? So let's create that. I'm going to select this. Clay any marks we have in there. Let's duplicate of it, duplicate it. Select Okay, duplicates, okay? The old she send this down. So now, just to use the mark spin. We're on the mark spin to just max out where we need this to be. So let's start from the Let's start from this side instead. So we should have let's see, should be coming on top of this. So we can do grizzy brow size again. We can do some frizzy bros size, hold down Control. Okay. On do that, reduce the bro size again. Okay? On doo that, I think we need to subdivide this fits, Dt lower. So we have better defined better defined marks in in here. Okay. Around here. All right. Now let's isolate it, then this should wrap do that reducing brush size. So this should wrap across do that. I need to get this down some more. Okay. Then like so. Let's see how far it should be. I think somewhere around there should be fine. Okay. Yeah, like this to begin with. Then let's get this triangle shape in Maxine parts. Maxine what part very well. Just make sure there's no openings in between. Okay. Then we'll make sure we go across this, so let's make sure we go let's see. So this should go all the way in here. Okay? All the way in here. Here, so, go out of isolates. Let's move this further in. Think all should be fine. And let's see what we get to. So we're having something of this nature. So this will definitely work just fine. I'm just checking just to see if I can refine this a little bit more. Let's get this a bit more refined. Okay. I think this should be just fine. Maybe we should add a little thickness around here. All right? Yeah, I think this will work. So let's go back out of solo and let's see what we have in here. Yes, we can definitely make this work. This we can make work, no doubt. Okay. Yes, I think it to work. So now let's go back. Let's go out of isolate, Shift F, Control W, give that a separate poly group, Control Shift click. Then let's do a delete Eden. So geometry modified topology, delete Eden. I'm sure you guys might wondering why I can't just have this sauce, kind of create my own customized UI for this. I don't know. I always prefer working with the defaultyY Just prefer working with defaulty don't like messing around with my interface. But if you like to mess around with your interface and then create shots code that's completely fine. But I always stick with the default. So that's in mind, and then let's go back to right let's go to deformation. It's the same repetitive pattern we've been doing all along. So Marks out the shape, refine the edge, and then z mash it. So that's basically it. Let me just check this again it is working just fine. Okay? I believe this should be fine. This we can work with Let's police a little bit more. I'm going to do duplicate of this. So under sub two, let's duplicate, hide the one at the top. Let's work with the one down here. Then it's time for us to zero maage it. Looking at the edge flow for this, I think we might not necessarily need to add additional polygroups to this because it's just going to take keep in mind the flow of the polygons already having of our quartz in here and then zer mash it so let's z mash it. Let's see what we get. So go to geometry, Z remaher for adaptive keep groups, detect edge. Take this down. I don't think we need any smoothing for this. So let's set this to two. Okay. Take this down, take adaptive size down. Yes, then let's zero mash. Okay. Now, it's kind of creating some gaps in here that we don't necessarily need. Let's see pulley counts we have in there. Okay? This might be an issue around here because it's creating gap that we don't use. Let's slice these parts up first. Let's just slice the parts and then Zimach this again. Slightly better, slightly better. Control W. This one single pool group. Let's do. Okay. I think this is not completely not that bad, but I think this will actually work. This will actually work. Even though there are space spacing in here once we subdivide this, it kind of make up for the spacing we have in here. I believe we're in a good place except if we want to kind of add our own segments. Additional cutter cross deserts completely fine. Probably we should. Okay, this is fine. This is fine. We should come up with this one. Now, let's go out of isolate, and then we need to pull this out to pull this out and make sure it's where it needs to be. So with the move brush, let's even go over to Let's go over and then turn on the leg. Let's turn on the leg for this. So let's make it visible. Okay. Then I would manually before manually moving this around, let's do inflate. Let's do an inflator and get this out. Okay? All right. Somewhere around there seems fine. Then we can manually move this out now. Okay? Out out here as well. All right. Making good progress on this also around the air out as well around the air. But we need to make sure this goes in. Let's reduce the bro size and then come close get this in. Okay. Pull this down some more, push this in, get this out a little bit more. Okay, I think that should be fine. Let's look at this now. I think, yes, we're making this is actually good. Yeah, this one should actually wrap itself in. That's completely fine. Let me select this and move this out some more to accommodate for it. Okay? Yes, this would work. Maybe pull this down some more, okay? Yes, this is fine. This is fine. This would work. I would say I think I might need to create another strap that goes in here. Yes, so we need to create another strap that goes in there. But at least for the most part, I think this is fine. Checking this again. So now, this is fine. Let's now add thickness for this. Let's add thickness for this move this way. Okay. So let's go over to geometry. Dynamics of the tonal dynamic, take down the smooth, increase the thickness, some more. Okay. Do a little bit more thickness. Shift F, let's see, add two segments to this. All right. Let's apply this, subdivide, let's see what we get. Okay. Yeah, this is actually fine. I think this would actually work. I think this we can definitely work with undo this, undo it again. Let me try this with just two segments. Instead, let's see what that gives us. Okay, Itting two segments is fine. Setting this segment out too is fine. Yes. Yeah, this work. So now let's go and take down the subdivision level, delete higher. I'll just move this in some more. Put this back closer. Okay? Then this should be down. Get in close. To that off. Let's move this closer. Push this in closer down in some more Okay. Yeah, that's fine. You need to push this closer also. Same here also bring this closer. So you just making a few adjustments in here and then we should be fine. Yeah, this will work. This will work just fine. Okay. So yes, let's move on to another piece. We've kind of done with most of the pieces in here actually. But I think we need just like we have this select this. I think we need one around there. I also need to kind of create I feel like I actually create another one at the back parts, yes. So iso we need now and also the wraps around there. That's fine. So let's start by creating one that wraps around at the top. So yes, select hold OT and select the leg again, and then we duplicate it. Hold on shift send this down. Okay. Let's add the original, and then you can just do this in here let me clear any marks we have in there. Shift F. I think I can just slice out the portion we need for this actually so let's do around the A. And around here as well. Okay, it should be fine. Control Shift click. So load this, this is fine. Let's do delete Eden, delete Ding modified topology, deletes Eden deletes Eden. I'm not checking if I'm not mistakenly do mirror and weld, let's polish this, go to deformation polished by a group. So let's just polish this a few times, okay? Getting close, pole some more. All right. And then let's go on that geometry, Zero masher. Turn of adaptive. Detect k groups, take down the smooth on adaptive size. Let's say these 22 out and zero mash. I feel like there might be some issues around this, so let's check by using the deformation polish by group. Okay, so far, we don't have any issues on the edge, so that's awesome. That's great. So let's move on. Let's carry on with this by I think we give more, I would like to squash this down some more. Okay? Okay, that's fine. Then let's do half of this. Let's go half 00 mash again. So we have this at 500 oligonsgia which is fine. This wraps around this perfectly, so we can then go back and make sure the leg is visible. So let's go and make sure the leg is visible. Turn it on. Then let's do inflates to get it out, deformation, inflates, inflates, inflates, Inflate a bit more. Inflate again, inflate this again. I think this will be fine. So let's make show this is the front view. I would like to more or less pinch this down some more. Finish this down some more. Then let's do polish by group. This would be fine. Okay. Go out of isolates. Now, this one might be more thicker than the rest, so. Let's go over to geometry, dynamic subdiv, turn on dynamic sub div, take down the smooth, increase the thickness a bit more. Okay. I think it should be fine. Yeah, I think we also need to scale this up some more. A little bit thicker than it is right now. Okay? And then I'll leave this up some more up around here should be fine. So now, I think we need a lot more thickness for this. Okay? Maybe that's actually way too thick actually way too thick Okay. As I feel like I don't need to add more thickness. I don't need to add segment to this actual supply subdivide. So you should have something smooth around the head, so do the subdivision level. Okay. And now we can be polish this a little bit more subdivide. Okay. Okay. So now we need to start pushing all of this back in. Most of this need to push back in. So let me select this. Let me select this first. Skill it out some more. Okay? All right. And subdivide undo that subdivision level first. Let's do polish is way polish is way too extreme. Let's turn on the dot for the polish. Stick to extreme. I would like to just smooth this out. Let's do relax, relax value is way too more so. Let's go into the polish and then use value of values instead to zero. Let to 0.03. That's even way too much. I think I'm not going to leave this way and we kind of subdivide, so that's fine. When we subdivide, it's fine, but let's push all of these back in. So first of all, I would like to merge them down together so. Let's merge all of this. As we saying pie then it becomes a lot more easier for us to kind of push them in. Okay? So let me select this. I think this should be down some more. Okay? Just the stop part should be going in. We just a bit higher. Okay? Let's start. Let's do it manually first. Let's do it manually, so we have a little bit more control over it. So push this in, select this piece. Push that in. Okay? Down some more. Select this. Pull the top part in, select this again. This needs to go in some more Okay. Select the next piece, go in some more, use the brows size. Okay? You can select this and then pull out instead. Pull it out instead for it. Alright. Select this piece, I think we need to get this down. Increase the broad size so more pull this down a bit more. Well out. W out. Okay. Yeah, this is fine. Yeah, this feels a lot better. Those see some corrections they made in your bots. For the most part, I think this is a lot better. And I need to move this way, okay? All right. But it is obviously way too thick. So we can let's do Control Shift click, Max this inverting max. This even inverting inverted the max. It the max. Let me sold this Shift F. Control Shift click. Okay. Or better still, we can inflate instead. So rather just deflate this instead. Okay? I think this would be a lot better than sink this into the mesh. Let's sink this into the mesh a bit tighter. Okay? Once we add subdivision levels to this, it will look a lot better. Okay? Yeah, that is fine. Yeah, I think we can work with move this down some more right. Okay. I don't think we can make this work. This work just fine. Bring this closer. Okay. So now I think we just need to okay there's a piece we need to get in here. There's a piece you need to get in here. So let's see if we can grab that. Let's do a maxing for that and then we should do that in the next lesson instead. Let's do that the next lesson and then fill out some other parts and then we should be good. I'll see you guys in the next lesson. Bye for now. 63. 62 Foot Sandal In Zbrush: O Talking about guys. In previous lesson, we kind of created this cross sided strap and then this olden edge on top of this. So this lesson, what was going to carry on and then keep adding more adding some more pieces to this. So let's do that. Let's start by adding a piece in here that goes all the way up and then I'm going to and then I'm going to finalize this adin that piece that comes across all the way to the back around these parts. So let's do that. I'm going to select the old and select the leg, move any new maxing we have in there. Okay. Then let's duplicate the fit again, send it down. Okay? Then I isolate it actually, I think I can let me just mark out where I feel this should be. So let's just mark this part all the way down. I think that's basically. Let's do it from this side view instead. Set's make better sense from this side view instead around here all the way up. Okay? This should be fine. Also maxima Shift F, Control W. Give this one poly group control shift click. Okay. Then let's do a delete ding. Modified topology, delete ding. All right, then polish this deformation polished by group. Polished by lots. Okay, that's fine. This is fine, then we can stretch it out a little bit more. Let's just do some minus stretching here like this will be fine. Okay. Then let's duplicate of this. So I'm going to duplicate this just to have a backup, as my usual habit already is. So geometry, let's make sure we hides eating already done that already. So geometry, Zero masher, keep groups, take down the smooth, done adaptive, take down adaptive size, set this value to two, os and then zero remerg this. Yeah, that's quite a lot. Okay. Let's go off zero mash Zm Z mash one last time. As now 300, 300 is fine. Doesn't need to be too extreme, 300 should be fine. Now let's go out of isolate. I think it's right where it needs to be actually. We can now just easily extrude this so. Let's go over to solo this out. Let's go dynamic, turn on demand, dynamic takedown smooth, increase the thickness for this, add a bit more, get close, a bit more, a little bit more, go out of isolate, let's see what we get. Okay. I think for this part, we need to bring the pull this out a little bit more. Sync around there should be fine. This should be fine. Then we can just let's do two for the segments. Apply divide that F, let's see the. This is fine and do that and let's push this in. Select this, pull this out a little bit more to accommodate for it. Pull this in, in, select this. We can bring this out more, select this. Let's create some more spacing between it to accommodate for it and do that increase bro size. Okay, pull this out. Let me get this to the side. So just trying to be a little bit more careful in here just to get this to look right. Maybe smooth this down some more. That should help. A little bit of gap in here, select this and we can pull this out some more. Yeah, pretty much around there should be fine. Yeah, this we need to sink back in. So let's sing that back in. Okay? I think I will need to degenerate out of this. We need to move in some more. Yeah, pretty much like so close that gap. Okay? Yes. And I'll leave this part up. You need to kind of see more of the thickness on the side. Thickness should not be completely eaten. Yes, pretty much so it should be fine. So now we can finalize this by creating one fine beside the back. So this piece here, I'm looking at this, so this piece should come all the and kind of you can allow it to fill up this part also, too, fill up these parts. Fill up slightly this part also as well. Yeah, that's what we're going to do. So let's select this fit again. The duplicate. The duplicate, send it down. Okay? Then we can start makin' our senior, so let's use the max last. I think the mark last should do a better job for us. So mark last so I'll come up all the way. Yeah. Okay. Then slim this down all the way down here and this way. Yes, this is perfect. This will work just fine. This will work just fine. Let's see. I think we need to add we need to kind of fill up this part a bit more. But this part is filled out a little bit more, so we can fill this part up also. Maybe probably because we have this piece in here. I'm trying to see if I need to duplicate this piece here and then get to around there. Yes, let's do that instead. That will make better sense, so I'm just going to hold and control, drag it to the opposite side, rotates orients. Okay, move this in, rotates, undo that. There's no rotates in it. Bring this in here this in here, rotate this again, rotate this way. How it's coming out around this place. We can actually keep that. That would add another extra bit of interest to it, extra bit of interest to it. Let's just move this undo that rotate it this way. Okay. I think at this point, we can use our move brush now to fill up the gaps. So we can move this up. Okay? Around Js should be fine. We can push this in. Okay? Yeah it is already taking a shape and then feeling sinking in in between. So that is fine. Let me push this back down. But that's down way to Let me select this. Push this in, down some more, select this. Okay? Bury this in some more. By this in some more way too thick on this on this edge. So we might need to bring this down even closer. Let's just do a mark last one instead. For this, let's just max out this portion at the mark blow the edge a bit more, then we can safely just push this in. Put in there, that thickness is fine. Pull down some more. Shouldn't be that thick. Let's take down the thickness some more.Ge enclosed Okay. We use the thickness for this some more. Just trying to take down the thicknesses, not too thick. Invert the max, leave this part up, clear the max, leave this part up, up, some more, select this. Let's get this out a little bit more. It's a little bit more so we can see more of the thickness picking out through this. Okay? At some more right. Select this. Come in close. Yeah, awesome. I think this should be fine. Yes, it should be fine. This also looks quite interesting also, too. We also adding some additional interest to this. So let's go back to this. That's not the one. Let's add that. Let's go down select this. Yes, this is the one we add the maxing on, so you should have something pretty mode like this now. So we can kind of clean this up a little bit more by adding Undo that. Let's go to Max pen. Okay. Yeah, we can do something pretty much like so. Yes. Awesome. I think this should be fine. I try see if I need to add. If I need to add something around here, maybe bring this down and extend this in here maybe. But I will make this part way too busy. Select this. I need to move this in some more. Okay. Yeah, this is fine. Let's go back and select this. Try and figure if I need to have something here or not. For the most part, my mind is telling me, No, don't do it. Don't do it. As much want to have details in here. You don't make details way too busy. You want to avoid making details that are just too busy. Making the entire merge too busy. I think this should be fine. Shift F, solo this. I think we need to let's extend this out some more as well. Go out to isolate and that is fine. Control W for that. Control Shift click. Let's do delete ding. Go down Let's delete ding for this modified topology, delete ding. Then deformations, polish polish, polish, polish tone of the dots, polish some more, get something even cleaner out of this. Yes, I think this should be fine. Lets poly juice a little bit more. It should be fine. Less they duplicate of this, so duplicate this, and the duplicate but for this, we need to add poly groups to this, so this is going to help greatly direct topology for this. So you get better directionality for it. Okay? Yeah, it should be fine. So now let's merge this. So let me save my five first. I haven't saved in a while. So down to geometry, Z marcher. You've same pedity process actually take down the smooth groups, take down the adaptive size, set the value to two. Hold out, and then let's z mach this. Awesome. This is the first one we did in here it's atuly quite nice. Let's test this out to be sure, we don't have any weird edge topology on this. Polish this. Let's see. You see, we have edge issues in here. We have some edge issues in here. So let me polish this again. So I suppose more of this Okay. Now, let's go back into geometry. Let's zero merge this again. That's fixes. Let's go off zero march. Sondra is actually fine. Hundred will work just fine. At we go lower. Let's see. Oh as much as I would like to keep this way too low. It's actually way too low. Probably we can keep this though. You know what? You know what? Let's keep it. Let's keep it. Let's keep it. So I want to go out of isolates. Control W this one separate poly group. Okay. Then we need to move this out where it needs to be. So let's go back and turn on the leg. Let's make the leg visible again. Ts on the leg. Okay, make it visible. Alright, so do an inflate inflates inflates. Okay. Inflats again. Now let's use a move brush and get this out a little bit more. Okay. Pull most of these out. Okay. Out some more. But not outweigh too much because some of this needs to still be buried inside. Let's do inflate again, inflates inflates, inflates. Okay? Move these out. We've moving things out in here. Okay. We Move this back down. Move this back in. So at this point now, we can safely add safely kind of thickness to this. Let me move this in. I think we actually needed more subdivision level for this. So let me subdivide this once. So we have this a 1,000. 1,000 seems like. I think I might need to go back and then use the CSN red we had before. 600 was actually a good one, if I should say. So let's do that. Let's do this by do this. Let's get Sison red back in. Let's get the SiSunRd Okay. Can we get sundred? Yes, we have one more step forward. One step forward? No. Yeah, Cisnre. We have Cundrad now, so I think this is the one I'm going to work with. It becomes a lot easier just to inflate and then we move brush, move things properly. Control W. Okay? Should have better control over this inflated some more. All right. Then we can easily move something out some more out some more. Then we still need to move some things back in. Let's start moving most especially the edges back in. Mostly moving the edges back in that in in also around there. Move this down down as well. Move this down inward, inward, inward as well, inward. Get this inward. You need to reduce the bro size and then push this in by lots. Okay. Similarly, also to this path, get this down down some more inward, inward. Let's see. Come in close get this down down also as well. Get this down. Down. Okay. Get up close, push this in, reduce the bros size. Okay. We'll do this in let's eat tiny bit of polish for this. I'll just straighten out the edges a bit more. Okay. Get this in. Yeah, I think that's fine. Let's Let's add thickness to this now. I think before we do that, let me move this up slightly. Slightly. That's fine. Then geometry, dynamic sub div, turn on the dynamic subdiv, take down the smooth, increase the thickness for this. Let's come to the head. Let's see where we get hit F. I think this thickness should be just about right. Now, we just need to pull this out some more. Okay? Get this back down. So now we have at least lots better control in here. Pull this out. Just a little more corrections there and then we should be good. So down some more up a little more up a little more. Pull this down. Use the bro size, push it down. Yes, I think, I think when a good place, let's fix the lower parts. Put this in, pull this in, and some more reduce the bro size, get up close. Then let's get this out, select this, pull it out some more, pull this out also as well. Okay? As as well. Go back to this piece, get this out. Okay, I think we can get close, bring this closer closer. Way too much out. Yes, this should be fine. Just checking just to be sure all of this is fine before moving on. Let's apply segment for this, let's do two segments, apply, subdivide let's see how it gets. Yeah, this is fine. Except we need I like to pull this up a bit more higher than out some more. Yes, I think this is fine. Okay. This is fine. Do you have an api. Something doesn't feel right. Shift F. Oh. Oh, I was wondering like, what's that actually? Because it feels like enveloping around this entire skin, that's fine. That's just the fit. So get this out some more. Okay, so at this point now, we can start merging all of this now as one single piece. I think we have something interesting here to work with so we need to start sending all of these down. So let's start with this. Go to sub to old shift, send this down, select this, send this down. Okay. Pull this down. This for the back piece. Let's start measuring all of this down since this is what is visible now. So let's measure all of this down. Measure down right. Select this hold and shift, send this down. Select this. Making sure that are no subdivision level in there. It's very important to make sure they are no subdivision level in there. War them at their most basic form. Is the most basic form. You always want to check send this down. Okay? No subdivision level in here unless merged down, merge down. Okay? Shift F. So we need to select this. An subdivision level in there's none. Awesome. So let's send this down, O down shift, send this down. A sub dibutionnodn shift to send this down. What about this? Any subdivision level there's no order shift to send this down. Select this and then merge down merge down. I believe we have this now. So Shift F, let's see all of this as one single piece. This is actually fine. This we can definitely work with. So let's subdivide this now. Oh, before we subdivide, let's make sure we do a mirror and weld, geometry mirror weld, so mop topology mirror weld. Okay. This is what we have, let's make sure we turn on. Let's turn off this leg for now. Turn off this leg. Let's go in and make sure the entire body is visible. Let's make the entire body visible. Okay. This is actually fine. Then we can now subdivide this. So let's subdivide so this is subdivided, now, this is where we get, which will work just fine. This is actually fine this we can work with. So if you can do a test, let's do Bling material instead. So we're actually going to make some should we say modifications or adjustment to this. But for the most part, this is working just fine. This will work just fine. So let's get in close, and let's do Shift. Okay. Yeah, this is fine. So let's kind of add some details and patterns to this. I should look a lot more better, so let's go down to the lower sublution level, okay? So that we're doing the next lesson. So thank you guys for watching now. See you guys in next lesson. Bye for now. 64. 63 Foot Sandal Folds In Zbrush: Welcome back guys. In previous lesson, we kind of merge all of this piece together. So in this lesson, we start kind of doing some sculpted surfacing detail on top of it. So let's get right to it. So to begin with, we're going to need to subdivide this a little bit more. Let's increase the subdivision level for this, I'm just going to divide this. Let's divide one more. 8 million should be fine. B going to test that out. So let's go to standard brush. Let me check if I still have my Alpha and have the alpha in here anymore. We need to test this out, though, for the most part, 8 million is actually fine. We don't need to go to extreme with this. Let's just go to Alpha and let's grab some let's grab some lead Alpha that we can use for this song. I'll go over to let's see what is winning year. Oh. Okay. We don't need wood for this, so we need. Let's use the flip skin pack in here. So I'm going to open that. And we have a few leather textures in here that we can use. So it's all under leathery skin. Let's open this up. And let's just test this out. Didn't test for this, so let's see if this will actually hold. So it's on the keyboard to go over to symmetry mode and drag this out, get enclosed or undo that increase intensity a little bit more. It's not really holding up. It's not holding up accurately. But it's not supposed to be a major issue, actually, why? Because if you crank this up now all the way up. I I crank this up again, it's just going to be too many policons to work with 34 million polygons. It's definitely holding it's most likely hold our details in here. Let's go in and see. It's still not holding our details properly, so I think the most preferable way to go about this would be undo that again, would be most likely to let slow this out. Most likely to do the leathering detail inside of Subtanpna. This is why we can't go extremely crazy years because we have too many parts in here, so it's just best to just do this inside of sbtnpnter instead and then optimizing here. Okay, so let's carry on. So what we're basically going to do now would be just to do some fold details around here, and then add some seam lines across this. Sandra is going to create a new layer. Before we create a new layer for this, actually, I'm supposed to make a duplicate of this. Let's see rename this to Sanders. Okay. So name this to sounds. I'll make a duplicate of it. Okay. Then on these duplicates, I'll go to geometry, take all of this down, delete ayer. Well you want this in its basiest form. So is this duplicate we made now that we're going to be working with so Let's go over to, before we create layers for this. Let's add some fod to this, bring this out. Let me see if I can find a reference for this. Nothing too specific actually, just to create fold. The idea is to create folds in here because I believe while he is working with this, this region here, she gets folded in. Shift F. Let's go to lower subdivision level. Then let's do Auto Group. I don't group ply groups on the edges, so let's do Auto group. Symmetry turned on for this year symmetry is turned on. All right. Control Shift click Control Shift click, It this hoops, do that. Bring everything back out. Control Shift, let's turn on, select rectangle. Control shift, click, control shift click, invert this selection. This is what we want. Let's go to higher subdivision level Shift F. Okay. Yes, so we can let me turn this off to take it back to our for one drug wreck. So for this, others kind of create foods in here, reduce the intensity of the brush. Okay. Something like so. This will as well. Should food in here as well. This is working on both sides. Then we can turn of symmetry now. Then let's go on subdivision level higher. You should have this food in here, which is precisely what I want. It comes with them standard brush and then create some more depth across this. Okay. Around your as well. Okay? That should be fun. Let's go to the opposite side. Create indentation around here as well. Swell. Here as well. Okay? I think this should work just fine. I should work just fine. So let's bring everything back out. I just to create an extra level of food in your Okay, I'll smooth this down. Put this in some more here as well. Smooth down. Okay? So this food should work just fine. This food should work just fine. Let's do something light, yes, smooth that down. Okay? Standard brush. Add one, yes, smooth that down a little bit more. Just create variation around those parts. Yeah, that's fine. This is fine. So let's go on subdivision level higher. Okay, and I'll use the pinch brush, BPI. And I'll tighten this tighten this also as well, tighten around here also. Go to the opposite side, tighten this edge. Okay. Yeah, that's fine. Moving on. So I would like to use my Dame standard brush and create some coats across here. Actually faint but not wvable, something just something faint around there. So let's select this via selection, the dame standard brush. Go to the lower subdivision level do that, reduce the Brosset a little bit more. Okay. Undo that. Turn on symmetry. Need symmetry for this. Okay? This is just going to make it look somewhat like it's inflated on the lower parts. Inflatable or probably the right word to use would be deflated. Do that again. This is going to be quite light. Let's go also up here do that gets close. You do this around here instead. He also as well. Up around here. Go up around here as well. I'm not looking at study SIM. Study SIM connect this in, continue doing this across. That feels odd This way instead. All the way down here and up up around there, connect this down. Now, this is fine. Now if you increase the subdivision level, if you're getting something faint like this, which is precisely what I want, it just adds another extra level of detailing to it, subtle level of detailing sold to it. Pre precisely what I'm going for in here. Okay, that's fine. So I think we can go. Let's do this across the entire model first, go to the lower subdivision level, go out of this. Let's go to the next piece. Go out next piece, invite the selection and repeat the same to you as well. All we move this across all the way up It might take a lot of time to do this because we have actually a lot of quite a lot of pads in here. So this might take a while to complete, but that's fine. It's important we get it in because these a really cool level of detail on the mesh. At least on the lower subdivision level, so we have something that kind of creates some shadow depth around it. Okay. Go across, then start going down. Let's use math cap for this. I can see this a bit properly. I don't want too much highlights affecting my view. Alright. Keep going down down as well. Look for a good angle for this. Continue this on. Do this, continue this on. Okay. Go around up also. Okay, I think we're not doing properly on this edge. Let's do this from this angle instead you get better at there to do it from the opposite angle. Okay? Come across. Let's do this from the top view. Okay. Almost done. Oh, that doesn't look right. Let me do this again. Well, awesome. That looks fine. So it's on both sides precisely what we want. I work just fine. 65. 64 Sandal Surface Details In Zbrush: H so welcome back, guys. So in the previous lesson, we started adding some seam tap into this. Not really sim taping, though, but just a little bit of taping around the edge. Give it a lot more make it a lot more unique. So if you increase the subdivision level, should be getting something like so, which is fine, maybe we should take down the intensity and then repeat this around just to make it a bit more intense. Okay. Just making it slightly more intense. Alright. Okay. Okay, that's fine. So go out, do something else. Let's look for another piece. Let's do for this piece. Control Shift click Control Shift click, invert selection. Okay. Probably increase the intensity a little bit more. Then get close. We can do this around there. Okay. Yes. So we just carry on with this. Probably doing this down here instead. Let's go from the top all the way down. Let's do from around here. Okay? Well, undo that. That seems rather odd. So it's fine if you even though you don't get it correctly, you can always redo that until it feels right. It's completely fine to redo it until it looks right, okay? Go let's do from this side. I'm kind of doing this in a way. It's much easier for at least for my brain and for my hand movement, kind of do this as accurately as I can. You can do it from whichever direction you deem fit. That's completely fine. So long you have similar effects, so that's completely fine. However you want to do it. Okay, connect this, right. So what needs to be symmetry Ton doom, which is precisely what we want. So we carry on Okay. Condo that feels like a mess. Okay. We're not doing anything too fancy. We're just trying, we're just trying to get this around. Okay. As well, also. All right. I'll undo this do this again, undo it get up close. You should probably come from this direction instead. Connect that. Okay. Almost done. At least with this piece. Undo that. Okay. Connect that all the way. That's fine. Let's go on subduction level high. Let's see what we have. Yes, it will work. I think I need to repeat this again on this region. It doesn't looking right. All right. No undo that. Mound we're not straight enough, so Let make sure I'm using straight hands for this. Undo that. Do this again. All right. That's fine. Then everything back out. A Okay? That is fine. Get enclosed. Let's see. Maybe go over this again. All right. He us fine. Let's go to under piece. Let's do this instead. Opposite side, invert the selection. Okay. Can we reduce on solution level? Yes, we can. An tho that is rather odd. All right. I have a strong cleaner. I'm doing something wrong. Sublon level, let's go lower. Let's just lower because I don't want this to be too aggressive or too sharp. I can be light handed on the edge. Okay. All right. Come down across down your opposite side. Okay? All right, move this this way. Get this at a good angle, continue this on undo that. Continue this on around here. Okay? Move this all the way to the opposite side. Undo that doesn't look right. Let's do this again. Still not looking right. Still not looking right. Get all close. Okay. I think that's a lot better now. Duce the brow size. Duce the brows size. Okay. That seems rather too aggressive. Alright? Okay. Yeah, that seems fine. Let it out. Let's do something else. Let's do the inward parts now. I think, this no doubt, select it. I think it should be this also as well. Yes, that's it. And let's do the same thing here as well. Getting a bit close. Okay. Yeah, that seems fine. Continue on. Okay. Undo that. Let's do that again. Alright. Go over across this. Let me repeat this part again. I feel like I didn't do that properly, that's fine. Come across this way. Okay. Then we can go down. All right. Undo that actually. That doesn't seem right. Okay? I think this should be fine. This should be fine. Let's go on to observon level higher and repeat this around here because there was we don't have no topology within that parts a bit more, repeating that again. A little bit more intense around these lower parts. All right. Let's make this a little bit more intense. Okay. Yeah, this should be fine. Yeah, we can work with this. That's fine. Let's select another piece. Let's do this inward piece. No, that's the wrong one. Should be the one on the opposite side. Yes. Fantastic. Something feels wrong here. I think I have way too many way too many Shift F, let's see. Something doesn't look right across this. Okay, we have, select this. Then on the opposite side, select Undo that Undo, invite select better. This is what we need. Just wanted to be sure if I'm doing this correctly or not. Okay, go to lower subdivision level, get close. Okay. Undo that. Continue on on the edge. Okay. All right. All right. Continue on. Continue on, do we? Okay, smooth this down some more. Repeat that again. There should be fine. Let's go on subduction level higher for this. Let's even go to the higher subdution level. Let's see what we have done so far. Okay? Yes. This will need to repeat again. We need to repeat this again. We might still need to kind of repeat this using something a bit stronger. Using the more stronger brush. Let's go to lower ablbution level, using more stronger intensity to get this to look and feel a lot better. Okay? Alright. Okay. That is fine. Let's do this and this getting close. And then just carve these depth in there. Okay. Go up, continue this on. Yeah, that's fine. I think we have two more piece to go and then we're done. Let's do this. And this invite the selection. Okay. Undo that. Let's do this again. Undo that. Let's go to lower subdivision level for this. Okay? I think I kind of strayed off on the end, so let me smooth this out and draw it again. Undo that. Okay. All right. Here, that is fine. Do that.O it again all the way to the bottom edge. Undo that. Let's do this again. All right, clear this out. Let's do the final piece. Okay. Oh, undo that. It's supposed to get both sides. Alright. Con do that. I don't think I'm moving accurately enough. Let me do this from the opposite direction instead. I think mans are more stable from the opposite direction. Okay. Let me do this this way. All right, connect it all the way here. Condo that get close. Okay. A here, well, undo that. Mans are not moving accurately enough. On do that also. Let's come in from this direction instead. Okay. Let's finalize this also at the back side. On do that, this should be fine. Let's bring everything back out. So for this we're getting something like so. So let's increase the creaslution level for this also. Okay. I think this should work just about right. Bring everything back out. I should work just about right. Don't need to go too extreme. You just need to create that softness on the edge. And sometimes pent would texture of this. We're going to have all of this, making a lot of sense. So I'll use the same dam standard brush. I can now make some of this a little bit sharper. I can do some variations and make some of this a bit sharper. Okay, I think we have an issue here. Okay, on this side instead so. Let's go to lower subdivision level. Okay. I would like to move this with move bro, ton of symmetry, move this back in some more. That's fine. Okay. I would like to create some fer details on this piece also. Let's go opposite side via the selection. Turn off symmetry for this, reduce the bro size, right? Then let's create additional increase the subdution level for this. Let's do this one more higher reduce one subution level. Okay. Don't know symmetry now. Okay? Like, so a dam standard brush, cutting separations in here, and we should be fine. I'll do the same also across this, go to standard brush, create additional foods to this. Okay? Let's do here as well. Them standard brush, carve this in, bring everything back out. Yeah, so this is fine. You get interesting foods in here. So let's go to higher subdivision level. Reduce the browse size by lots. So I would use the browse size quite more. We'll use the browse size a bit more. Something like symmetry on. There's ton of symmetry for this. Okay. So Indiana can just add start adding additional food wrinkles on top of this. Add food wrinkles in where we have those foods in here, introduce wrinkles around those parts. It kind of give it a lot more realism to it, just like the general idea. So trying to add a little bit of realism to it. Same as well, okay? In here or here as well. Let me just do for what is visible. Okay. All right. I think that should be fine. Let's go to the opposite side. Okay. The wedding to symmetry turned on. Yes, we wear, that's completely fine. So we can come in here now, begin to add a more personalized wrinkle detail on this Alright I think that's fine. This we can definitely work with in here. Okay? Let's see if there's something else we can do to make it even more interesting, increase the brush size. Turn on symmetry. Make this a bit sharper. I'll just make a few parts a bit sharper. Okay that's way too extreme. Let me take down the brush intensity. Okay? All right. Just creating another extra level of depth to this. Symmetry turned on for this year's symmetry is turned on. Okay? Seem across this undo that. Read that again. Okay, around here. Undo that. Undo that. Get this straight on. Okay. All right. Undo that. All of this to see you still add extra level of detail into it, which will give it more of an interesting look. Okay. Indo that. Okay. All the way at the back also. All right. Repeat the same around here. Make this more intense adtnsity to this. Okay. Yeah, this is fine. Let's come into this. Since we need a bit more for this. Okay. Undo that was kind of messing since up with two more thing that should be fine. Yeah, this is fine. Let's do for this. Okay? All right. So we're going to add some interesting pattern looking detail across this. Oh, it's amat we need to add. There's a shape that comes across this. So if you look at our main reference, you can see the cuts in between here. So we can introduce that. Let me just max it out. Select the other piece. It the selection, max it out, bring everything back out, invert the max, increase the brush intensity. I think you should be having it around, like so. Okay? Yeah, that looks interesting. That gives more of an interesting look to it. Yeah, we also need to do something on this piece. Let's max it out. Okay. Okay. Invite the selection. Go to the highest subdivision level. This one should come across this way. Undo that. To do this straight on. Also around there. A undo that. Also undo that. Undo that needs to be straight undo that. Let's get this as straight as we possibly can. Yeah, this is fine. Okay. Then we'll use the pinch brush. Let's use the pinch pinch brush and tighten this some more tighten this tighten this also, tighten this around there as well. Okay? All right. Yeah, it should be fine. This will just create an extra level of detail in that work just fine. Okay. Let's do the same coat. Before we can ad the same coat. Let's do the same coat all around here. Okay, so let's go to lower subdivision level. I'll select this. I think bring everything back out. Let me know what I'm selecting. Okay. Let's go to the highest subdivision level for this. Read them standard brrush. We can do let me max this out, invert the max. We can do the same thing across here. Here, that's fine. So this is fine. T will work just fine. So we'll continue on the next lesson. Bye for now. Or we can do also around here. Let's do for this this as well. Invite selection. Let's do something that cuts across these undo that. Undo that this way, and this way. A, that looks weird. No need. So continue the next lesson. Bye for now. 66. 65 Skirt Pattern In Marvelous Designer: You're welcome guys. Previous lesson we kind finalized on this food sandal. So this lesson, I would like to create then bring this out. I would like to create the garments in here. So this sclyskt waist wrapper. Let's call it skates instead. Let's create that. I already have the base we've already sported this out already. So we're going to using that same biz match. So let me close up Zbrush. And then make sure you save this, make sure you save this. So inside of Marvelo Designer, we're going to be importing in base mash. So let's go to File file. Let's do Avatar Imports imports. So let's use the Ad feature, add and then add Avata in here. Let's now select the Avatar we need for it. Let's go to Z exports. So I'm using the ZRS body too. That's like the updated version for it. So all of this seems fine. CM, that's fine. Okay. I think we are good in here. I'll click Okay. S's loading up down here, let me give you a moment to load So now we have a base machine here. Let me create a bit more space in here. I think showing this in some more. I'm going to select the base chw I'd like to change the color for this is way too dark. Let's go to color and then use something bit more obvious to see. Maybe we select our color instead. I think somewhere around there should be fine. Okay. Then let's add some more reflection to it, make it a bit more reflective. Okay, that is fine. Yeah, this will work just fine for what you need it for. Yes, we imported ported this accurately. Okay? So ignore the UV issues we have in here kind of weird biking shadows in here. So we need debasement, the body just to work with. So let's go to our two D view. It's our two D pattern view or the pattern window. So now let's start creating this GDP. So I'm going to start by creating a rectangle. So this rectangle that we're going to be using or converting into simulated mesh for a character in here. So let's do that. Let's create something. So let's start with something close to the kel, let's around the edge should be fine. Okay. We can use this to begin with. Yes. I'm going to extend this a little bit more, extend it some more B I like to extend this more than the length of the wist to simulate this together, we should be getting we should be getting wrinkle details going across this, which is precisely what I want. That's fine. I'm going to select this now. Let's get a duplicate out of this. Okay, so Control C, Control V phase this here. Okay? All right. I'm going to select it. I'd like to start by flipping it. So let's do flip horizontal. So the reason why we're flipping horizontal is because this is the backface for this. I don't want the backface to be visible. So since we're going to look at this if you're looking at this from the back, you want to visualize what is going to be visible. The front face, not the back face. So I believe that makes sense. So let me just move this in place. Okay, move this out this way. All right. I think this will work just fine. Yeah, this will work just fine for what you need it for. Okay. Now the next thing we need to do now is to kind of create a band. Wind creates a bond. The band will be wrapping around wrapping around the waist. So that's the bond you need to create in here now. So that bands wrapping around the waist, so we need to create a band for this. Let's just go back to rectangle and then create a short band. Let's do something like sew around here should be fine, okay? Okay. Maybe extend it a little bit more. So let's go to our it pattern to select this and down sheets, extend it out a little bit more. That's fine. Then we need to duplicate this, select this Control C, Control V, select it. Put this around where. Come on. Let's put this where we have a back skirt piece. So now let's move it, you know, let me move this down first. Let this move this up. Move this back up. Okay. Then we need to do the same thing also to flip horizontal send this back, send this back. Okay. Around here should be fine. Let's get it closer. Let's get this closer to the body. Let's actually use arrangements points for this. Let's see if arrangement points will help let's go over to the three D view or three d window. Then build up your mask on this. Should we call it human eye Continue, and click on Show Arrangement point. This will help us just map this around the body a little bit more accurately. So I'm going to select this arrangement points here, select this shape, and I'll select this arrangement point also around here. Okay? I see now that I will need to extend this to some more, so let's stretch it out a little bit more. So once kind of bond this together, I should hold up tightly in there. So I'll select it, move this closer around here, select this, move this closer, do that click out. Move this closer, okay? I think we might need to extend it a little bit more also. Let's extend this out a little bit more. That seems fine. What you need to do that, you need to make some modifications to it though. Let me show select the arrangement point again, select this, select the arrangements point again. Then select it and then move it closer around there. Select this. Move this closer. Yeah, that's fine. That works just fine. Next thing I'd like to do is to select. Let's select this. We'll use the same arrangement point also as well. Select the arrangement points. Then we need to move it down because it's up way too much. Around should be fine. Select this. Let's use these arrangements. Let's go down instead. Let's go down instead again. Around should be fine. Select it. Move it down. Okay. Yeah, around there should be fine. But a little more gap in between. Yeah, this is fine. Yeah, that work just fine. So now let's go out of this arrangement points. Or for now, I'm going to select this and select this and I would like to freeze them. Let's freeze them. Freeze, freeze, freeze, freeze. Son I'm freezing them is because when I simulate, it's not going to be simulated. So just remain in the same position where it is. I like to move it out a little bit more because I would like to simulate this piece first before simulating this. Let's do that. I'll make sure. Let me make sure I turn this fast first. Let's say this to fast DPU. When we're finalizing this, we're going to be using the complete instead. We're going to using the normal. Oh do that, I accidentally simulated this. So now let's stitch this together. Let's start sewing things together in your so we can either say it from the two D V, cans from the three D view. So it's a lot more based on the view we have in here, it's a lot easier if you sew this if we saw this to the so this in the three D view. Let's do that so I will go to the sewing. Let's do segment two. So I'll sows to this, come to the opposite side. So the segment, so these segments, that's fine. Go back to move, I select and move. Then let's simulate this. So it's space about to simulate this. I'll stop the simulation. I will undo that. Now, I need to shing this down, down even more because I want it to be quite tight. I should be quite tight. Let's shring this down run simulation again. Yeah, that's fine. Let's shing this down a little bit more as well. Simulate this again. Okay? I think around there should be fine. Yes, around there is fine. So the next thing I'm going to do now would be to, I believe, okay, let's not freeze this yet. So let's freeze this too. So activate undo that. Let's use freeze fast instead of activate because most of the activate is going to simulate it. So now let's start stitching things together in here also. So I think it's much easier to stitch this on a three D window because I can do this with a bit more precision to it. So let's go over to so so segment so. Then I'm going to select the segment and stitch this to this. Okay? That's fine. Then I'll know. Okay. Then stitch this to this? Oh, undo that. Something seems oddly wrong in here. Something seems oddly wrong. Stage this. Okay? Go back to move, go back to segment so. Stage this this, go back to select and move, go back to segment so again. Okay. I'm just making sure I don't make any mistake here. So that's why I'm just going back to select. Go back to select again. All right. Then go back to segment C, Stig this to this. Okay. Awesome. So this is precisely what we want checking this around just to be sure. Then let's simulate this. All right. Awesome. You can see how now we get some wrinkles around here around this, so we can extend it out again. Let me select these two, shring them down a little bit more. Around the simulation again. Okay? Yeah, that's fine. Stop the simulation. There's one thing I'd like to do, select all of this pattern. There's something we need to adjust in This artines collusion, let's say this down to zero. Now, if I simulate this I won't really see any major difference? Because we're simulating with first GP. You see a lot more I see a lot more difference When we do this complete simulation for it instead, using our CPU. I think it should be fine where it is, but I like to select these two. I would like to move it up a little bit more and simulate this again. Okay. Let's pull this out. Because I want this to be quite tight around here. So I'm just moving this up a little bit more. Get this wrap around the skin some more. Yeah, that's fine. That's fine. So now we need to make some modifications to this. Now, let me select the two, and I can freeze them. Now, select this to extend them out a little bit more. Run the simulation again. Reason is because I would like as much wrinkle detail as I can get for this. Let's get more wrinkle detail out of this. Stretch this out, fix some of the weird issues we get out of it. Okay. Yeah, that's fine. That's fine. Okay. Stop the simulation. Now, let's make sure we have all these on quads. Let's make sure they all in Qard. So let's go and visualize the mesh. So I visualizing the mesh now, we have this all in Qard. So if you don't have these all in quarts, let me show you the setting to actually use. So let me go back to monochrome surface. All you need to do is to go to settings, I believe, preferences. Then let's see if you can still remember where this is. Okay, go to three D, by default usually on triangle. We just send it to quards. Once you do that, it's going to ask you to close and reopen the file again. Then just do that and then it should be fine. But in case it's still not updating it on your mesh, all you need to do is select the mesh right click. Then we do quadrangults, and then it's going to convert any triangle mesh into quartz for you. That's pretty much what you need to do. Yeah, this is fine. This we can keep the next thing we need to do is to make some little adjustment to it. For one, I need to add some slight cove to it. Let's go to Edits Cvrtue instead. Edit curvature, I'm going to create a curve around here, a curve also around here. Let me make the cove a bit slanted this way. Make the curve slant. Undo that, undo that. Let's do edits, cf points. And I'm just going to move this way here, like so. But now, it's just way too long. It's way too long. So I'm going to select select let's go to this pattern instead. Select this. No, undo that. Undo that. I'll need to select all of this and just undo that. Let's do for both side. Let's do for both sides. So we can do all at once. Let's move this up some more. Yes. I think around, let's see, up a little bit more than shifts. Okay? Run the simulation again. Yes. Awesome. So it kind of makes a lot of difference in here actually. It looks feels it feels a lot better now. Okay? I think we can this we can work with, I think I need to move it up some more. Okay? No, no, that's a bit too short. Do that. Run the simulation again. Okay? Maybe we'll move this up some more. Let's move the upfront part up a little bit more. Then stretch it out this way. You can say I kind of pokes out around here more around the simulation. Yes. Yes, this is fine. It will work just fine. But the next thing we need to do now is to create it's another wrapping piece that comes across, so we need to create that piece. So to do that, we would need to create another rectangle. So let me save this first. Let's save this out. So I'm saving this into a new folder, so I'm not going to name this folder MD. Open up that folder and name this to Idris garments. Because the character has a name already, so it's most easier I of use the character's name for him. Okay? Save now. So now let's create another rectangle piece. So let's do rectangle. Okay. Now, the length would be approximately let me just use this as a guide actually. Or maybe not. I think a more preferable way to do this. Let me delete this. Preferable way to actually do this would be to copy this out Control C, then not symmetry pattern. Let's do symmetry pattern instead. Not symmetry pattern pattern so instead. So I think, yes, this should be fine. It's going to solve on top of itself, so I'm going to select this. This I'm going to Oh. Do that. We need to break symmetry on this, remove linking a linked edit. So I'm going to extend this out. So more then I also need to I also need to delete I also need to kind of delete this COV we're having here. So let's do that. Edit CvtureEdit Cvture. Yes, select it right click on it. Rightly Come on. Let's go back to it pattern instead. Select it rightly, Cit. Let's do delete all co points. That will straighten things out. Okay? And let's go back to is transform pattern. Right comite, let's do I think I forgot what I'm supposed to be doing here. So, I remember. I'm supposed to change the layer for this. Let's rightly cont. Let's do US supposed to have Supposed to select this. Yes, it's what I'm looking for. Layer down, so go to your property editor. Let's say this to two. So this is going to be on top. Then I'm going to bring it out. Let's bring it out. End is down first to begin with. Undo that. No there. Not there. We need to edit pattern, select this edge. I only need to move this down instead. This is where we need to move down, okay? Yeah, that's fine. Then I'm going to select it and pull it out some more. I would like to be sure if it comes with the swing in there. So let's go over to edit sewing. Does it have any stitches in there? It does not have any sewing. There's no sewing in there. That's fine. That's completely fine. I want to stitch that properly now, to stitch that we can to sew that and we can use Let let me do this in here instead. So it might get a little trick in here, but we'll make it work. Let's do let's go over to segments sewing. Definitely to sew these segments. Let me get this go up a bit more to these segments here. To begin with, that's where we're going to sew that too. So now, now that's fine. Then I need to sew I just going to figure out where this is Okay. Let's go to it Edit screen, select this. I'm trying to figure out where that is coming here. Maybe move this out some more and do that actually. Let's just do this. Let's do this s on the three diviens Edit sewing. I'll select this edge, and I need to sew it to the back edge. Let's see. Okay. Yes, that's precisely what we needed to do. I think let's go to edit sewing. Let's see where we saw that too. Okay. Do I feel like something doesn't feel right here? Where did we sell this pattern to? Just trying to figure out where I sold this pattern too. You just need to be extremely shown here. So edit sewing, select this. Okay? I don't think I actually sew anything there. Nothing has been sewn. Nothing has been sewn yet. Nothing has been sewn yet. So let's try this again. This is the back piece. A Okay. Move this out. Okay. Let's just move it out. Let's just move it out trying to avoid moving it to. A have to move it out now. So I can get better apprecision to it now. So I'll go back to sewing this pattern segment sewing a rather. Select this. I'll stitch it to this. So now in two D window, we know where we are stitching that too. So across then I'll select this. Okay, I think we are good now. Something feels a bit old. Let's run the simulation. Let's see where we get some parts teaching. Oh. It's kind of pulling itself out. That's fine. That's precisely what we want. Okay? These are kind of fighting themselves in years. Let's just stretch them out some more. Create a bit of gap in there, so don't fight themself with too much. Okay? Alright, I'll stop the simulation. Now, I see some things I would like to do in here. I would like to, let's pull this out. Okay? Stop the simulation. What I definitely like to do would be extend this down some more, extend this down a bit more. Then run this simulation again. Okay? Yeah, it's pretty much pretty much like this should be fine. And I think I will need to make some corrections to this. But actually in a good place, this is working just fine we want it to. So we'll continue on the next lesson, bye for now. 67. 66 Skirt Refinement In Marvelous Designer: A Okay, welcome, but guys. So in the previous lesson, we started creating a pattern for this skate piece. So I'm just going to continue on and then keep refining this until we get our desired results. Now there are a few correctons I'd like to make in her. For one, I would like to this point in her, I like to bring it down some more because it's kind of up way too much around this part so for him, kind of poking out some more, and I'll make corrections to this also. So let's start doing that. So this pattern, I'll select these points, lay these points, and let's move them down some more. Okay. Down a little bit more. Okay. Then I think I will select this. Let me move this down. This is kind of blocking our view. Edit pattern. Select this. I'll need to move this up a little bit more. Okay? Same also around here, move this up some more. Okay? Run this simulation again. All right. Move this down. Yes, I think we can select this point again now, select this point, move it down maybe quite much this time. Okay, that's way too much. That's bit too much up a little bit more. I just want it to be slightly visible the backside. Should be slightly visible the back side, we still need to make some corrections to Okay, no, that's actually fine where it is. Move this up some more run this simulation again. Awesome. That's fine where it is. Stop the simulation. Then now let's go to this piece. I would like to make this a bit more. It looks too sharp. F way too sharp. So let's start by moving this up to begin with. No, B down where it's supposed to be do that back down. Then add a curve to this, so let's do Edit curvature. Let's add a curve, little curve to it. From the simulation again. Okay? Now, obviously it's way too long. We'll start making modifications to this. Let's this pattern, select these points and move this point up a little bit more. Okay? I see this point needs to go up some more. This point needs to go up quite a lot, actually. So d shifts pull this up. Okay, up a bit more. Okay. Run this simulation again. Okay. Let's see. Let's make sure this is working correctly as it needs to bring this down. All right? Maybe that's actually up way too much. Let's bring this down a little bit more. You just to find the perfect balance for this simulate this again. Let's check where we get in here. Okay, I think it needs to be done even a little bit more. On she bring this down some more. Okay, pretty much around there. And I would also use this move this point up some more. Alright. I think this is fine. Let's check this again. Run this simulation again. I'm having this weird but kind of bulging out. Stretch this down. Okay, let's unfreeze this. Let's unfreeze them. Turn off simulation for now, let's do okay, transform patterns, select these two, and then activate activate select them, and then let's do solidify. So let's run this simulation again. Okay. Undo that, undo that. Undo that. Okay. Activate. So let this let's do strengthen instead. Run the simulation again. It just keeps falling off. I don't want this to fall off. Undo that. What can we do to actually make this a bit more solid so let's shrink it in some more from the simulation. Let me move this up, up again, up again. Okay, stop the simulation. All right. So now for this let's freeze I like to freeze this snack. I think I have this where it needs to be. This is where it needs to be already, so I can select these two, and then let's freeze them. Let's just work specifically on this alone. Okay. So now what art now I like to do. Let me stop this. Let's see. Oh now I like to do is that I would like to instead of stitching it all the way to the end, let's do something around. Let's stitch it somewhere around here instead so. To do that, let's go over to did in Edit sewing. So select. Can we move these points? Is there a way we can move? Do that. We can actually move it though. So we have these two pattern should be this year. This is the one we need. Let's see if we can move this. Yes, we can also. So let's just move this. Let's see where we have this now, then move this some more, move this all the way here instead. Then run the simulation again. Should create a bit more gap. Has shifted, is precisely what we want to. I think I was thinking to shift this a little bit more. Let's shift this some more, go back to edit so move this by lots. Okay? Run the simulation again. Okay. I think I might have gone overboard, so I think I went a little overboard, but that's fine. I think we can snap this around here. Yes. Yeah, around there should be fine. So let's just move this around there. Run the simulation again. Okay. Then we can stretch it out. So now we get a bit more food in there. We have some more food in there. But I think now the entire looking at this knife, feel like, Oh, this front is actually way too high. It's down way too much, so let's on freeze them. Just a matter of going back and forth and then getting the desired shape for it or the desired length for it. Ring this back up. Okay. Yes. Let's see, let's see, the simulation again. Okay. All right. Let's see what we get out of this. Okay. I think these points, I need to move this down a little bit more. I think this both side actually. So let's go this pattern, select these points, select these points, bring them down slightly. Run this simulation. Then activate them. Activate Okay? Yes. Okay. Undo that. I will need to freeze the two again. So let's freeze them again. So freezer select this activates ground simulation again. Okay. Let's see. I already activated this already, so activates. Okay. Let's just make sure we have this as accurately as we possibly can undo that from the simulation again. Let's look at this from this angle because it's pretty much around this angle the camera is on. All right. Get enclosed. Let's see how far down around here. Let's shift it forward a little bit more. Let's shift it a little bit more. Don't mind me. I'd like to get this as precise as I possibly can as precise as I possibly can. So let's move this forward a little bit more from the simulation again. Yes, this is perfect. It's perfect where it is. Stop the simulation. I think now we can let's finalize on this edge to finalize a bit more on this edge. So let's do edits, select this. I'll just move this in some more guide this bits, more or less this way. Let's see what we get. Okay. Interesting. Yes. Yes, a lot better. A lot better, actually. I don't understand why this part least feels a bit bogos. Let me select it, move it out. And kind of check in there to be sure if we're having any issues. I can see this part looks a bit bogus. No, no, no, why don't. Run the simulation again, pull it down. Go down. Yeah, this is fine. This is fine. Stop the simulation, save this. So now we need to kind of increase the Oh, yes, we need more piece, one more piece. This piece, red piece in here. Let's get that red piece out. So I can just do Okay. Yes. So let's just create a new shape. So let's do rectangle. I'll create it should be roughly around the same length. Same width as this actually, roughly around the same width. Okay? It's down. You need to lift this up. Let's get this up. Okay. I think this is way too broad. Cancel this way wide, way too wide. So let's shrink it a little bit begin with a little bit to begin with. Okay, then we have this point in here. Okay. How do we make this work? We can do. Let's see what we can do in here. Okay. I can do something like, let's say we add edits or rather add points. Let's add points around there. Okay. Then let's go to Edits pattern, select these points, move this out. Something like so should be fine. Yeah, that's fine. Then we need to kind of stitche this together now. So let's stage this where it needs to be. Let me go in and check first. So I'm going to stitch it to this piece instead. So move this let move this this way instead. And I'll change the layer for this let's say this to three, so it should be on top. So we shouldn't have too much of a simulation issue around there. So now let's still this together. So I'm going to go to sew, and then let's do free and sewing instead, free and sewing. So let's do all the way from year to year. Okay? Then we'll come to this piece. We do something smaller. Okay. Let's from around all the way to the end. Okay. I think somewhere around there should be fine. All right. So now let's eat space bar and then simulate this let's see what we get. Okay? Yeah, one thing is certain is way too long. It's way too long. So stop the simulation. So that simulation, and then let's select it, shrink it down some more. No, I don't want to shrink it down, so let's reduce the height for this. The height is way too much. Let's see, okay? Shrink more Okay. Run the simulation. Okay. Pull this out, stop the simulation. So there are a few things you need to do in here. So let's start making modifications to it. For one, let's extend this down some more to begin with. And I'll go to its pattern, select this, select this, move this closer. Okay, select this move this closer. Okay. Run the simulation. Okay. I see we need to this point out the. We need to push this down by a lot to stop the simulation. This needs to come down quite more. Okay? We're getting something in here now. All right. Let's see. I think we need to make some corrections for this sewing now. So let's go over to the edit sewing. I'd like to select the color for this will be DCs that's the color for it? What's the color for that sewing. Let me see if this file. Okay. I just need to move it. You just need to let's see, this is 24 ". Okay. Okay, let's just move this move this a little bit more round the simulation again. So you should shrink or rather move itself. Let me stop this simulation. I would like to freeze this. Let's freeze this round the simulation again. Okay. Yes, around here should be fine. Let's see checking this out again, just to be sure everything working correctly. Okay? I think for the most part, it should be fine. If there's any correction we need to make, we can easily do that instead of Zbrush. But I think should I see this length goes up all the way up, so we can do. Let's select this edits pattern, select this, move this up a little bit more around the. Yes, that makes a lot of sense. Run this again. Okay. I think this is fine. Maybe we can just select this and then shing this in a little bit more a little bit more run the simulation again. Okay, pull this out, pull this out. Stop the simulation, right? Then coming here, I would like to freeze that freeze. Also on strengthen, select this select that and then freeze and strengthen, select this and freeze this, let's activate instead. Save. Oh, still some corrections to be made actually. So let's just select all of this and do freeze ones. The length for this is those down with too much, so let's get it where it should be. Okay, so I'm just going to go back to this pattern and let's let's grab all of this and move undo that. Undo that. Better still let's down here instead up this way. Just about right. I will select these points, move this up as well in some more round the simulation. Okay, stop the simulation. That's fine. So now what we need to do next would be to give this a more higher resolution. So let's make this resolution a lot more higher. So I'm going to go back to transform patterns, let the entire pattern activate. Then one thing I'd like to do for sure would be is it, let's see. Okay, let's see. I think painting, pin, pin, pin, pin. Yes, this is. So pin box, I like to come in here and pin the top parts, pin the. I don't want the top parts moving too much. Let's pin that. So now we kind let's go back to move select move If you simulate this now, the top part should just kind of hold itself properly. Okay? That's fine. Then let me select all of this pattern. Then change the particle distance to ten. Let's use the particle distance of ten instead. Enter to apply that. So it's applying itself to it. Now let give the moments. Taking this time to apply. Is there now. We need to simulate this. The simulate might take a little bit of time to actually simulate depending on your PC specs. I might take a little time to simulate. But I just allows run through. You can see how we get something a lot more realistic now. We have more realistic folds around this simulating a lot more accurately also too. It is precisely what we want. Let me put this down some more, stop the simulation. Now, to get a lot more definition to this now, what we need to do to simulate this with simulate this victim with our CPU simulation with our RAM but before we do that, let's let's clear out this pin parts in here. Down control and drag a selection across that to go out of it and go back to move. Simulation let's do norm defaults. Then if you simulate this now, you get something a lot accurate in here, a lot more accurate in here. Give you some moment to actually rest. Give you a moment to actually rest. Yes. So we get a lot more food wrinkles across this now because we're doing this with a lot more res into it. Okay, I think it should be fine. It should be fine. So I can stop this now. I don't anything weird happening in here. So this is fine. So I'll start the simulation now. So this is going to be like a final. This is like a final simulated piece. So this is a final simulated piece. Everything working accurately. So the next lesson will just be save this. So the next lesson will just be all about going to be all about creating topology for this piece. So we'll do that in the next lesson. Bye for now. 68. 67 Retopolog In Marvelous Designer: Welcome back guys. So this butler lesson is going to be about creating topology topology for son here because topology we have in here is not something let's say proud of. There's nothing I will be proud of to actually use for production in here. So we just kind of change this up and then use something that is more friendly. So this is what we're going to be doing here. So let's create clean topology out of this. To do that, all you need to do is to come over here. So you come over and then select this and we do the parched topology instead one. The patch topology actually makes things a lot faster in here, so I like to set this to ten. Set it to ten. Now to use this, we need to do this too. Let's go for the strapping here, tap, tap. Basically, we're taping on four sides. Tap here and then go back to the origin points, okay? Then click Create. So tomaicali we should have polygons created for this already now. So that's pretty much how fast you can kind of create topology for this. Let's go to another piece. Tap, tap, tap the points, go all the way up, then go back to the origin points. It usually works best for rectangular or squarish patterns. So we actually keep that also in mind. So this one gets a little tricky, but we still kind of keep in mind that we don't need to tap four times, and then we should be good. Let's go tap in here. Tap here, go all the way down, tap there, all the way up here, tap. Let's go back to the origin points and tap. Okay, click on Create. Fantastic. We have another mesh in here now, which is fine. Let's go to the next piece. Parch topology. Let's go in and tap, come all the way down tap, all the way tap, tap, back to the origin points, click on Create. I liked how I just like how this actually makes the topology process a whole lot faster, most especially especially for squares or rectangular surfaces. So let's carry on, so tap in here, tap in year. This one goes all the way tap, tap, back to the origin points, click on Create. Awesome. Let's go to the final piece. Now for this one, this one looked a bit ticky bots. I figured out a way to make this work, so let's do tap here, tap here, then tap. Okay, we have one, two, up here, then we go all the way to the origin points. No, no, definitely, no, that's not looking good. Let's redo that again. Okay? All right. Let's do, but it doesn't continue all the way down here, so that's like a disadvantage for us kind of. So we just need to find a way to actually make this actually make this work. So let me do a I'll go all the way here the origin points. Yes, this is actually a lot better, but I think we can push this even further and make it a lot better. So I won't do that. Let's go again, tap in here. I'll go all the way down around here, here, and then the origin points, yes, is fine. I cal concrete. So now all we need to do now is to begin to manipulate this and get this to look a lot better. So let's go to topology. So the di topology, I'll start moving since out some more. Let's see. Can we move all of this? Let's do create first. Let's create taping tap all in a click. That's fine or taping taps around here. Okay? So we're basically creating topology in here now. F. So this is like a tricky one in here, so we need to make sure we get the rights. Okay? Right Okay. Same also around here around here as well. Yeah, as well, okay? So I'll go back to ditpologyG closed. I think I can move this all the way. Maybe that's way too much. C do that pull that way too much. Let me select a few of these actually let's select all of this do. Now, I just get a little tick in here just to select the edge properly. Now, this part out is actually limited, so we just need to make do with what we have in here. Do that. Okay? We can move this. We can move this, it's not even moving. Let's move this this way instead. Let's do this this way. Move this down. Okay? Move this down some more, not go too extreme though. Move this down, move this down. Okay. Bring this closer. Bring this down a little bit more. Okay. I'll push this year. I'll bring this year. I'll bring this Come on, undo that. Pull this year. Oh, great. Getting close. Move this down here. This I can move all the way down here. Move this down here, grid do that. Move this close, move this here, move this down here, then move this all the way here. Yes. Yeah, it's a lot better just to fill up that lower parts. Then we can move this this way, move this way. This way. Here, also this way. Here swell. Close need to put push this towards the edge. Once you get this on the edge, you should be fine. Let's look for the opposite side also. Move this in here. Okay, move this here. Here swell, here, also. Okay. Yeah, that's fine. Yeah, move this also. Undo that. You just need to move the points alone. Move these points this way. Yeah, that's fine. It is fine. This week This we can work with India, I believe. Let me make sure move this points up grates Undo that. I like to move the points up some more. No. Great, undo that. Bring this closer. Okay, so at this point now we can add more radius, can add more subdivision level to this. So let's go over to Great topology. Then right click and we'll just do remesh. Can we just do remesh for this? Okay. So let's do remesh. No, I supposed to subdivide this actually. I like to subdivide this instead Edipology. Let's subdivide, this is what I want to make sure you are on ditpology then right click, then do or division. So select that. Before we select that, let me save this first. Save this. Okay? Then we can safely do all division. That's going to subdivide this topologize version we just did in here. So A all subdivision. Should should have more polygons across this, which is kind of precisely what we want. Okay? Now, I want to be careful though, because sometimes you might have points intercepting themselves but you want to completely want to completely, completely avoid that actually, so that you want to avoid. I think you might need to do some movements in here. Especially on the sits, the gels at or the spacing between each squares is quite broad for this. So might need to make some modifications to it. So let me undo that first. Let's make a modification in Fas before we add that divisions in. Let's just try and average things out here so more. Okay. Move this closer. I'm just trying to average in between the spacing for each quad in here. Move this down down down also as well. Move this in. Move this in here, okay? Just trying to average this in here. Nothing too extreme in here for now. Okay. All right. Okay. Yeah, I think on an average, that should be fine. On average, should that should work just fine. Okay? Now, we can still push this more if we need to. We can push this more if we need to by adding segments in between, but that's just going to take a lot of time actually. So I don't think I would want to do that. So let's just add division not current pattern. Add all division. Okay? This might even be This might even be too small. Let's say we can crank this up again if we need to do. But I'm trying to see if I need to actually do this. Just checking just to be sure if I need to actually crank this up even more. Maybe one more. Let's do one more so click out. Let's run this again. Okay, now it's becoming quite dense. But on this dense version now, we should be able to have this old all the details a bit more correctly. Now, to test us, if it's actually working correctly, we need to extra this out as an actual mesh now. So let's do that. So I'm going to right click and let's do remesh all duplicates and give the moments. So it's not going to destroy what we already have in here. This topology just made in here. It's going to keep an editable version for us, but then it's not create nodal duplicates of fi, so we can still go back and forth in case we want to make modifications corrections or corrections to it. So let's let us see what we have out of this. Let's give you a moments almost done. The reason why it's taking a little bit of time that depends on your PC ram also as your PC specification, and also greatly dependent on the amount of topology you have on your mesh. So that's just something to actually keep in mind. So I'm hoping we will not be having any issues in here because I try to be as much as careful as I possibly can. The only issue you might have in here is if two vertices, two vertices are kind of too close to themselves. So that's the only part you have issue, but I think I think we are good in here. Okay. Let's go back to move. Let's go back to this pattern and we can move the duplicate out, I believe. Yes. This duplicated piece now is the topologize version. I think I should even pull this up. Let me pull this up instead. This topologized version on top. Let's check that out. I'm going to select all of this, the original version and then let's hide them. Hide the pattern. This is the version now that we did topology for. So what we are seeing here is the topologiz version. And you can see how it's kind of holding quite a lot of the details in here, which is precisely what we want. So let's check that out. So we'll go to mesh. Let's select mesh. No, no, let's just do wireframe instead. Let's do wireframe instead. Okay, can we get Wireframe here? Okay, every on surface, yes. You can see how we get. You can see the clean UVs we having here now. Really clean UVs. And then also is holding up the detail quite nicely. Yeah, so that's fine. So this is pretty much all we need. Then we need to extract this kind of export this out now. Let me go back and then set this to monochrome surface, okay? So I would save this. And I'm going to select save. Let me give you a moment. Okay? So select the topologize version. Let's go to file. Let's do exports. Export OBD selected. Okay. Then let's export this into MDifis. Let's name this. Let's just name to skets. Let's do a caps in here. Okay. Save this. Now we need to import this single object. We don't want this multiple objects, single object and well that is fine. Unified UV coordinate is fine also as well. All of this is actually okay, just click Okay. But there's one thing I notice that usually happens when we spot out of Marvelo designer, most especially on the newer version for this butler version, to the best of my knowledge, is that once we import it into Maya, it gets a bit offset. It gets kind of offsetted. So let me show you guys what I mean by that. So if you should report this in now, let's go over to Document file. Document file, MD, skirts, drag and drop this in here, as you can see. It gets offsetted one way or another. I have no idea why. But it's not really major issue, let's just give this an existing material Let's just give it you write material, let's do blink instead. Dark in this bling material. Dark needs some more, okay? So we need to do is just to just move it in place. That's all. Moving it in place, we just do the trick so center pivots. We just move this forward a little. If there's any act we need to do in here, we can quite easily make the correction inside of Zbrush, move this out some more. Okay, this is fine. Any correction we do. Any correction we can do inside of Zbrush. Let me see if I move this up, maybe fix, it's not fixing it. Okay. So another thing we need to do would be to add thickness to it because for the most part, I think this is working just fine. Let me see if this date duplicates. Rename these two skirts, is not taking the name for it, so let's rename that. Okay. Then let's isolate it Control one to isolate. So total poly count for this around nine k which is fine. N is actually fine. So if you should do an autos mood for this, let's say we go in and do we have some issues in here, but that's fine. We can fix that in zebra. So if you do an autos mood for this, you should be getting they wrinkle details across the entire piece.This also precisely what we want. So let's go out of that. That's fine. Save this. Okay, so in the next lesson, we're just going to add thickness to it with add thickness to it, and then we can quite easily export this back into Zbrush and then start doing some additional work on it, okay? Yeah, there's some pinching that has to happen when I export this or create topology, but that's fine. There's some pinching in so let's try and fix that. I believe it is this, let's just undo that. Let's go over to Series to modeling standard. Then let's just constrain surface slide. Okay. No, undo that. Let's let the vertex instead. So that's fine. So you should find some of these issues on where we have more pulley counts in there. So let's just check around and then make sure if we found one, we see any of that, we can just quite easily slide them back in where it needs to be. Okay. Now for this, I need to reduce the polyco for it. I can reduce the polycon for it because we have SS in here that we don't actually need. So let's reduce that. So I'm just skipping one, moving to the next one, skipping one, moving to the next one. Okay. Just so we save more on all the counts in here and do that wrong one. Because for the most part, this band is not going to be visible, so why keep so much topology for you to control deletes? That is fine. So it's a lot lighter now. Let's do the same also around here. Okay. Almost done. So however way you can to reduce the plicon for this without destroying the details on the surface, that's completely fine. You should definitely do it and just reduce. So I'm just letting that and then I'll control back space, so control, delete delete both the edges and the vertices. Okay, this is fine. I'll save this. So I've reduced it now to around eight k, total poly count of eight k now. That's fine. So to kind of make this visible in case your ears is not visible, just go to display Edge up display and turn on ply counts. So that's all you need to do. That's fine. So next lesson we thickness and exports to Zbrush. Okay? So I'll see you guys in the next lesson, buy for now. 69. 68 Skirt Prepping In Maya: Okay, welcome bad guys. So in the previous lesson, we imported skirt into Maya and then let's let's create extrude some of this out and then get this into Zerush. Okay? So let's do that. I'm just checking to be sure if everything is working correctly before moving on. Get to do an autism. Let's see. I think we are good in here. Okay. So now let's add some thickness to this, we already have edges around this already. So if we done of those smooths not kind of smoothing out the same line and then making it too obvious. It's still holding up quite nicely because we have enough topology to kind of hold this properly, so that's also a bonus for us so that we can keep. Okay. Now let's add thickness for this. So let's just do extrude. Okay? Get enclosed. Undo that. Let's use the Locals it tends to give better results. Okay. I see somewhere around there should be fine. Let's see, let's check the hem for this. Probably a little bit more. Add. Let's see, let's do one segment instead. Okay? Click out. Let's don't Autos mount on this. Here's don't X. Okay? Let's see what we get. Okay. Oh, you can see now we're kind of getting the similar edges now kind of revealing itself with to moto. We need to undo that. I kind of like I like the thickness we have in here though. Thickness we have in here work just fine. So let's eat one, let's undo that thickness. And then let's try fix the edges. So we don't have this undo that again. So we don't have once we kind of add the extrude to this or thickness to this, we don't have it pulling out way too much on the same lines. So to fix that, we just need to let me turn this off. We just need to add segments, additional loop cuts on the edges of this. So I just need to figure out where those seams are and then add extra edge loop to them. So let's go edge loop. Hold down sheet rightly, can. Let's do more tie cats instead. So how do I close here around here as well. Come down. Let's add a tight one year, another tight one year, okay? Let's go to the opposite side. Okay. Then add one, as well. Okay. Then we'll add one here as well. We also need another one that goes across on the horizontal axis. So to do that, let's come close instead. So it should be around here, here also as well. Okay. Undo that, let me just do this again. Okay? Around there should be fine. Undo that. I think I'm not doing it in the right place. I need to make sure I'm doing this in the right place. Okay. Yes, around there should be fine. Okay. Yes. We do the same for the lower part also. Let's do one at the lower parts here, here, also as well. Okay? We need to isolate. Let's make sure we go to selection tool. Let's go to phase. Let click on this phase isolate this. Okay? We need to add one across at the top part. So let's add one more techds Okay. I'll add one. Okay, that's fine. We don't need to add anyone on the vertical axis, so we don't need any one for that because we're just going to completely smooth this out. So let's go out of isolates. Object mode, go out of isolate, okay? Save this isolate this again just to be sure everything's working correctly. Add that duplicate again. Let's add this control H to add darts. So you can add thickness to this now. LokaZOd control, create some more thickness for it. Okay. Let's look at the M. Let's add one division in there. Okay? Click out. Let's E three on the keyboard, all those smoons. Let's see what it gets. Okay. I'm not sure what this piece is in here, though. Do we have I think we have Oh, yeah, yes. Oh, yes, yes. There's something we kind of skipped. We skipped something in here. Definitely skip something in here. Completely forgot we have another extra piece, so in there. So we can do double click on it and slow this out. Then we can add cuts across. We just need to add one year, and we should be good. So one day should be fine. Yeah, we don't need to add around Okay, we need to add. We need to add one on this part because go to stitch this with the pattern at the back. Let's make sure we have checking this from an angle just to be sure if I'm doing this correctly. We already have a segment india already. We already have a segment india already. So let's go back to Object mode. Still on face mode. Let's go back to Object mode instead something. I cannot click. Come on. Put selection two. Play this out object mode. Isolate this. I would need to let me go down here instead. This is the piece I need to isolate face mode, select double click on this. Es isolate this more ti codes. We already have a cord in there already. That's fine. Okay, we have one already. Yeah, this is one we're missing. This is one we did not add, so let's add that in there. Okay. Awesome. Let's go back to selection two. Okay? Object mode. Save this file. I think we can safely fit on the keyboard now, so do one of those moons. Okay? So I think we pretty much have what we need in here now. This should work just fine. This would work just fine. We just need to make modifications and corrections to this, and then we are good. Okay. Let's see. Yes awesome. It's one on the keyboard again. We have a total poly count of 19, which is fine. Save this against. Now let's export this out, select this. Before we export, let's make sure any UVs we have in there, we completely delete that. Make sure any UVs we have in here. Let's even see. Maybe we can even keep this. Since we extract this out, let's see if it's going to create duplicate for us with good UVs in there. That's the layout. Okay. Well, surprisingly, it kind of kept it's kind of keeping all keeping the UV quite clean here, which is fine. We can definitely might. We can definitely keep the side, I guess. Let's see. I think for the most part, this is actually quite clean, and we can keep it actually. So let me select all of this again. If you do an unfold, it's going to change some of this a little bit more. Let's start with an unfold. Let's see because oh, yes, it's completely messed up, so we can't keep this. We cannot keep this. It's a complete mess. So let's delete this for now. We don't actually need this for now. We're going to create our own UVs later on. Create better US later on. So plain F Rader, let's go over to export selection. Export an OBJ file. So we going to export this to Ziputs. So Ziputs. Let's just name these two skates. Okay. All right. That's fine. Now, let's import this into Zbrush. We won't even need to do any extra or extreme detailing in there. For the most part, the wrinkle detail we have in there rush is really looking good. Okay? So let's go and export this import this into Zbrush. Let's open up Zbrush five for this. Let's get this in here. So to do that, let's decide, let's do an append so append spare. There's a spare space down here. So select that spare. It's quite small in right down there. So let's go in and then do an imports. Let's go to the imports skates. Okay. Awesome. So we have this now neatly brought in. All good. This is what we want. Okay? So we need to kind of make some corrections to this obviously, but for the most part, I think we kind of did a good job getting this in, which is fine. All right. So now let's make some modifications to it. So go to geometry. Let's see if we can reconstruct this. We can't reconstruct that, that's fine. What else can we do in here? Yes. So I'm going to solo this out to begin with. Make sure do side is turned on. Display do side, Shift F, Let's make sure we assign different poly groups to this so we can properly and most easily select them whenever we want. Okay, Shift F. Shift F. Then let's go and then add more subdivision level to this. Before our subdivision levels to this actually let's do one. Let's do one subdivision level. Let's check this out again to make sure nothing is broken in here. Just making sure we don't have any broken mesh across this. Because the next step would be to move the seams closer to themselves. So it's important to move the seams closer to themselves. Okay, so let me subdivide this again. One more. I think one more should be fine. All right. Now, let's start making corrections and adjustment to this Let's go to lower subdivision let me move this to the side. Subdivision Level two is a good one kind of move this in. So let's use the move brush, Control Shift click. No. Let's select your Gizmo and click W or any of the Gizmo navigation tools. So hold down Control and select this. Then we can use the move brush now and begin to move things in place, move this down. Let's move this in place. That's pretty much all we need to do, just to connect this, bring them even closer. Bring them closer. O W again, Control select this and move this together, bring them quite close. Okay? Then we'll go to the next piece. I think we would do Control Shift click Control Shift click, Control Shift click. On Control Shift and rag out to invert the selection. Then we can Control click on this to move them close together. Let's move that same close up closer. Okay, just a little bit of work just to get them close to where they need to be. So it's not really complicated work. It's just to fit them back in. Okay. All right. I think I went overboard in here. I think the idea would be to push them in instead, bring them forward and push them in. Okay? Loser. Okay. Yeah, so it should be fine. Let's go to more lower subdivision level for this. So we can move this a bit more slightly faster. Okay. I feels a lot chaotic around this part, but let's just try as much as possible to get them quite close. Invite the max, bring the other side closer also. Okay, pull this out forward. That's a bit much. Okay. Pull that back down. So just to be as careful as you possibly can with this. Okay? I think this should be just about right. Don't need to go to extreme. It should be just about right. Okay? Let's go to the opposite side and fix that p also as well. Let's start from the top. Okay, bring this closer. This part is actually doing its best to kind of keep the shape. So let's work for us actually. So let's just keep moving this in. Up, some more, okay, down some more down, down. Okay? Move this up, move this in. Okay. All right. Up as well. Reduce this down get close. Yeah, I think that's perfect. Let's go on solution level high. Let's check how well we have done this. We need to move this down some more. Just a little bit of refinement should be fine. Okay, that's fine. Go out of this. Wing everything back out. I think we need to do for this side. Cd that actually. Ow Control click. Candles push this closer and then we should be fine with that. Okay? Let's see bring this down. Select this. I would like to bring all of these up some more. Let them touch a bit more. Because I feel like there's way too much gap around that around those parts up a bit higher. Okay? Yeah, that's fine. You can actually talk that in if you need to, but I think around there should be fine. Clay that out. We can do. Okay, that's fine. Now let's move on to another piece. Let's start with this. Keep forgetting let's do that. Let's old control, tap on this instead. Is a lot better. Okay? No, I think we actually need to hide this. Let's start by hiding this let's. Let's first fix what we have in here first. So Shift F. This is where we need to fix to begin with. So control, select this piece. And then, you know, let me select this piece first. I'll talk this into the band instead. I'll talk this into the band first just to create a bit more space for the piece in front to wrap itself in a lot more without having to see the back piece. Let's wrap this in back some more. Push this back some more and drag it up. So drag this up, drag this up, push in, drag this up, push in, up as well, push this in, drag this up, and push it in. Yeah, it's pretty motor like, so it should be fine. Okay? So now this now is in the please. So let's select undo that W O down Control, select this. Okay. I'll need to push this in also as well up and in up in. Okay? Kind of tuck this back in also. Tuck in this a little bit more in some more in some more. Tuck this in some more. Put this up, tuck this in. In some more, tuck this in. Okay. I let's go oh, can see some corrections in here. I'll pull this out some more, okay? Just shift F. We need to fix this seam in here also. So get this close to the SM. Get this closer to them closer to the SIMndo that, get close. Okay. Let's get close. Up undo that. Let's find a good angle for this. Here is a better angle. We can just move this up closer. Okay, here, that seems fine. Here, that's fine. Clear this out. Shift F, let's put down control, select this. Need to tug this back in a little bit more. Tug this in some more, use the bro size, Tug this in some more. Okay? In some more. Here is fine. Okay? Clear the mark, select this. Talk this in some more. Okay, that's fine. Let's bring everything back out. So yes, this should be fine. And I'm going to select this now. I think the best option would be to select this and pull this out, pull it out. We should be covering should be covering this what should we want to call it? It's not even a leather piece. I actually see a fabric piece, you should be covering this fabric piece in front. Okay. Pull it out, out some more. Okay, we use the broad size. Let's get into the edge, shift F. Okay, pull it out. Okay, pull this out as well. Okay? Yeah, I think this is fine. I think we're in a good place now, it will work just fine. We put this down some more, led this out. Yeah, awesome. This will work just fine. So shift F there you see if there's any correction, there's some correction we need to make in here. So select this. I need to generally pull this out a little bit more because it feels like some of the parts are kind of buried in at the back, so we need to elevate this up so more shifted F. Yes, elevate this out more out a bit more around here as well. Okay? I think this should be just about right. Okay. Here, this is fine. Then I'm going to deduplicate for this. Let's de duplicate for the skirts, the duplicate this. Let's work with just this alone because I would like to make do some drastic move to this. Okay? So I'm going to just let's go to lower subdivision level actually for it. And I'll just move this in do that. That out some more, okay? So I'm basically just trying to break this up a little bit more. Just make it look a lot more unique. Similar to the reference we have sort of Okay. All right. I think I need to generally move this up a little bit more, okay? All right, get enclosed pull this out. Okay? We can buy, bring this closer, pull it out some more. I don't want to go too extreme. So I don't want to lose the fidelity of this mesh. So let's go a bit geno in her Okay. I think something like this should be fine. Okay. Yeah, it should be fine. It doesn't need to be exactly what we are when you reference. I think I do that, let me just move this closer. Okay? Yeah, this is fine. We can work with this. So next lesson, what else going to carry on and then do something else. If there's anything we actually need to do in here, though. So I'll see you guys in next lesson. Bye for now. Okay. Let me just check this show. There's no penetration through some of this. I think this is fine. Yeah, this is fine. 70. 69 Waist Band In Zbrush: Okay, what about guys. In the previous lesson, we kind of brought in a garment and then we did a little bit of work on it. Okay? So in this lesson, we're going to carry on and then see what we can do on the garment or just leave this as it is, and then create some model piece for our character in here. So let's see. Let's go back to, we're still selecting the selecting the skate. Sktti selected in here. So let's see, let me subdivide this one more. I don't want to go too extreme on it. I think this should be just about right. Let's go to the lowest subdivision level. Go down control, select this this, increase subdivision level. I go to my standard brush. I would like to out and just create a little bit of depth here a little bit of depth around there also. Adding an extra level of detail into this increase subdivision level. So it's there, but quite faint, which is what we want. We don't want something to undo that. We don't want something too extreme. Something faint in there. She works just fine. Okay. So I'm just accentuating some of the forms some more. I didn't do that. That was way too deep. Go a bit light handed. Just making it feel a lot a lot more better adding some little detail to it, and then fixed regions where Ns fixing also. So back to the standard brush. Elevate this at bit more, elevate some more. Okay. Yeah, that's fine. The back part. I don't need to do too much working. I think this should be fine where it is, except we might need to smooth this out a little bit small. That was a bit too tight. Okay? That's fine. Alright. Yeah, this will work just fine. Play this out. Select this. I think I might need to do some smoothing in here. Just a little bit of smoten in here just to get it not too folded this way. Just get this slightly smoted so it should be fine. Okay. I think that should be pretty much it. You don't need to do too much in here already have a dessert, look, we're going for a des already in the sep, we need to do something specific, but for the most part, it should be fine. So the next piece I would like to create would be this leather or not leather ban actually animals can bun around it. So let's create that. So how do we go about doing that? I'm going to use I think based on the shape already have in here, the closer shape. The closer shape to it is like a cylinder, let's use a cylinder for it. So to do that, we need to use an IMM for it. So let's go over to, I think we have a cylinder also too in the append, we have one here, so Cylinder select that. Select it in here. It's quite small down here. It's a very tiny piece, so let's scale it out. Okay. Move that up. Scale it down, move this up, get this roughly around the center of the body. Okay, I think somewhere around there should be fine to begin with. Let's squash this down. Scratch this down to roughly around the length for it. Squath this down. Okay, up a little bit more up higher around the. Okay, that should be fine. Then shift F. Yes, so let's do an auto group. But Es tamaran will do group binomals. So let's go over to polygroups. Let's do group binomals. So the top partial have his own separate polygroup and the bottom partial have his own separate polygroup also as well. So then we're going to let me to list this first. Solo this out. Control Shift click Control ship click. Make sure Wo Saly is turned on. Okay. Control Shift click as well. Then let's do it deletes Eden. So geometry, modified topology, delete Eden We need to reduce the pool canon for this less reconstruct. Let's reconstruct one more reconstruct. I think this is the lowest it can go. Yeah, that's fine. This is fine. This we can work with so I think we can do before we do deletes the duplicates. Let's have a backup piece. Okay. Then delete ire, I would like to This is the center parts. Let me max out. Let me see. Now, it's just to figure out how far back out this goes. Looking at this, I don't think it goes completely all around the wist. I think you still have we still have some space in between them. So we still need to kind of account for those space in between them. So most likely, I'm going to use let's use the max lasso. I'm going to max out this, let me make sure symmetry is done. Let's don on symmetry for this. So I'm going to max out these parts, Control W. Okay? Let me see if I'm in the front. We use the front view. On do that. Let's do this from the front instead. Let's this part, Control W. I do that, clear the marks again. Let's do this a bit more accurately. Control W for this. I'll do the same also around here, Control W. So these two now should be excluded. Let's just grab Control Shift click and grab this. I think it should be something somewhat like this. If we need to make corrections to this, we can, but let's just see where we get. Okay. I thinking let's see, let's check the back. Let's see. I think something around there should be fine. Doesn't need to go all the way to the end. Okay, so let's delete ding so delete ding. Then we need to squash this down back to proportion. Let's do something somewhere around there, up a little bit more up some more around there should be fine. Okay. Then now we need to use let's subdivide this and then delete lower. Okay. Yes. This is just about. This is just about right. Is Ds any need to pull them in together again, we can easily do that. But for now, I think this should work do that. I think I would like to I might need to extrude this out a little bit more. Before we do that, let's add. Let's add a cat around. When we do all smooth. It's not going to completely shrink everything down too much. Let's do BZ. Okay. Then we add a cat here, a loop coat going across this all on this edge. Okay? So if we divide this now, you should kind of hold all the edge a little bit more than before. Yeah, something pretty much like it should be fine. Okay? So let's do delete lower. Then we can do Can we reconstruct this again? Yes, we can. I'm not basically checking to be sure if this is working just fine before I move on. Let's do it. Let's increase this again, delete lower. So let's go to gizmo, let's use the bend curve. So bend curve for this. So I need to change the orientation of this my bend curve. So let's change the axis for it. I believe, this is the axis we need. So let's push this up to the green. Then I'm going to add some resolution one resolution in the middle. So I'll select this. Let's squash this down this way. Select this, expand this out. Okay? Undo that. Let's se two instead. Let's do two instead. Select this. Selected, let's just scale this out this way. I think it feels a lot better this way now. Expand it out a little bit more. I can see now that we generally need to kind of pull this even closer. But that's fine. I think we're making significant progress in here. We just need to make fewer corrections, and then we should be good. I'll select this, bring this in some more Okay. Let's see. Okay, I think you should be fine. Now, accept let's accept this. Accept. Okay? And I'm going to reconstruct, make it lower, use a move brush already on the move brush, T of dynamic. Tn on symmetry for it. Shift F. So I would like to just visualize just the torso alone. So let's go back into Is there I think we have slight do that. I think we have a slight problem in here Okay. Let me solo this out. Let me see whether there's this piece. We need to hide this. Don't need this anymore. So let's hide that. Okay? Select the main body. Let's do an auto group. Poly group auto group. Auto group PTV instead. Control Shift Control shift, click this also. In v the selection. Yeah, this is fine. This is what we need. Let's go back to this. Shouldn't be too much of a distraction in there. I would just to oh, I see the government seems to make some corrections to this. Let me see this let me hi hide this for now. Hide this for now. I did not notice we have some corrections to do in this. Let's just do that with the move brush. Move the closer out to the body. There's nothing too complicated. We just need to move this closes out to the body, and then we should be good. Okay. Closer right. This way. In most of the aim of this or this bond is not going to be visible, so let's at least just make sure we have in the right in the right place move this in some more. Okay? I think that should be just about right. That should be just about right for this. Make sure there are no interceptions in between these. Okay? I see we need to make some corrections in here, move this in some more. Okay? All right. Clear that out. Yeah, we're fine. Let's go back down and then try and bring this closer. Should be up even more. Okay. Use the bro size. Bring the undo that. It's beginning to get a lot trickier in here, but that's fine. We'll make it work, so I'm going to mark out the top part, invite the marks, blow the marks a little bit more. Scale this in some more Okay. Et me clear this out again. Let me do this again from the side view. Oh, we need to move this up first. Let's move this up, up as well. It just takes a little bit of moving and pushing things in just to get it to look right. So we're doing this as accurately as we possibly can so just a few more times, and then we should be good. Okay? You should be up a little bit higher up a bit higher. Okay? Bring this closer. I think let's go to a higher subbtion level now just so we have more polygons to work with to better get good precision on this I think I'm moving it too far too close to themselves, so create some gap in between. Okay? What is it going to polish this down? Was it going to polish this down to get some rounded more rounded surface to it? Let's do our best to push this in as closely as we can. Okay. Check this again. Right. I'm going to max out lower parts. Scale this in. Okay? Right. Invite the max. Bring this out, pull this out, some more. Okay? I think I need to move this even closer into the skin should be fine for now. Then let's go and then polish this. Let's polish this. So go over and then get this polished out. So deformation polished by group, polished by group. Keep doing some more polish. Okay. Let's do I'm trying to avoid this. I still want to maintain the sharp edge. So let me see if I can. Let's max out this part to begin with. Mark out this part also as well. Blow the marks, then turn off these dots can polish this. Okay? Okay. Yes, I think I just need to do some movements in here also as well. Use the move brush, elevate this out some more. Now, I need to create some gap where this piece should be where this stylist man piece should be. I need to create some gap for that as well. Let's make sure Doble set is turned on for this. Double set is already turned on. Yes, that's fine. Okay. So let's move. I think we should be able to do this perfectly if we max in the max, blow the mark. We move this closer. Okay? A bit closer. All right. Yes, we're making significant progress in here blow the marks or more ton of symmetry, ton of symmetry, and then we elevate this clear the mark elevate this out a little bit more. Okay? Here as well. All right. Just checking this around just to see what we get out of this. I think the front part, we need to push this front part. This front part is kind of even the back part also expanded out way too much, you need to get them in. So let's bring these lower parts closer. Let's start by maxing it. Okay? With the move brush, kind of bend them in. Okay. Come to the fronts, bend them in. Okay. Yes. Come in closes. Bend them in. All right. Come in on these parts. Let's bend this down some more. Okay, elevate this out a bit more. Then let's polish again. Polish by a group. Okay, that's way too extreme. Let's turn on the dots. If you cannot do things that get a bit more gradually. All right, let's check this here. That's fine. Back also too. That's fine. Think a good place, clear the marks. I think you can turn off symmetry for now. Extend this out. Extend this out. So more out. Okay? T on the waist, was way too close. Get this out, some more out also as well. Get into an angle, move this out. Okay? I think this should be just about right. Polish this a little bit more. Pull out. Okay, now let's add thickness to this. I think when you write last now, let's add thickness to it. Let me figure out if the length for this is fine. Let's figure out the length if we have the right length for it. Tn asymmetry, we need to expand this out some more because we're going to having something interesting in there, so let's get a little bit of gap around there. Okay, I think that should be just fine. Okay. Compensate for it around a little bit more. Maybe maybe I did too much don't do that. I think around here should be fine. Dre'st need to kind of pull that out. We would later on. But this is fine. There's a thickness for it, so I would just go over to, we need to push. I need to push this up. Should be a bit more pointed. And the gap in between the gap in between, I think we need to push this back. We don't completely close that gap in between fronts. So let's respect the gap we have in there and push this back in. I think this should be just about right. All right. So I'm going to do a duplicate of this. So let's delete lower the duplicates. Let's artiness this duplicate piece. So I'll go to dynamic stop the dynamic. Take this down, take down the smooth, increase the thickness, add more thickness to this. Okay? Yes, I think this should be fine shift F. Let me just see if this thickness should work just fine or I need to do something else or need to increase it Let's increase a little bit more then do two segments in, apply, subdivide, shift F. Let's see what we get. I think this should be just right. Okay, so we still have more control over this to push this down if we need to. But I think this should be just fine. Check this around. Yeah, you should work just fine. It should work just fine. I think I will need to extend it out a little bit more and do that. Let me just max some of the top parts. Blow the mark some more. Go to our gizmo, extend this down a little bit more. Yeah, that's fine. That works just fine. Don't need to go to extreme in there. This works just fine. Alright, so we need to move this in word some more. Okay? Get this out. Yeah, I think this is fine. This is fine. We can work with this, push this back some more. Okay. Yeah, that's fine. This is fine. This will work just fine. So we can continue working on this and then create this. You can see a metapis at the top. We can quite easily create that by making a duplicate of this and then extra extract this edge, and then we can get out get this metapis out. We'll do that in the next lesson. I'll see you guys in next lesson, bye for now. 71. 70 Waist Band Edge In Zbrush: Okay, come, but guys. So in the previous lesson, we worked on this waist band. So we're going to continue on with this and then keep making modifications to it as we go. So let's continue on. So I'm going I want to make this metal band at the top part. So let's carry on. Let's do that next. To do that, well I would just go and duplicate this piece, so duplicates it. Okay. Then I will hide Let's start hiding the duplicates. Let's start hiding this duplicate first. But this is the main piece. We're going to need that? Let's even rename it to waste. Let's use all caps for this. Bnd. All right? We name this all, we don't need to name this for now. Let me just pull this up, select this, this, select this is what we need. Solo Shift F. Delete a new topology we have in delete rather. This should be fine. Control Shift click, Control Shift click, Control Shift click. Okay, delete Eden, delete Eden, right? This is what we need. Okay, so I'm going to max out symetonalsymmetry for this symmetry turned on. So I'm going to max out this Control W. Okay? I think I just need to grab one more. Let's grab this Control W again. Okay? So basically, all I need for this now is just the top parts. The control shift click. This is all I need. Then I'm going to do delete Eden. Okay. Yeah, this is fine. Let's go out of solo mode. Let's top back the main waistband piece. Let's see where we get. Yes, I think we can, I think you can work with this. Or do you want to grab this top? Let's grab let's grab all of this Control W. Control Shift click. Don't know that deletes ding. Delete ding. Yes. And with the move brush now, we'll just move this out slightly, move this out slightly. All right. And I also can create some thickness for it. So let's create thickness for this. So we can do let's just use the under geometry let's turn everything back on first. Make sure this is visible, okay? Then let's do, I think I need to move this back in. All right? Then let's go to geometry. Dynamic sub diiveTnwton, take down the Smokey's already taking down. Oh, and it's already memorizing the previous thickness we added for it. So this is where we need to begin with the zoom out, Ship F. Okay. But we need to get this even thicker than it is right now. So let's increase the thickness. Let's see. I think we might we might need a little bit more. We need a little bit more. Can we adjust the values in the value of one? Yes, we can. Shift F. Let's see. Okay, I think we can lift this up. Turn of symmetry trans orient and centers. We can move this up a bit higher somewhere around here should be fine. Okay. Undo that up a little bit more. All right. Maybe way too high, let's bring this down some more. Yeah, that's fine. This we can work with two segments, two segment, two segments. We need to segment for this. I think let's do three segments instead. Let's do three segments instead, apply, subdivide Okay, Shift F. Let's see, I think this should be just about right. We can pull this up some more. Okay? Then let's take this down, delete ire down control, make another duplicate of this. Pull this out some more up this way. Maybe up a little bit. Let's do up a little bit, let's see if we can make modifications to this. You can see this thinned out edge on the lower parts. We have a lit thinned out edge. Doble let's see without double salt is turned on turned on. Okay. Let's see. I'd like to polish just a little bit more. You can see this edge here. Let's poking out. I don't need that. So let's go over to the formation polished by group. I still not fixing it. Let's do polish script edge. Polish script edge. No issuing its way to motor ship F. Let's figure out where that issue is. Probably should we can't even use Control shaped click Okay. Shiptv trying to resolve any issue you might have here. This is the issue we're having in here. So mark this out, inve the max, Ivar the max. Okay. Let's do Polish instead, Polish, Polish, Polish, Polish, polish, polish. I think something's actually wrong in there. Something's definitely wrong in that part. Clear the mark. Bring everything back out. Let's grab this instead. That's one Control shaped click. Control shaped, click. Yes, it is just strip This strip is actually the main issue. Okay? This strip is actually the main issue. So I'm going to mark this out, bring everything back out, invert the max. Then I can polish this, polish this some more. Okay. Polished by group, polished by group. No, no, this would definitely mess things up for me. I don't want anything that will look a bit weird. Let me use the smooth instead. Or is this even a piece we actually need? That's another question to be asked Ship E, Control shaped, click on it, Control shaped click. Do we actually need that piece? Okay. I think, okay, this shoe might be coming from, it's the piece we actually need. It's supposed to be in here. But the way it's folded in is just the issue. We folded in is just the issue. So let's just continue smoothing smoothing it out, and then we should be good. Clear this out. Control click, click. This is what we need. Mark this out, bring everything back out, invert the max. Let's do Polish Crips edge. I can say it's kind of thinned out this way, which is not precisely what we want. Let's polish by future. It's completely messing things up for us, so I think we might need to undo all of this by lots. Let's go back to the original form. Let's go back to the original form. Okay? I think we'll start by doing manual extrude instead. I say manual extrude instead would make a lot of sense. Let me move this click, okay? Because you want to try and avoid having issues on there. Transmitter as possible to have issues on there because it's just going to mess up your mess up when you try to take shade instead of so tan spinter. So I'm trying to avoid that. Let's bring everything back out. So I think a more preferable option for this would be to use Bs and extrude manually instead. So let's go over to the surface and then let's do extrude or polygons. Yes. It's a lot more It's a lot more neater. Let's go out of isolates from this out. Yes, this is perfect. So we have something cleaner now with this. You can see we have a lot more cleaner topology around this and cleaner surface around this also as well. Okay. So now we need to just add edge loops to this, and then we should be good. One other thing I'd like to do be to go over to poly group. Let's do group by normal. Okay? Yes, this is fine. Then I'm going tool Polish group. So polish group, so it should hold it should hold up the edge a little bit more. Let's undo this for now. Control Shift click. Okay? Con through. Click on this. IV the selection. Let's add this to it. Invite the selection, Max this out. Ivdimx Iv max, Shift F. Yeah, this is what we need now. We can polish this. Let's do Polish group. Polish group, polish group, Polish group. Trying to get it somewhat flatter. Okay. Let's go out of isolates. Let's see what we get. Clear the marks. Oh, no, no, he's messing things up in there, so don't do that. Okay. Bring everything back out. I think what we need to do just to add if you subdivide this, do that. That's fine. Let's just add loop codes to this. So let's add one loop code here, add one in the middle. Add one around here. Okay, add one that holds this edge together. We need to do this with symmetry turned on. Let's do this with symmetric turned on. Do that. Okay, one year one around here as well. All right. Let's add one around here as well. Okay? Let's see what we get Shift F. Subdivide perfect. This is perfect now. It's a whole lot better. So Control Z. Now we can make a duplicate out of this. Let's grab a duplicate out of this. Move brush. Go to Agizmonsymmetry, center AgizmoOn Control and drag a duplicate out of this. Okay. Bring it down a little bit more. All right. I think they should be fine. We just need to use our move brushing and then move things in place. Let's just move some things in place, and then we should undo that tunnel symmetry. Okay. Yeah, I think they should be fine. Yes, let's go to the front. We put the same around there. Come in close. Okay? Yeah, I think they should be fine. Invite the max. Let's pull, push this down some more. Yeah, that's fine. Yes, that we can work with. Yes, this is fine. We can work with this. Okay. So I have done is for the lower part, but it will not make any sense if I do the same thing for the lower part because we have this we placed on the lower part. So we're going to start, let's create let's create the cow piece now. So that's the next thing you're supposed to create. So to do that, it's not so much of an issue to create that week. We use we just use two police fast and then we should be good. So let me do you can sly do that inside another canvass. Let's go to another Canvas. Let's do this in this canvas in here. Okay. So to do that. Let's go and BI Police Fair, ply fair. Okay? Select the police fair. Then we come in here under geometry, we do okay? I think, okay, we need to kind of, we need to do something first. Let's do make polyme DD. That's fine. So now geometry now would go down to Modify topology merge from brush, okay. That's fine. I'll need to scale this out because our main body is kind of scaled out a little bit more, so it should be fine. A bit more, okay? So this is fine. So I'm going to symmetry to on asymmetry turned on now. So I will just go in and then squash this up. Okay. Yeah, that's fine. Yeah. This is fine. I'm just going to make modifications to this. Let's make modifications to it, and then we should be good. Okay? So I'm going to go down control, make a duplicate out of this, right, invert the max, and then I'll start moving this just to get that shape in. Okay? Shrink the lower parts like so. Come to the top part, also bring this in. All right. I think it should be fine. I think we need to do mirror and weld Mirror and weld undo that. I think I'm going to max all of this. Control W, Condoh click, Conduhf click, delete Eden. Better still, I'm going to duplicate this instead and rotate. Come on. As we have an issue Control drug. Yes, much better. Okay, that's strange. Clear the mass. Max this out. Control W. Display double sided, okay? That's fine. Do that. Oh, symmetry issue was from the symmetry, so ton of symmetry. Ton off symmetry, and then we should be good now when we rotate this. Alright? I'm going to bring this closer this way. Okay. Then I'll move this in. Bring this closer, bring this closer. Okay. Yes. So they should be closer to themselves pretty much this way, this way. This I'll bring in some more. All right. I think this should be just about right, smooth some things out, some more, clear this out. And I'll make a duplicate of this. Let's duplicate of this duplicate. Then I'm going to do dyna mash it for this. Let's do dyna math for it. So go over dynamos dynamo, Dynamesh. I think this value is way too high. Resolution is way too high. Let's do a resolution of ten to begin with, dynamesh. So at this resolution, we have one oh five, do that. We need to kind of smooth this out first. Let's make sure we have a smooth surface to begin with, okay? Still make modifications to this based on that. Move this in. Move this in, smooth out. Okay. Create some variation in the Variation shipping in here. Alright. Create a little bit of gap we push this in, smooth this out. All right, I'll bring this in some more smooth out, increase my smooth intensity, smooth out. Yes, that is fine. Clear this out, delete lower. Take this down. Let's use the resolution value of five dyna mesh, 90 k that is fine. Smooth things out. Okay, smooth out, smooth out. All right. We're still on the move brush the move brush, push this down some more. Pull this down some more. Okay. Then some more, squash this in. In some more smooth this down, smooth down, smooth down. Okay, smooth this down. Pull this up some more. Alright, smooth this down. Polish this again, smooth out, smooth out. Okay. Then we can now zero match this so smooth out. So let's make a duplicate of this duplicate Okay. Let's do duplicates. All right. I think ship F. So we have two poly groups in here. Let's add some additional codes across this, we want to use the slice cove instead. Let's do slice cove. One year Oh, where the subdivision that we don't need so delete her. So add, slice slice here. Shipt This is going to help a lot. Let's duplicate this one more. This is going to help a lot to create good topology across. Its just the same way we've been doing it before. Let's go to zero, zero masher detect edge. Yeah, we can keep smooth group on, keep groups, detect edge also take down, take this down ton of adaptive, then set the value to two and then let zero mas Let's give the moments. We have something in here, bots I'm not really digging the stretching in here, so let's do same. Let's rematch this again. Okay. Let's zero mash you say again. Don't do that actually kind I like the way issue we are having around here. Um Okay. Let's go out of this. Let's do a value of five to begin with. Then zero mash. Maybe let's don of adaptive instead for the old Os. Zero mash. Okay, this looks somewhat de sense Control W for this. Let's do same Z mash. Yeah, it's a lot better. A whole lot better. Then we can go half way. Let's go halfway now, ton of adaptive. Let's go halfway. Okay? Let's do F again. So it at 800. Let's go F again. 400. Okay. I think 400 seems like a good one. 400 should definitely work. Let me move this up some more. Yeah, 400 would work. We see I would have, because we need to duplicate this across, so I think this is a good one. This is a good one to begin with. It's a good one to begin with, actually. Then we can do some little bit more work in there by using the move brush. Okay. Let's start by separating this and do this. Let's get to pull your groups out of this first to begin with. Control W. Okay? Mark this out and do that Shift F. So basically, you need to just do some minor movements in here Okay. Pretty much like so, like so, invert the max. Get enclosed in move this out also pretty much like that. It will make better sense once we are done with this, Ar, reduce the bro size. I think I increase intensity for this invert the max, pull this out, pull out, pull this out, out some more, clear these out. Then if we subdivide this, we subdivide this, you should be getting something that looks like so, precisely what we want. So let's move this a bit more drastically. There's some drastic movements in here, right? Just to make it slightly a bit more extreme. Okay? All right. If we subdivide this, subdivide this again, so we should get to getting something that looks more like a kary piece now. 72. 71 Cowry Bead To IMM In Zbrush: Okay, come back, guys. So in the previous lesson, we kind of finalizing creating the cali piece. So let's make some more corrections and then we're going to convert this into going to convert this into an IMM brush. So let's do that. So I'm going to use the DM standard brush. Let's use the DM standard brush. Right to add some more shall we call it called separations in between these, just to push it a little bit more. Okay. All right this way here as well. He also as well. Smooth the edge. Okay. Smooth the edge. Smooth the edge also as well. Dig this in, smooth this out. Okay. That is fine. Undo that. Okay, so let's go on subdivision level lower. Let's go to lower subdivision level. Let's go even lower. I think this is the actual one I need. Let me see if we can dig in some more around there. Okay? Dig in some more. Okay. Around here as well. Up here, down here. I actually need the lowest one, so I'm going to duplicate this again. Then I'm going to delete higher. There's one more now I like to do also in here. I would like to create this is fine. I'd like to create a bond like a kind of rope bond here and Opia also. Let's move this up some more remove brush, move this up a little bit more up some more. Okay? So to create that band, we can just go Bag subdivision level in there. B, I. Okay, let's use the slender pipe. I'm just going to wrap something around there. Okay. Let's center this d shift, rotate this, get in the center. Undo that. Center this, pull down shifts, rotate it this way, scroll down some more. Let's get this out this way first. Go to move brush. Let's let's separate this out split, split on marks points, select this, and then let's shrink it. So let's go to deformation. Okay, let me start by subdividing this just once. Then delete lower. Okay? Then I can shrink this. So deformation. Let's shing this down, shring this down. Okay. So this should just about right. I'm going to come close, shrink it down this way. Okay? I'll make a duplicate of this and bring this down here, hide this. Then I'm going to move this in here, rotate this, get this in. I should be roughly in here. Put this back in some more up some more up some more yes, I think that's a good place. Hold down control, duplicate that out and do that. Duplicate this upward, bring this in, get this in place. Yes, I think that should be fine. I can make modifications to it. It doesn't feel completely rounded. The max. Okay. Bring this closer. All right. I think they should be fine. Then we can merge these two as one single piece. Let's do a merge down merge down. Shift F, control, something doesn't feel right. I don't think we have merged this down yet, okay, merge down. Yes, perfect. So control. Let's just do at group. Let me leave the stats this actually. So let's Control D. So subdividing this now, we have a to trplcunt of five K for these two, which is not I need to make some corrections to this, so select this move this back out. Okay? All right? Let's see. I think this my rope piece will need to most likely go down a little bit more so Control Shift click. Let's delete IRF to begin with. Control Shift click on this. Let's go and then split this again, split on max points. Can we reconstruct this? Let's see if we can reconstruct this Okay. I've not splitted this out yet, so split it in. Yes, this is what we need. Let's see if we can reconstruct this. Yes, we can. Yeah, that's fine. Delete higher. Then let's go and merge this down again. Let's do a merge down again. Because I like to get this as low as possible, since we're going to duplicating this across because we have a lot to duplicate across, trying to get this at the lowest possible polycunt for it. So we have it. If we clear this out, we have a total polycunt of Chred subdivide this now, you should be getting this. Okay. Do that. I'm going to select this max them out invade the max. Let me subdivide it first. Invite the max, and I'm going to inflate this make it more thicker than this. So inflate inflate some more. That's fine. Yeah, that should be fine. Then we can go and delete higher. The subdivide is still not taking up the inflate we did for this. So maybe we should inflate it when it's on the lower subdivision level first. Okay. Is inflates. Control D, much better. This is fine. Okay. Yeah, this should be fine. I think we kind of lost the I think we lost the detailing. Lost the detailing for it. So let's delete Air. Let's try and bring back that detailing. I need to get this detail undo this smaller blow size. This detailing should be in the the max. Undo that. This is what we need. Use the blouse size. Go to the opposite side. Okay. For this also. Move this out some more. All right. Clear this out. If we subdivide. Now we get s of it's in the bonus. I need to make it a little bit more extreme. Trying to get this at the lowest possible polycnt for it. So since we're going to be duplicating it across subdivide, I think this should be just about right. Okay, so this is fine. So now let's make an IM out of this. Let me save my five first. So to make an IM out of this, I'm just going to, I already have a pound IMM brush in here, so I'm just going to add that to it. Let's see brushes, brushes, brushes. Okay. So I have this in here. So I believe it this KCIMopen that up. So I would like to add it to this. So I'll go over to brush. I believe if I scroll down createsate creates insert mesh brush from active brush from active mesh rather. There there should be an append here also. There should be like an append somewhere. Should be like an append somewhere. So it's in here now, so we go over to brush, create ISAT mesh was going to ask you Axos. Would you like to append to active brush or create a new brush? You can either create a new brush if you don't have your own IMM, or you can append if you already have your own IMM, so I'm just going to do I'm going to do an append instead. So pressing the key SAT My brush when Nb leads okay, click okay. So you have added this in here now, so we need to kind of test this out now. So to test this out, let's go over to absorb. So I believe we should have just do append append let's do a cylinder instead. Cylinder is quite small, so I'm going to scale it out. Oh, undo that. Cylinder sleg cylinder in here. Scale this out. Undo that scale this out some more. Bring this down here, scale it out some more. Bring this down again, so Shift F. Let's do polish by group. I'm trying to check if my orientation is correct before moving on. Trying to check my orientation. So if you go over to poly group, group by normal, Control Shift click on this. Turn on D. Okay, no, we need to turn on double sided. Glo on double sided so we can actually it properly. So we can do it as it deletes Eden. Geometry, modified topology, deletes den Okay, so now let's go over to stroke, and we will do under crown under crow function. Ton Polly groove, ton of crips, Cris edge. Let's leave ally board so free mesh. So now we need this IMM brush now, put it now to be wrapped around the edge. So let's start by using you brush size, and then we just tap on this. Okay, now that's a bit that's a bit weird. That's a bit weird. It's not grabbing the entire mesh. It's not grabbing the entire mesh. And I think I know why. Yeah, I think I know why. So we need to do this again. We need to save out. Let's go to a more brush. We need to save this out again. Append this again. So let's just Control W. Give everything one single polygroup. That's what we needed to do. That was a mistake I made. So let's go back in there. Make sure it's IMM selected. Is there a way to delete this in here? You should you should be able to delete Delete mesh from Brush. Yes, that deleted it so. We can go back to Brush and then we do creating SAT mesh append Like Okay. Okay. Let's gome back down, select this again. We still have a stroke on this, let's select that you can see how it's working perfectly, precitly way we want it to work, which is fine. So we have this where we need it to be. Yeah, this is actually awesome. So now, all we need to do now is to apply and do that and do. All we need to do nee to apply to where we need it to be, so go down to throw the lit curve. So now we have this in place. We can go back to sup No sup to. Let's go back to our main canvassing here. Okay? Yes. So now we need to kind of wrap it where it needs to be. I think we still need to do I need to make some additional corrections in here, I believe. Yes, I do I do actually. Let me go back to MO. Move, select this. Let me select this instead. Symmetry turned on yes. And I'll just push this in. Push this in and up, pull this in, push this in. Undo that. I didn't do that correctly enough. Push this in. Then select this, pull them out, push it out, undo the other way too much. Don't do that. We use the bro size. Okay. I'm basically trying to create a depth underneath this. That's going to catch some good shadowing around those parts, which is what I need. That's fine. Then we can select this now. We need to make a duplicate out of it, so Shift F. Let's make it duplicate out of this duplicate. Okay. So this out. Control Shift click. Let's the delete Eden delete Eden, delete ding. Geometry deletes delete ding. Okay, that's fine. Alright, so we need to slice this up now. Let me go back to our main reference. Let's see. So we have one slice here, one slice here. Then we'll just put last one on the bottom parts. Okay? So let's do that. I'm just going to do a slice cove around. I think somewhere around here should be fine. Oh, delete hier. Okay. Do a slice cove around yeah. Okay. That should be undo that. Let's do this again. Do this around here. Nope. Okay. Undo that. Okay, in somewhere around here should be fine. But it needs to be quite straight on. Let's see. It doesn't look good at the back parts. This is where it gets a bit. Should I say tricky? I need to get this pull the know first. I need this to be. Nope. Almost there. Almost there. Okay. Double tap. No, no, I don't want that jagged edge there. Probably should go down a little bit more. Yes, perfect. This will work just fine. This is in a good place now. Okay, let's hide this. Let's do for the lower parts. Okay? No, really, not really. Do this again. Yes, this is fine. I work just fine. It is perfect. Its work just fine. Okay, so what we need to do now will be to go over to a stroke. Poly group. Yeah, polygroup a mesh boer. No, let's not do the mesh border for now. Let's just do poly group first to begin with. That's fine. Then let's go and introduce that brush in. So let's reduce the bros size, tap this in. That's way too much. Reduce our browse size. And do that. Turn off symmetry. Symmetry is messing things up for us. Okay? I need something a little bit bigger than this. He's working on the top parts, well, but on the lower parts, not so much. Not so much in the lower parts. I think the major issue would be, I think we need more resolution to this actually. We need more resolution to this. So let's delete Let's subdivide this. Subdivide this. Then go in and delete higher. But more subdivision you have the more you have a smoother curve, and the more you have better, more what you're doing can be consoled a lot better. So let me smooth this do and do that. Let's do polish instead. So let's polish this a little, okay? All right. Let's see if we get something better now. If not, we'll look for a solution to it. Tap in, you can see how we get more fit in there. It's kind of trying to match it a bit more accretly because we have more subdivisions to this summation and then keep creating more smooth alcove to it. Okay? I think I need to increase my browse size more and do this. Create my bros size a little bit more taping the Tap in there again. This feels like it feels like the right amount. Okay, Shift F is completely messed up on these parts. I'm tirely sure what I do do that. Delete this. I think it would be safe to mirror to the other side instead. So, let's delete this. Delete it in. Let's work on just one side alone. Let's work on just one side alone. So I'm guessing that what's kind of causing some issues for us. Smooth grove and smooth increase this smooth curve. Okay. All right. Let's see. I think right now, I'm going to focus on the top part for now and do that increase the brow size a little bit more. Okay, we reduce the bro size some more. Okay. I think this top part would be fine. We can just duplicate and mirror this to the lower part, so we work on from there instead. Let's see. Is actually way way too tiny. Maybe I should create something even smaller. Alright something smaller, but just way too small. I don't want something that is way too small in there. Increase the broadside so more. I think as far as this goes, this is the proper size for it. Let's go in to the stroke and delete the stroke. Okay? So we only need the top part now. This is the top part. This is the only piece we need. So I'm going to isolate this. Then the delete bring everything back out. Yeah, so now just a matter of making modifications to this and then moving them where they need to be. Okay? So Shift F, select this, go to a higher subdivision level, and just arrange this arrange this a bit more. Select this. Okay? That is my move brush. Picker brush size and move this up some more. D then some minor fixes to it. Okay? Yeah, this is fine. So the last thing you need to do is just to keep is to start moving. You need to move I don't need to move them too close to themselves. I'm not sure I need to move them too close to themselves. Though I would like to push it in some more push this in some more in some more closer to the mesh. I should be on the surface of the mesh. Okay? Push them towards the surface of the mesh some more. That's fine. Iduce my bro size. Yes, I think this should be fine. This should be fine. We just need to outdo an auto group. Let's auto grouping here. So deformation No, not deformation, polygroup instead. So poly group, auto group. Okay. So now what we need to do now would be just quite easily just to move this in place. We can use the move topological approach for this. If we come in close, let's say we slow this out, we come in close, we can start moving this closer to themselves. It's pretty much this way. So it feels like they are kind of intersecting among themselves, like a band, like one single bond across them. So something pretty something pretty much like. So we're going to do this across the entire out scene, and then we should be good, okay? So we'll do that in next lesson. Bye for now. 73. 72 Cowry Waist Beading In Zbrush: Welcome about guys. So in the previous lesson, we were trying to we kind of successfully noted the first bands in here for this calorie. So we're going to carry on and then continue to do that across this calorie in here. So extend this out, extend this out this way. Okay? And I'll get this down. Okay. Move this up, move this down, up some more. That should be fine. Let's move on to the next piece. Extend this out, extend these out. Move this up, forward. Move this up, move this down. Okay. Get this down, get this up. Okay. Yeah, it should be fine. Hold this up. I'll get I think it will be much better if let's see, auto group, just continue with the auto group instead. Hold on control, select this. Shift F can move this out. Okay? Select this. Move this in, for some more I you can move this down, use the bro size. Move this down and up, invert this. Move this down. Okay. Yeah, that should be fine. Move on to the next one. Select this. Move this forward. Select this, move this forward. Move this down. Move this up. Invert the max, move the stop. Okay. Next one. So I think these two, this is mostly what we're going to be doing. So we get these two look right. Okay? But still on the move topological broach, which is fine. Okay. Invert the max pull this down some more. Okay. Here, that's fine. Next piece. I like this. Its out. Bring push down, reduce the brush size, push this down. This should go up. Okay. You are pretty much like so. Next piece. Select this. Pull out. Put this out. Invite the max Invite the mark, pull this up some more. Bring this down. Okay. Move to the next piece. Put Wu this out in the max, pull this out. Okay? Use the bro size, get this down. Get this up. No, should be down instead. Get this down. Okay? Next piece. Inverts. Okay. Put this down, get this up. Move on to the next piece. All right. Pull out inverts. All right. Come in close. Okay. Up here around here as well. Next piece. Pull this out, inverts, pull these out. Okay? Up forward, inverts. Weh pinch down, pull up. For some more reduce the brush size it should be down. Just get this down, Okay? Reduce myos intensity, and do that. I don't get that shrunk down way too much, go to the next piece. Converts Okay. Reduce the brush size. Get this down instead. Invert this. Get this down. Okay. Next piece. Alright. Okay. Inverts, get this up. Get this down. Inverts, put this up. Oh, that's last one. Awesome. So put the next piece. Who out inverts, W out. Okay. Invert this put this down instead. You go down instead, invert or pull this up. No undo that. Should go down instead. Okay. Yeah, that's fine. Clear this out. Okay. Go out of solo mode. Yes. Yes, I think they should be fine. Shift F. All those hide all of these. I would like to inflate the groups a little bit more. I'd like to get them inflate a little bit more. So let me solo this and keep selecting them. Okay. Then shift max out, bring everything back out invert the max, go out of isolates, let's do a little bit of on inflates. So let's go over to deformation. Inflates a little bit more. I think this should be just about right. Okay. Yeah, that's fine. Yeah, that is fine that we can work with. Okay, then invert the selection. Let's inflate this out some more. Make them a little bit ticker, getting close. Let's see what we have. So if we should clear out the mat now and then control. Do you have any subdivision levels in there already. Let's check. If we subdivide this, we should be getting something like so, which for the most part seems fine. Okay. Yeah, so I think this is, this is fine. This side should be fine for what. You can see how it's kind of pulling out. So undo that I think I shrunk that up way too much. So let's inflate this a little bit more, just a little more. Okay? Then invert, inflate this also as well, compensate for it. All right. Yeah, that's fine. That is fine. This we can work with we move brush. With the move brush. I like to move this up a little higher up a little higher. That's fine. Then let's make a duplicate of it. Let's make a duplicate of this. Extend this out some more. So down control. Just get better orientation to it. Okay? Center order control, pull this out. Okay. Get this out. I think you should it needs to come down a little bit more pull this out. Okay? I'll rotate this out some more. Pull this out some more, then bring this out towards some more. Okay? Scale it out some more. Scale it out a little bit more. Stretch this out some more. Who bring this back in. Okay, I think I extended that out with two more so. Let me string this back down. Take down the ski a little bit more. Okay. Put this back in. All right. I think that should be fine. Then we can use the move brush now and then push them in towards the surface. Let them rest a bit more on the surface. Okay, this one is resting with too much. Let's get that out. Resting with too much, get this out also. Bring this in. Okay? Come in close, bring this down, out some more. Trying to make sure we get this as perfect as we possibly can. Touching you also touching you also, that's fine. That is fine. We can work with this. I'll pull this up some more. Okay, do that. Okay. Yeah, it should be fine. Move this closer. Check this on the edge, bring this closer. Here, that's fine. Okay, so now I need one for the lower parts. So let's pull down control again, bring this down. Out. Rotate. Okay. Bring this down some more. Should be down close to the edge. Okay. Put this out, bring this forward some more, pop little bit more. Then we can use the move can use the move brush now let me pull this backwards some more. So with the move brush now, we can do some movement on this. Okay? So I'm using a quite a big brush because I don't want to deform it way too much. I'm using a very big brush. This helps us move things a lot faster. Okay. Then let's get close. This is resting way too much on this. I'm begin to carefully get this where we need them to be up way too much, get down. Should be resting on the surface or more. Okay? This will extend out I will extend a little bit more this way. Okay? This way, start pulling things up. Who is up. You can see this needs to raise down some more. Crease the brush size. You do this for me this time because I'm missing you brush the dynamic tuned off. So once you get close, your brows size begins to shrink. And you don't want the brush size to shrink too much because you want to do this wide brush size is still White's big enough. Okay. All right, this should be fine. Maybe it up a little bit small. Okay, clear the marks. Think I will need to max all of this. Invert the mark, bring it down a bit more should be roughly around the middle parts. Okay? All right. Invert the mark, we just the bro size. Needs to come down some more close. Okay? Yeah, pretty much, you should be fine. Clear this out. Then I will just mirror this to the opposite side now. I think we can need to make corrections in here. Okay. Roughly around there should be fine. All right. Let's check in again. Broad side some more leave this up a little bits. Right, that's fine. So now we can mirror this to the opposite side. So this now we can mirror to the opposite side. So let's mirror this to the opposite side. We'll just go over to geometry mirror, and then we should be good. Yes, I think we are good in a Okay. I see some more work we need to do in here though. But before we do that, let's go back to this piece. We need to merge it to this piece also to let's merge them down. So go down shift. That seems like last seems like last one on the list, okay? Drag this down, go on go over to it. Okay, one KT piece down do have any subuption level in there. If we don't, that's fine. So now we can just do a meas down. So that's fine. So we don't merge down in here. So shift. So these two pieces will be one single piece, then we can subdivide it. Okay? Yeah, I think we are good in here. This is fine. Okay. So now let's subdivide Lone and I feel like I need to push this down some more. Feel like I need to push this down even more. Okay. Do some more round there should be fine. Then we can go back to this. Tn on symmetry for this. Let's start with the top. Let's start with the top parts. Invert the max. We can carefully move this in place. As long as it's a bigger brow size, that will work just fine. Right? Look at this from a different angle to see if it's pushed in well enough. Okay? D some more. Alright, that's fine. Okay. Let's go to the lower piece. Clear the marks, less marks out this. Okay? Invert the marks. Do that zoom out some more because we need to do this with a very big, big bro size, so we don't mess things up too much. And even if we do, we can correct it without having to completely ruin and deform the calories in there. I think for the most part, this should work just fine. Let's leave this up some more. Okay. Yeah, that's fine. Here, I work, that's fine. So do that. Back to this piece, I'm going to subdivide this a few times. Let's do one more. So what I need to do will be to add to add a cat in between. Just like the cat through actually, so like adding the cat through, so that's pretty much what I want to do now. Let's see if we can do this with transparency. You should be able to do this. We do this with transparency in here. We can do it with transparency. Okay? All right, rotates. Okay. We're pretty much like so you solo this lesson we get will work just fine. We just need to shrink it a little bit more, but at least we get something in there now, so that's fine. We're going to refine that later on, but let's just continue on. Okay. Pull in this way. All the way, should be fine. I think for the lower parts, I want to live lower maybe should do something with a smaller brow size instead. Smaller blow size should be fine. Okay. That's fine. Can solo this. Solo this out. And I'm going to use the pinch brush. B PI. Let me start from the top instead. And I'm going to tighten this quite well. Okay. All right. All they should be fine. Do that get close. Okay. Yeah, I think that should be fine. So let's turn of transparency, bring everything back out. So you should not be getting something around there that kind of puts some measure of depth in there. So it should work just fine. So this is fine. So next lesson, we're going to do something else. We can bring back the entire body. Let's make the entire body visible. Let's see what we get. Okay. Yes. I think there's one more thing we need to do for for the calvary building here, we need to add some extra level of detail to it. The distr level of detail not seeing too complicated. Let's first subdivide this quite well. Let's use 4 million for this. Then with the deem standard brush. I think we can do with symmetry to down. Yes, we can. So I'm just basically going to use a smaller brush size. Add smooth, add some more. Just add some more depth in between. Depth like should be fine. We use the bro size some more. Okay. Smooth this down. I think we might still need to subdivide the seven more. This is still not smooth enough. We still don't have good enough smoothness across this, so you need to divide theven more. So let's divide again. So I think system should be fine. Your system works just fine. So just to add extra level of titing in there, and then we should be good. So I'll go around and then do that and then that's pretty much it. So you guys in the next lesson, bye for now. 74. 73 Waist Metal Beading In Zbrush: Comba guys, kind of went in and then made modifications to this core and then add some tit into it. I think I see something I need to fix in her to shift F, go to the lower subdivision level. Okay. Then I think I can do an auto group on this. Okay. Good Gizmo, click on this Shift f. I think I can just use a bigger brush size, and then I can move brush. Can just move this in some more Okay. This should be fine. Yeah, that's fine. So in this story, I was supposed to work on creating this metal. I believe it's like a metal piece that goes across the abdomen. So let's try and create that clear this out. Okay? Yes, we can do that. I like to move this forward a little bit more. Okay. So you can see this seems like it's quite all over the place. I like to move this in. Move this in as well. Okay, that should be fine. Let's see if we have the same thing also around here. We can move this down. We have one here also. Move this back down, and then we should be one last one around here. Okay, that seems fine. So I'll clear this out, so I need to create this. So it shouldn't be too much an issue, though. We can just duplicate this across. So let's do that. I would like to go over sub two. I'll look for something that does not have any subdivision level in there. This, for example, doesn't have any subdivision level in. And I will just shrink this in I think I actually can actually use this. We just might be able to use this actually. So, this should work just fine. This will actually work just fine. So you can definitely use this. I'm going to deduplicate for this, okay? Then shing this down some more. I'd like to subdivide. Let me make sure I let's leave it slide like this for now. One thing we need to do would be to subdivide this. Let's subdivide one more, delete lower, right? So I just need to figure out where this needs to be. Shing this down this way. I think somewhere around there should be fine. Get this up here, bring this in. Okay. Just about there should be fine. All right, then we would do, let's extend this out a little bit more. Then all we can do in here would be, let me solo this out. Let's see, F. Maybe I'll need to subdivide this even more. So let's subdivide one more. Dt lower. Okay, then we'll go over to stroke. Border. Let's do frames border instead. Cut of solo mode. Okay. Yes, it's fine that we can do B, I come in here, let's use I think we can use the Q mash instead. Q mesh should work just fine. Select the Q mesh for this. Okay, go of this, select Qmsh and then what we're going to do would be, let's see. I think there should there should still be an IM somewhere else that we can use that should be perfectly matched with that. Something rectangular. I think there should be one around here somewhere. Okay, let's see if we can find something that we can use. Okay. I select this. This. This one seems somewhat close, but there's a shape in here that it's kind of angled and we don't want something that is quite ungod. We don't want something that is ungod. So let's keep checking. If we can't find anything, then we're just going to use the hums instead. Let's come over here. Let's see if we have something in here that will work just fine for it. Just checking. Let's see. Okay, sadly, there isn't anything that we can use in here, so we're just going to we're just going to stick with working with. So we just stick with working with them, the Qmsh in here instead. Let's work with the Qmsh instead. So QMS selected, let's go over to Oh, it's day already. So we already have this day already. Let's solo this out, then we can tap in. Okay. I don't know what it's supposed to be working. Oh, yeah, yeah, yeah. It's supposed to on something else, totally forgot. So curve mode should be activated. So increase the curve, you know, take down the curve step, set it back to one. Okay, then let's stop in the should should work now. So something pretty not this, let's reduce the bro size a bit more. Okay. I think I'm not sure this is cool, I think we still need to make. We still need to modify this some more but if we kind of start shrinking, this is not going to give us that desired result we're going for. It's not going to give us the desired result we're going for but. There's always a way around this, actually. So I think this should be fine for now. I'm going to go in and then I think I'm going to delete. Let me undo this first. Let's go back to the cove cove step, dig this down, do this again, and do that. Yes. Now it's quite tighter. Now we have something quite tight in here, which is precisely what we want. Okay. Shoot. I think it's way too tight, actually. That seems way too tight. Let's go back in to the stroke and then increase the step or more t in there again. Okay? No, no, that is not looking good. Need to find the right amount I should work for this I need to frame this again. So there's no right way to do it. You just kind of try and then you figure out something that will work just fine for this crizy brush size a bit more. Okay, no, this is way too tight. Okay. Okay. Close enough. Let's sing that in some more way we did that way too much. Increase this a bit more. Increase this a little bit more. I think have to work. Might have to do this manually because it's not giving me the desired result I'm going for in here. Might just need to do this manually. That's fine. There's no harm in that because we need to have greater control and do that. We need to have greater control over this. Let's go and turn of the COV. Need to have greater control over this. The more control we have over the easier it becomes for us to be able to know how to manipulate this and then get this right. So let's go back to move. I'm going to do splits on Mark points. All select this. Goo out of solo. Oh, that's at the back so let's bring this forward. Okay? Now, solo this. I like to do a little bit more work in there. So start by shrinking it this way, shrinking it this way. Pretty much like so. Okay? That should be fine. Then let's do BZ. So we need to add a Lope also as well. LCT also as well. He also. Okay? Yes, I think, do that. Undo that. Undo that. Let me getting close instead. Undo that o around here. Go down and repeat the same thing on the lower parts here also. Yeah, I think that should be fine. This will work just fine. Okay. Yeah, we can definitely work within a. Let's go out of solo mode, Shift F. Okay. The length for this, I think I need to swing this down some more, drag this in her bring this closer. You just need to properly position this way it needs to be. I'm going to use this cylinder as a guide for it, actually. So let's use the cylinder as a guide. Let's do transparency. So I'm going to squash this down a little bit more. Okay. Then I would rotate it this way, put this in here. I'm going to using this linda as a guide. Rotate this way, bring this in some more, push this back like saw rotate. Taste it this way. Let me get this completely front facing. So should be fine. So let me just swing this down a bit more we need, like, a lot of this solo this. Trying to make sure if I'm not messing things up in any way. I think we're good. Then I can just start duplicating this Okay. Well, maybe we don't do this actually, then I can convert this into an IMM brush. I think converting this into an IM brush will be a lot better, the same way we did for the calories. So I'm going to orient it this way. Okay? And I'm going to have this to my IMM brush. So B, I think I still have that in here. You can go to brush and then let's do create in South mesh append. Click Okay. So we have it in here now. Okay, go back to my move. And then undo this back to the original position. I'm going to wood shift and send this down to the bottom parts. Okay. Now, select this again, isolate it. And let's go over to not cove mode. Cove function bother. Let's use that brush now. Let's use the brush that created now. Okay? Then let's see, we can just select this. Yes. Yes. This is way better. This is definitely way better. So let's use increase the brows size. Increase the bros size so more tap in there again. Oh, so I think we're good in her. I believe we are good in year Okay. Let me undo that. Let's see if we can bring them even closer. Yes, I think we can let's do a value of 0.9, okay? There's a value of 0.9. Let's see. Yes. I think this would work. This should work just fine. To shift F. Then we can extract this out. So let's delete the curve we have in there, so Cove function deletes. Let's do split on marks points. Okay? I believe this is it. Go down shift, send this down. Okay. Go out of isolate ton of transparency. I think we need to let's zo out a little bit more. Shift F. So it's just a matter of I think I'll just grab everything down here instead. I think let's sol this. Let's grab everything down here. Bring it up. Let's bring it up. Should be closer. I think somewhere around there seems fine. We do a slight rotate. Make sure this is centered, tie little bit small. They're not kind of perfectly they're kind of tilted, not completely perfectly. So shouldn't be completely perfect. It's not like that should be fine. Okay. Then now we don't need all of this, so we need to kind of delete where we don't where we don't actually need. So to do that, let me go back to move. Then we can I think I'm going to scale this. I like to scale this up some more Okay. **** F. I think it shouldn't be too much of an issue. We can just go out of transparency. We can do, let me move this in some more. So it's somewhat around. Okay. I think they might need to be. I think we need to push this out. One of the might need to push this out slightly. Let's go to lower Subution level. With the move brush selected, select the move brush for this. What is going on? Shift F. Oh. Okay, let's go. C function is still let's turn it off. The issue was when you core function. So let's just pull this out a little bit more coming up close, pull this out some more out some more around there. Just to create gap, just to create a gap for it, for it to sit well. Turn on symmetry, pull out some more compensate for it. So it's just a matter of making additional corrections in there and see everything looks right. So I'm just making some space for it. Yeah, alright, this is fine. Then I just kind of deletes where we don't need. So go back and shift F. I need to do this as carefully as I possibly can. So let me just do something somewhat like so clear this out tonal symmetry for this. Let me max out these parts. Let's make a duplicate for it, so I have a backup to return to. That's fine. Selet this. Solo let's max out Control W for that. Control shields click Shields click. Okay. There's the auto group in here. So poroup auto group. Control Shift click on this here as well. Let's clean this parts out. We can clean this and clean this. Make this as neat as we possibly can, clean this out also. Ton of symmetry. Clean this out also. Clean this. Yeah, it is clean, clean also. Come in closes here as well, here, also. I think okay, saving out. Okay? I think I can clean clean this also. Unless see what we get, bring everything back out. Oh, you don't even need that for the back because it only needs to be on the front, I believe, yes. Is only needs to be in the front. No, we definitely need something for the back. Definitely need something for the back. But no worries. We'll make it work. We already have a duplicate. I think you can still use this also. Yes, we can use that also. A have this front part now all good where you want it to be. So I think we can do delete den now. Let's do delete Eden. Come into geometry, delete Eden and marks out all of this. Give this one single poly group. Okay? And I'll come back, select this. Think I need to move it out some more this I'll move out a little bit more. Okay. That should be fine. All right. This needs to look as good as we possibly can get this to be so. I'm going to select this now. Oder control marks this out. So you're getting something like this now. So let's try and center this piece and get this in. So we just need to do a little more work in there, and then we get this in. So on do that move this in we still have this piece in here that we don't actually need. I have no idea why that is still in there. But let's make sure we completely hide it now. Okay? Move this to the side, move this in, up a bit higher, rotate it this way, rotate this way. Okay? I think this should be fine around here. We can keep this around here. You should work just fine. Push it down even closer. Shift F. Select this, move this out some more. Se like this, I think we can squash it on that and squash this down some more. Just a little around that part should be fine. Don't asymmetry, we can lift this part up some more, push this back in, ok? Yeah, that seems fine. That seems fine. I think for the most part, it should work just fine. Now if you should add subduction to this Control D do that, clear this max out. If you ask submissions to dinner, you should hold up quite nicely. You should hold up quite nicely in there without any major issues. That should be problematic for us, so this is fine. Okay. This we can work with just fine. So there's something else you need to do it will just be to add this art piece on the abdomen and then keep working our way up from there. I come in here. I like to move. Okay, that's fine. I'd like to move this back some more, a little bit more, a little bit more. Okay? Yeah, that's fine. I'll see you guys in the next lesson. Bye for now. 75. 74 First Abs Plate In Maya: Welcome back, guys. So, the previous lesson, we kind of finalized on this metal waistband piece. So in this tutorial, let's work on this piece on the abdomen. So let's do that. So I would like to go over. Let's go to our front view. Let's screen this from our front view. Okay, I hit three, four on the keyboard. You go to wire frame, heat rightly and, I would like to create do interactive creation. I would like to create a pipe. Is a pipe. So I'm not going to drag out this pipe somewhere around here. I believe all the way should be fine. Add some ice to it. Then this is the main part we need to kind of pay more attention to. We still need display in India, though. Space in India. All the way, like so should be fine, okay? Just something else, we need to do, nothing else. Come in here. Let's see where that is buried in, is buried inside of the body. Let's bring this out. It five on the keyboard, bring out a wire display or shaded display on. Okay? So now for this, I can see in between this, we can see clearly depth in between them. There are a lot of depth in between, I would like to capture that depth in there. But let me start by pushing this where it needs to be. Okay, I think roughly around here. Then let's go over to attribute the digital. And then we'll make modifications for this based on what we feel should be in here. So for one, we need to let's see, subdivision axis. We need to increase this by lots. I think all the way here should be fine. This number should be fine. We don't want it to be completely tinier and then we lose we lose that together. I think this should be fine. Okay? Let's see what else can we do? This already rounded enough heights no, we don't need so much in here though. I don't need anything in here because I'm going to squash or rather delete one fish out of this completely. Do we need rounded cubs for this? Do we need rounded cubs? No, we do not. Take that off. Let's see, I think we can work with this we can work with, but we still need to make we definitely need to make some additional corrections to this. So I'm going to do duplicate of this control D this out. Let's work with this instead. Let's work with the one that does not have the setup in there anymore, okay? This is one of those nice setup anymore in there, so let's pull this back. Let's send this out. Bring this back in here, come to our front view. Isolate this. So let's find the midpoint for this. I do see where the midpoint is for this already. So the midpoint is around here. So this perfect midpoint for it. We're going to delete this. Select all of this, delete, get enclosed, delete as well. Then I'll go to the top view. West for this. I'll need to delete all of these all of these faces also as well. So we only need this flatfas. We need just this flatfas and we should be good in here. So I'm going to select all these vats in here. I'm going to undo that. Okay, I think we have morning to kit let's turn of the transform constraints, and I like to scratch this down. Undo that. I think I'm not doing that accurately enough. Let's squash this down and I'll bring this down this way. Get this straight on, kind of flat this way. Okay? I think we should be fine. Then I'm going to scale it out this way. Let's kind of get some spacing in between. Get some spacing in between. Okay here as well. Do that. Let me see. Let's check in there. Let's see if there's any issues in here that I need to fix do you have a point in here? Let me leave this o, we have a points in there. Okay? There's something in there that we need to get right on do that. Let's see. Okay. Let me start by selecting these two edges. Pull them back out first. Okay? At some more. That's way too much. Add a little bit more. I'll go to the next one, pull them out here as well. I'm just trying to make sure I get this right. Select this, pull out this way here as well. Pull them out. S I can select all of this let me make sure I'm on the front view, select all of this as well. This is why I'm doing this is because I don't want to I don't want to add the details with normal map. I'm trying to avoid adding this detail with normal map because it's going to kind of facing us in the camera view. So as much as possible, I would like to get the detail in geometry instead. Spread this out. Spread this out. Okay? I think you need to select this end. Spread out some more. Create a bit more space in here. Okay? Here as well. Okay, here as well. Okay. Move to the next piece. Spread them out also as well. Select these bits, spread them out. Same here. Spread them out. Okay, as well, spread them out. Then select all of those points, select this, they select this. Let's squash them down again. So you should have something that looks at least a little better than what we had before. It's better than what we had before. We squash, do that. The select this end points. You select this end point as well or vertex, squash them in a little bit more. So this is going to add another extra level of interest to it, which is what we're kind of going for. So something pretty much like this should be fine. Okay. Let's scratch this down some more so it's kind of flat on. Yeah, this is fine. This is fine. This we can work within here. We can decide to get it, before we get that down, let's select these points. Get all of this down some more, okay? Yes, this should be fine. This will work just fine. So, now we can start making modifications to this. Let me save this first. Then I'm going to make a duplicate of this or Control D, pull this to the side. Let's work with this. So now we need to start slicing or adding putting some additional loops to this. So to begin with, you can see one loop that goes across at the top. So let's get that in Let me kind of average out and realize the size here for it. Okay? Center up the votes. Scale this out some more, bring this closer. All right. Yeah, I think somewhere around here should be fine. Looking at this night, I think we might still need to kind of wrap wrap this kind of give some kind of act to it. We need to give it some kind of active, but I think we should be able to easily do that inside inside of Zbrush so we can do that instead of Zbrush. Okay, so moving on let's see. Yes, we would need to start adding some extra edges to this. So let me start by selecting the top. Let me sled this on all the way Db click on this. Then I'm going to do an Extrude. Let's do an extrude. Let's do Local Z instead. Okay. Although that's not what we want. It's on the keyboard. Go to your scale to scale this out this way. Okay? I'll use translate and then pull this up a bit higher. Yeah, make it a bit flatter. Make it a bit flat on down here. Okay? I should be fine. If you won't turn on our grid, let's make sure our grid line is visible, so that should actually help us even more just to make sure we get all the edges on the same line. So vertex, let all these vats around here get this perfectly on the line. Squash this again. Okay? That's fine. So we have one loop in here now. That's fine. Let's go into Edge mode, more tie cuts. Let's look for other loops you should add in here. Okay? We need to add one. Or better still, to make this look a lot more cleaner. I believe we can select this. Let me give you some more darker shade of material so we can see this a bit properly. Apply this. Let's use this blink. Okay. Let's isolate this you can see things a lot properly in here. Okay? So let's select this edge loop. And I'm going to bevo this and then let's reduce. We just need a copy for this to begin with. We need copy to begin with. We're going to adjust that as we please. Say this here, double clicon. This so let's go over to surface slide. Scale two. Not that, let's do eight slide instead instead. Let's do eight slide instead. Okay? We have an extreme edge here that we don't actually need. Slide this down a bit more somewhere around here. Oh 76. 75 Full Abs Plate In Maya: Welcome back, guys. So previous lesson, we started by creating the phase plt. So the idea for this would be to creates the best view, more interesting way to do this would be to create several ***** for this. So you can call this our pas plit, so I'm going to delete this extra loop we add in here. And I'm going to go over select this loop and let's detach this. So let's do an extract phase. So extract phase, that work just fine. So I have one plate, under plate also. Then these plates, I'll move these plates backward a little bit more, then select this start lads end loop, do click on this loop. And I'm going to scale it down. Undo that. Let's turn off this constraint. Scale it down some more this way. Just push it in. So we have different plate then. I'm going to move this down. This needs to come down, needs to mesh needs to merge or that'll be down somewhere around here should be fine. Around should be fine. So now we have two plates, first plates, second plates. Think let me change the background or B so we can get something that distinguishes them from each other. Alright, so now that I have this split, I'm going to select this now. I was thinking to kind of grab another plate out of this. I think can I reuse this? Trying to see if I can reuse this so Control D, bring this in front, scale this down. Okay? I believe we can use that. So I need to do this at least a bit more accurately. Let me just do this for my wireframe view. Turn off the grid back to wireframe, turn off the grid line for now. Okay. Try to average in where it should be, get this down here. I think I need to squash it down a little bit more like so. Okay. And now we need to extrude the edge out. I need to extrude this edge out. Let's done extrude. On the keyboard and then just scale this out some more. Just a little bit more should be fine. Got our translates and then let's get this perfect this way. Okay? So that's fine. Now we have another plate for this. That will work just fine. Another thing we need to do is to create I would like to separate let's get another separation for these plates. Let's see if we can get a separation from for the plates, we can this might get a little tricky here, but make it work. Okay. That is going to be like it might be an issue in there. Let's look for a more, a more preferable way to this would be to, I have an idea that would definitely work for this. Yes, that would definitely work. So let's do that. Let's see. Because we can either just start cutting this in here. What are going to create additional points and vertices that we don't really need. So I think a more preferable way to go about this would be to use a sphere. Then we slice that spare half. But to do that, I would like to use a cube instead. Let's create a cube. Pretty cube in here? Or do we have I think we have something in here that might work. If I can just, it should be in here. Sometimes it's kind of difficult to just find it. It's more or less like a flat surface. It's okay, it's super ellipse. I believe it should be super Ellips Okay, let's frame this in here. No, I don't think this is it. I don't think so. It can be this. Let's see if we can find it Oh, we have something new already, so we still have this duplicate. I think this duplicate will work just fine. So let's duplicate this again, bring this out. I will just need to scale it to the right size. So I'm not going to scale this down. Scale this down. Yes, this will work just fine. Get this here, scale it up. So more, okay? Actually enveloping it this way. Yeah, it works just fine. Let me make sure it's directly on the center. Yes, I think should be fine. This will work just fine. So now basically have the three shapes we need now. So we have we have this and we have this. We have one. I think we have one again in the center. I think we have this in the center. Okay. Let me get that out. So it's a lot more visible, so This will be the one, the first one in front. Then we have this, then we have this, then we have this here. All of this will work just fine. Okay. So I'm going to start let me start by selecting these three. Select the select this. I'll make a duplicate. Okay. And then I'll move this way. Let's even work on this instead. So let's just work on this now. So I'm going to let's start with the so for this, I'm going to let's start by adding thickness for it. But thickness, we're going to be adding for it. It's not going to be anything that creates something that's way too dense for us. So I'm going to select the loop edge. I'm going to select the entire loop edge and I'll just do an extrude. Extrude EW on the keyboard. I'm not going to extend this out this way. Yeah, extend this out this way should work just fine. Maybe a little bit more, that's fine. Okay. Then let's add Let's add edge loop to it. So I'm going to add an edge loop to this. So let's do more tie cuts. Let's add a cat around here and around here and then also. Okay? I believe should hold up quite nicely, seems to do something else. Let's isolate this first. Okay? So we need loop cuts around something that will hold this edge some more. It doesn't completely fall apart when we do an auto smooth for it. Get close or the out here. We need one here as well. N one here in the middle also. Okay? Yeah, this will work just fine. So now if we do autosmot on this, we do autosmot three on the keyboard, so it should hold up quite nicely. This kind of precisely what we want. So aside that also, there's still some other things you need to do. For one, we need to Okay, I will need to come in edge mode. I will select this edge, select this edge. I'll be selecting all of this edge. Okay? This is where we need to do extra work just to get this to look good and add and add the detail on the geometry instead of doing them instead of so turns pinter its normal map, which one close up won't look too good. So, so then I'm going to do an extrude. But this time around, I'm just undo that. I'm supposed to do Bevel instead. Bevel is the right one to use. So reduce the fraction. Reduce the fraction this way. Say depth this way, I think 00.2 seems like a good one. Yeah, 0.12 should be just fine. The next thing you need to do now would be to go in and begin to select that depth in there to select these depth in here. Okay? But better still, let's do the opposites. Let's select all of this. This is what we're going to be extruding out. So who do this across? Okay? Undo that. Undo that again. Yeah, just another extra bit of work just to get it to look right. Once we do this properly, everything should be working just fine. So we have this now. So now we're just going to do like an extrude. So we're just going to extrude this out. Let's go over to extrude extrude thickness. Get this extruded out some more so the idea has to figure out how much of this we need to extrude out. I think 12 should be fine. But now we need to add divisions. We need to add divisions to actually hold the edge tighter. Okay? Something like this will even work even without having to do like autos moons. But if we do auto smooth in here, we should we should still get something interesting out of it. But even if we don't even want to do okay, I think we're actually need to do the Auto smooth because of this be wood edge that comes with it, which is what we actually need. We need that bevood edge. Okay. Yeah, this is fine. So I'll save this. Then let's go to the next piece. So this is just the same thing we're going to be doing on repeats for every piece. So let's go to the next piece. So it's just a repetitive process. So let's sololow this. Okay? So let's go and extrude out the edge. Double on the keyboard, move this in. So more. I think this should be fine. Okay. Then let's add Lots to this. Lo court in the middle and close to the edge. That, do this again. All right, I think that should be fine. Yeah, you should work just fine. Can we do? Can we do? Look, I think for this part to my daughter need to bevel instead. Might just have to bevel instead. Okay. Well, let's test this out. Let's on auto smooth. That actually holds up that actually holds up properly, so I think we are good in there. So now let's make some modifications to this by selecting. Let's go to edges instead. Select this edge. Select all of the edge. Okay? So I'm just double clicking to select all of this edge. Okay. Yeah, I think that should be fine. Yeah, that will work just fine. Then let's do a bevel. I think this amount of bevel should be fine. I just add or rather a little bit more like, so it should be fine. You want to be careful to say don't create something that's intercept with themselves. Want try and avoid that. So I think it should be fine. So now we can face mode. Double click on. Let's do it from this angle instead. This angle should be fine. Okay? We're just going to repeat the same thing. I need this detail to be on the geometry. It's important to get this written on geometry, so it doesn't feel blowed out when we do some close up renders for it. So we're just going to okay I think undo that, undo that. Okay. Almost done. All right. Last piece. Then on extrude. Then I'm just going to extrude extrude this out. This is a value of 0.12 or 0.13 0.12 seems like a good one. Okay. Let's increase that a little bit more then divisions across. So adding three divisions for this. Okay? Select this, smooth this out. Yeah, interesting. Should should be just fine. This all of this would work just fine. Okay. Multi coat. Let's see if there's a way we can add coat across this, can we? So I've added one. Let's see where that goes all the way to. So let's do another auto smooth. Let's see. That doesn't do much. That doesn't actually do much. So undo that. Okay, smooth this out again. All right. Yeah, I think we should we should be fine. Auto smntegain then just make sure checking this just to be sure if everything is working correctly. Okay. Okay, I think this we can work with. This we can work with. Let's see. Okay, let me go to edge mode, see if we can click on this edge. Let's say we don't want to kind of do all those moves for this in general, we can just Bevo can just Bevo this edge. Include some more getting close. Let's see what we have in there. Then add segments in there. Thi should hold up the hedge a bit more to give it a lot, a bit more some reflectivity to it. So we won't necessarily need to subdivide this anymore. So I think this should work just fine. So we won't need to subdivide this, so let's go out of solo mode. I think I need to do it also in here. Let's do it also in here. We're just going to bevel this edge. Say this edge also. This edge will just bevel. So let's do a bevel. Come in close, increase the fraction. So more segments in there. Okay? T a way too many segments in there. Let's just do seven. Seven should be fine. Seven should be just fine. We don't need to go too extreme. Okay? Let's see. Seven will work just fine. That's fine. Okay? So now we are beginning to start this on top of themselves. Let me see this move this out a little bit more getting things stacked on top of themselves, and put this back in. I think this going to get this out some more. And I think at this point, I think I should let me see if I can actually duplicate this and then replace it here. The push this back to begin with, duplicate this. Okay? Oh, it's visible. It's not visible in, let's go out of so let's Okay. Do we have a duplicate already made a duplicate of this. So let's scale this down. Yes, we can definitely work with this. I bring this forward. Okay? Then let's get it down. This way, gets closed scale it out some more. No, we don't do it that way that we just mess things up. I think this should be fine. This one is kind of wider. There's a more wider edge to it. Is there a way we can still capture that in here, if possible? It will definitely take a lot. It will definitely take some additional work to get that sickness in, but I believe we should should be able to do it, so we should be able to do it. Let me start Let's see if we can make this work. So let me start by shrinking this in first. Around there should be fine. Okay? Then select this again. Let's see if we can possibly make this work. I'm just going to start selecting all these vertices. Let's see if we can possibly make it work by scaling it down. Let's see if scaling it down, we actually do the trick. But my best guess is that it might not, but let's give it a try that would help us move a whole lot faster. We should definitely try. Okay. Can do that. We didn't select that well enough. But we can use I think we can use the last two selects the last two select for this. Okay, that makes things a whole lot faster in here. So now let's use the scale to and scale this down. I can say I missed the point here, so control shifts, grab all of that in there. Yeah, definitely work. So I'll bring this down. Yes, we can definitely work with this. But I think I need to do that again. So I'm just basically trying to have read between. Okay, definitely let just push this down and bring this down this way. Yes, we can work with this. I should definitely work. All right. I think we can steal this also. Let me push this back. So this will make this whole lot faster for us. This we can steal as well. Let's bring it out forward a bit more. Think around there should be fine. Let me select this. Bring this out as well. Pull this out. Okay. Maybe not outweigh too much. Let's just find a good balance for this. Okay. Yeah, that's fine. Select this Control D. Pull it out, scale this down. Let's go to our front view and then position this where we need it to be. Scale this down some more. Okay? Sync around there should be fine. Pull this back in. Let's put this back in, up a little bit more. We can just set this around here should be fine. Maybe we can bring it down some more. As we still have creative freedom over this. Select this and this, bring this down some more. Okay, select this, bring this up even higher. Yeah, you should create a lot more interest to it. So now we have a lot more interest to this. So I'm going to select all of this now, combine them, combine the duplicate of this. I think at this point, I don't think I necessarily need to bend, we need to get this out of the way, combine them, get this out of the way. Let me pull this all the way to the end. Okay. Select this, bring this in. Let's make sure we get this properly positioned in the center. I think around there should be fine. Okay. Save this Yeah, I think I will need to scratch this down. I think it's way too thick. Scratch this down this way. We might need to scale this down as well. Bring the down here. Okay. I think we can now export this out. Let's export this out now. Let's export this out. So Ziput, let's just name the two b slit. Okay? Then let's bring it into zebra. Let's just go over. Let's do this as fast as we can. Append the cylinder, scroll down. Let that cylinder and then let's import this in. Okay? Zimput, select it. Let's just do both instead. Okay? So right, please. So now we're going to make corrections to this in the next lesson. Bye for now. 77. 76 Sheath Leather In Zbrush: Comb, guys, in the previous lesson, we imported this waste piece in this waste metal piece. It's no lestra set it up properly in here. So I would like to make a duplicate of it to begin with. L make a duplicate of this, I'll hide the duplicate. Then we'll try as much as possible to merge this the way it is on the reference. So let's do that. First let's erase piece in here ton of dynamic. We use the brow size. Okay? I would like to move this out a little bit more. I need to have some gap in between the use the brow size again. Okay? I think around there should be fine. Select this b space. Let's bring this down for now. I try to make sure the spacing we have in there would work just fine. I think this would work just fine. Move this back down. Okay. Here, that's fine. Then go back and select it, hold it out, select it. Up, I'll squash it down a little bit more. Okay. I think I'll bring it for a little bit more. I think my skill, I need to take down the skill. No, I think previous was just fine. We just to push it back in. So let me leave this up some more I believe somewhere around here. Yeah, somewhere around there should work just fine. Okay. So now we need to kind of bend this in place. I'm going to use the bend curve for this. Let's use, we have bend c, so let's use the bend curve instead. We have subdivision level in there. Okay, we do take down the subdivision level. Delete higher than ben curve. So new right axis, but we need to add more resolution to it. Let's add more resolution point to it. So let's add just one. Can we do asymmetry turn on. No, we cannot undo that ton of symmetry. We have to do this as an individual piece. You want to be careful, though, because as much as you want to move this back, you don't want to deform the shape in any way. Okay. I think around the should be fine. Get in some more Okay. That should be fine. Select the other parts. Look for a good angle, push this back in. Okay. I think this should be just fine. And I'm going to pull this out forward some more. Let's find a good angle to it. Pull it out a little bit more, get a curve to it. Alright. Yeah, you should work just fine. Then we click on Accept, I pull this down. Then some more. Going to average it around the edge should be fine. I'm going to extend this thickness a little bit more, pull this forward some more. Okay? Let's see. I think this is fine. This should be fine. Up a little bit more. Okay. I'm select this. Move this up as well. Okay. Yes, I think this is fine. This is in the right spot. This is where we need it to be. We can select this again. With the move brush, increase the brush slightly a little bit more and move this back in some more. Okay? Yeah, that's fine. Yeah, this should work just fine. Th should work just fine. Okay. So now we can subdivide this, get something cleaner out of it. Yes, so zoom out. Yeah, this is fine. This is fine. I'm trying to see if I if I will need one for the back also. Okay, I don't think I need. I necessarily need to have one at the back because the idea that it's like a metapiece so if it's bending backward, we don't want this metapiece to begin to create markings on the back. So I think where this is it should work just fine. I should work just fine. So, this work just fine. So now let's move on to creating another piece. Let's create. It's like a leather piece, actually. So let's create this next. So we'll do this next. So let's jump right into it. I would like to do this on a separate canvas. Let's do this on a separate canvas. Let's see, do you have anything in here, okay? Okay? I would like to do this here instead. But I would like to let's copy the body. So we need something kind of gives us a good idea of skill. So let's page this here. Pase this up to here, okay? Then I'm going to temporarily hide it. Then this cylinder in here. I think, let's just do an append. Let's appended sphere, select the sphere, turn on this body. Scale out this sphere some more. Okay. Let's hide this, hide this. I'm going to convert this fat into a Qsh. Let's do that B I primitive Qs. Then we go over and then under geometry, we do modified topology mesh from brush. Okay. Move brush. Scale this out, scale this out a little bit more. Pull this out this way. Let me just t get roughly the scale of this. Once I'm able to capture the scale of this then it should be fine. Okay. So ideally, I'm just going to create this two and I'm going to duplicate it over. Then just create some little sculpting details on it. Then in Subtanspens, I'm going to add some more or make it rather look unique. Make it look unique by adding some color variations in there. Or finally just get the shape we need. So let me go over I think squash this down. Trying to figure out the lens. So the lens should be, is close to the kneel so we need something roughly around close to the knees. Let's squash this down a little bit more. So somewhere around here should be fine. Squash this down as well. Squash down some more. I think this height should be extend this up a little bit more. Let's see. Somewhere around here, put this down this way, put this down some more. This is right. This eye would work just fine. Okay. Yes, I need to get this back to the center. Let's get it back because I would like to work with this emmet toned on. So let's make sure I'm back in the center. I think roughly around Jsould be fine. Yes. So Shift F. Then let me skill it out first. Then we do group by normals. So PolyroupGro by normals. Let me take down my bro size, Control Shift click. Yes, we did delete ding. Let's do a duplicate first. I do duplicate, work on the lower one. Then we do delete ding. So let's do geometry, modified topology, delete ding, right? That'll work just fine. Then I'll need to just center this again, squash this down a bit more roughly around the size that it should be. Okay? This is fine. Then come close. Pull this out out some more out a little bit more. Yeah, I think that should be fine. Okay. So now next we to do would be to add more subdivisions to this and do that. Let's first add extra edge loops to hold up the shape a bit more before adding subdivisions to this. So I'm going to do B Z M at a COTS. Yeah. Okay. Add one here as well. You need to add one around here, as well. Just to hold up the shape a little bit more. So this should hold up the shape some more, updo one all the way down here, okay? So if I should subdivide this now, you should hold up the shape some more subdivide subdivide, undo that delete lower. And then we can, back to the more brush. We need to pull this down some more. Pull down shifts. So just get a straight line on that why pulling it out. Double sided needs to be turned on. I don't on double sided for this undo this actually. There's one more nine d to do before adding geometry on it. So let's go back to Busy. I'm supposed to split this with an edge here, with another edge here as well. Okay, then create year. So this should hold up the ship a lot more so we can subdivide now, this hold up the ship a lot. Divide again, then delete lower. Okay? But at this point, I think we have too many we have too many edge in the center part, so we can slightly reduce slightly reduce that Okay. So still on the same busy Z modular brush. Let's do delete Edge Loop. So I'm just going to come in down here. We can delete this and delete this do that. That's actually odding up something. So let's delete this instead. Okay. I think somewhere around should be just fine. Yeah, like see should be fine. Okay, so that's fine. So Shift F. So now let's go over to move brush. And then we need to kind of see a curve water on this edge, kind of curves in. So to create that, we need to you need to let me scale this out some more first out this way. So back to the gizmo. Let's make a duplicate of this again. Okay? Then let's use the bend curve. Okay? And let's add more resolution to this. Then select this. Just scale it in some more. So that should automatically create the shape we're going for. Let this as well compensate for it. Scale in some more. Okay. Let's add more resolution to this. Undo that. Scale this in a little bit more. Scale in some more. Okay? Undo that movement, scale this in a little bit more. Yes. Let's reduce the resolution. Okay? Compensated that. Let's compensate for it around here instead. Okay, here as well. Out some more yes, I think it should be just right. Let me make sure double side is tone down. So double side. Yes, this would work just fine. The next we need to do will be to add thickness to it. Let's add thickness to this. So to do that, you can use the geometry dynamic sub div tonton take down the smooth and let's add thickness to it. Way too thick. This seems roughly like a good amount. Okay? Let's see. Maybe this we can actually keep. See if we can keep this. I think this should be fine. This should be fine. This will work just fine for what we need it for. So we need to add extra. Let's do two instead. So instead there should be fine instead of three. Okay? So apply so if you subdivide this, okay? I think this should be fine. Just checking just to be sure if everything's working correctly as it should. Okay. So now the next thing we need to do B two, I would like to extrude I would like to extrude out the edge. Well before I do that, let me squash this down a little bit more. It's not too thick. Take down the resolution, delete tire. Okay. Let me solo this now so we don't have any distractions. The next thing I'd like to do would be to extrude out this holy group on the edge. So let's do that. I'll go over to yes, I go over B ZM, outdoor Extrude, Extrude, let's do polyp poly group. I think let's it's not giving us the desired results we're going for. So let's do let's look for something that will work better. Poly group border. Okay? Yeah, this is it. So extrude this out so more Undo that. I think we need a bit more. Undo that. Make sure we're on the face. Okay. Let's see if this is too much or the right amount. Feels like it's slightly too much, slightly too much. Let's do this again. Feels way too small. Yes, I think this is the right amount. This is the right amount for this. We can definitely work with this. Okay. So now I would let's see. I think do you have any issues around here? We have a slight issue around here. Let me subdivide this. Let's see. If it's a major issue or not. It's not really a major issue, this should work just fine. Okay? Undo that. Shift F. Most likely like to push this inward. I like to push this inward. Okay. So if we subdivide this, let's see, we get some rounded subdivide this again. Okay, I think this is fine. We have some rounded edge should work just fine. So undo, undo. Okay? One thing I'd like to do just to make the more interesting would be to bevel this edge. So let's go to the edge. Let's find bevel. So edge completes. Edge completes. Let's bevel this edge this way. Okay, it a bit more be with this edge as well. All right? That should be fine. So if you just divide this now. Yeah, we should be getting something like this. I think this work just fine. Can we can definitely work within here. Alright. Yes, this is fine. So I'm going to go down delete Aya so now we can just copy this and put this where it needs to be, and then make duplicates of it. So let's go and copy this sub too. Let's go to original Dsits. I think I think there's it to go out of solo. Then let's paste this in here. So paste. So we just need to properly position this now where it needs to be. I think I will need to make this a bit sticker. So let's extend this out some more. Okay? Yes, that's fine. I move this in place. Let's get a duplicate out of this. I'll shoot hide this and I'll shoot this download and sheet and shoot this down to the bottom of the sub bottom of our sub to set up and then rotate this this way. Just trying to get this. Okay, I think I need to This needs to be even longer than it is right now. That's fine. We can extend this out. Okay? Bend this in. Move this down, rotates down in okay? In some more rotates outward. Okay. Skip this down. Yeah, I think this is fine where it is. Pull out some more back down, rotate it this way, back down. Okay. With the move brush, n of dynamic. With the move brush, we can just push this back in slightly. Alright. Oh, I think I made it way too long, so let's undo that. Squash it down. You can see how it's kind of touching the hem. Touching the hem off her skirt, so it should almost look like it's touching the hem of the skirts. Squash this down some more, pull it down in some more Okay? Get closed out some more. Think I'll need to select this. Oh, I see a lot of gap in here that I need to make up for. Symmetry turned on for this bring this out some more out some more out some more. Okay? I think this should be just about right. I yeah, I think we are good now. Let's make extra duplicates for this. Select this. Hold control, extend this one out, rotates, rotates, up some more, bring it in. Okay, rotate in some more move this to the side. So more, rotate this way. Get this a little too higher, squash this down some more. Rotate in some more. Yeah, that should be fine. Yeah, I should work just fine. I like to push this out a little bit more out this way should be fine. Yeah, that's fine. That's fine. So we're just going to continue on the next lesson. Bye for now. 78. 77 Sheath Surface Details In Zbrush: Walk on by guys. So in the previous lesson, we created this, we call it sheet piece or sheet leather is in here, so going to carry on and then make some sculpting details and modifications to it as we deem fit. So let's carry on. So I'm going to go over to let's make sure it's selected. Is the last one down here. So I'm going to name the two. Let's just name these two. Let's use all caps for it. Caps for it. Okay? I think this should be I think L should be after the A. Okay? That should be fine. Then we need to kind of mirror it to the opposite side. So let's make sure we get some mirror into the opposite side and then we make, okay? Yes. Yes, we can do that later on. So I'm going to I'll start by mirroring into the other side. And after I done in some scopeded details on it, we can then adjust the length for it. That'll be a better way to go. So let's go over to geometry, the topology mirror weld. All right. Awesome. So we have this where it needs to be, okay? I'm just going to push this down some more. I do that instead because I want this to be completely symmetrical. So better still, let's come in and move this up instead. Let's move this up instead. Okay. So more. Yeah, that should be fine. Alright, let's go back to the sheets and then solo this out. And then we'll start doing some work in there. So I would like to subdivide this to the amount of subdivisions we need to kind of start getting some interesting detail in there. But I'm going to test this out just to be sure. So let's divide, divide, divide. I think up to 1 million should be fine. Yes. So we have 1.8 million here, which is still good enough for us to work with actually, because if I go in and then I use it, this is them standard for this them standard, and we test this out. Let's see if we just do a line across. Oh, adding a line across now, I think we don't have enough resolution to hold this. Let's divide this one more. Okay. I still don't have enough resolution to actually hold this. So let me make sure Control W give this entire thing one single polygrop. Let's go do auto group instead. Let's go to lower subdivision level. Go to lower subdivision level for this. I would do if I subdivide this, I want to multiply this seven by four. I don't think I need high that high amounts of polygon. But we'll see, let's go over to Shift F Auto Group. Okay. Use auto group for this. All right. I think that should be fine. Let's go to the yes subdivision level. Because I need to be able to add details in here. I need a detail to actually look smooth enough for us to work with and do that. I think I might just take the risks of subdividing this one more. Let's go. So let's see okay 29. Yes, this is a whole lot. This is a whole lot better now, so we can definitely work with this. So with this year in here, I'm going to add let's add a layer to it. Let's create a layer for this. We have all information sculpting in here on a layer, then turn on symmetry. Right, so now I'm going to start making some let's go to lower subdivision level. I'm going to start adding because if you fail zoom in, you can see the edge has some coloring to it, white coloring to it. So it's going to create a death that will actually hold those texture detail. So go in and then add a cat across. So basically just adding cuts across this like so. I just basically all we need to do add do that cut across this, and then we should be mostly fine. So you don't need to be extremely specific. As to this gap in between each depth cuts, don't need to be very specific. You can just randomize it makes some smaller, make some of the gap a bit wider if you must. There's no definitive way of doing this, make sure you're adding depth in there. That's pretty much it. Most of these data are going to be smoothed out later on when we can increase our subdivision level. So if we increase our subdivision level once, we should get better transition in the smooth out surface in there. So let's carry on. Put the lower subdivision level. Let's do this on lower subdivision level instead. So we need to do this on both on both end. So that's why we asymmetry on, so we can do things a whole lot faster in here. Okay? I think we're missing this part missing the parts. Let's just smooth this out. Let's just make sure we are doing this without affecting the other part. Maybe you should even control shift click shift click Hi that. So we don't mess with high disc also. This is fine. So we can just safely do what we need to do here now without affecting the other parts. Et's get close. A bit closer closer. Okay, let's carry on. Take down my brows size. So just like just repetitive process across this. Okay? I think this angle should be fine. Because this is going to add another extra level of depth to it to catch nice reflective details around it. So that's why we're adding this. It's going to also going to catch good shadow contrast in there also. So it feels like feels like might not do much but it's just these little details that kind of make your model shine out as being a lot more realistic. Okay. Come across down here as well. All right. This one has not even go all the way to the end, so let's fix that. Okay. All should be fine. Come down here. I think I'm going to leave a gap, a wider gap in here. Okay. Continue on. Let's do one around here. That's fine. Continue on. Get a good angle to it. Okay. Awesome. I'm going to try to be as fast as possible, so we can work on all the details for this. Okay. We still have the second piece to work on also. Yeah, I think this angle makes us move things a whole lot faster. Right. I believe we're almost done. As if my perception of lens is accurate, though. I believe we're almost done. Yes, I think my perception for lens is spot on. Okay. What do I need to do on top of this? Let's see. Okay, let's do something on top also in here. Let's not neglect this part, so I'll go a bit go a bit ungod on this. Okay? All right. Yeah, that's fine. This will work just fine. So let's invert that selection. Let's go back to the next piece. Coming up close and just repeat the same thing. Let's look for a good angle for this. Okay? So this is supposed to kind of simulate something that looks more like a leader, a more straighter leader piece without too much of not too much leadernquisine, yet, but still capturing that leather feel to it because I believe it should be like a leather piece. Okay? Move down. Yeah, I might notice that some regionals now have enough fully counts to kind of hold the edge a lot more. That's completely fine. It's not going to be a d breaker for us, actually. It's not breakup because we're not going to be sculpting this or rather rendering this close up. So from a distance should be a distance render will be just fine for it without having to worry too much about close up details. If there's a need to close up renders to this, then it would make better sense to increase the subdivision level and then get the details there quite sharp. But in our case, it's not completely necessary because we're not really doing extreme close up shot for it. So we can just be a little loose in there. I think I'll leave this gap. Let's do one more. Then I'll leave that gap, I'll go to the next parts, find a good angle for this and continue adding cuts down across this. Okay? As well, find a good angle like so. Okay? Create some more gaps in between. So we're not trying to make these gaps in between each line, extremely accurate. So it's completely fine if you're a bit loose and in here because we're trying to simulate something that feels more like handcrafted than this being made by an industrial masonary Right. I think I believe in 3 minutes, we should be done. Then we can move on to another detailing. I'm sure some of you guys are probably timing me right now. Probably timing me like hope this guy does this exactly at 3 minutes or even less. But no worries. Once you're working in Zbrush, things tends to move a whole lot faster, even though you're kind of repeating the Samson, or most especially when you're repeating the Simpson, things moves a whole lot faster. Okay? So the top parts do go a bit ungod in here. Alright. One more. Rotate the other way, okay? All right, that's fine. So we're done with that, so let's bring everything back out. So in here now, I'm just going to let's go to the front. I'm just going to lay out some obvious detailing in there. Let's kind of uniform on both side. Then rest we're going to do inside of Substance Painter. Let's do that. For one, I'm going to take down to Broad side. Let's go to higher subdivision level. So I'm going to be doing this on a higher subdivision level. Get this in. I would do a line in here line around there as well. Okay. Go all the way. All right. Okay. No, this doesn't look right yet. I will do that. Some of the details in here mostly. Let me bring this forward. One more. Okay. Undo the last one. So I'm trying to figure out if we need to do this in here or we need to do this inside of Subtan sprinter instead. So we have a whole lot of control in there. Yeah, I think it make better sense to do this inside of Subtanspnter instead, because there we have a whole lot of control, and the details are not that strong enough for us to actually make sure we do it instead of Zbrush. We can easily do this inside of Subtnspnter and would get good result out of it. So I'm going to be seeking with creating this extra level of detail instead of Zbrush instead. Yeah, so I'll solo this. So we can I think at this point, we can now manually make some adjustments to the length of disorder power part. So let's go to lower subdivision level that's lower subdivision level. So control shift click, you. Shift F. Auto group. Let's make sure we do auto grouping here again. So auto group. Control Shift. Oh, symmetry is turned on let's of symmetry. Control Shift click Control Shift click. It the selection max out in the max. Center this in here. Okay. Let's orient, get the orientation properly, scale this down some more. Leave that up some more. You should definitely do it Control, select this, rotate it this way, move this closer. Okay, extend this out. All right. At some more roots this way. So I'm just trying to create some variation in here. Clearly this bring everything back out. Yes, awesome. So I think we are pretty much done with that. So the next thing we need to work on will be dispare. So I think this pair would be the next favorite thing to work on in here get this out. Okay. So I'm just going to check again just to be sure if all of this is working correctly or not. See if there's any correction or adjustment I need to make on this. Then if not, we can just move on. I think this should be fine. All right, so in the next lesson, we're going to work on this pair, and I think it'll be a lot better if we work on this. If we work on this pair in Maya instead. So we get some interesting details out of it. I'll see you guys in the next lesson, bye for now. 79. 78 Spear Head In Maya: Come about, guys. So the previous lesson, we finalized on this sheet piece. So just tutor you, I would like to let's work on creating the spare. So I'm going to do that instead of Maya. I think it's going to be a whole lot easier to do instead of Maya instead. So actually is for me. So let's do that. So let's go to our Maya file. I would need to start by creating. Let's go over to the top view. So let's start by creating a Bass cylinder, yes, secret cylinder. I'm gonna drag a cylinder around here. Create some height for it. Okay? Zoom in. All right. So now I'm going to reduce the polycon for this. I would like to convert this into quads because I definitely need quads for this. So let's go over to Atwood editor. Then we need to reduce the polycon for this. So ply cylinder axis, subdution axis, let's do eight. It will work just fine. Let's go to side F to frame into its face mode. Let all the pace delete it. We need the top face for it. Then I'm going to delete to edge. I want to delete this edge on control undo that. Undo that. I think the air you need to delete would be this, this and this control delete. Oh, my mistake. I think before I delete that, we need to add something in there. Yes. So we need to go I was doing the letter before the I was doing something I was supposed to do later on. So I moved too fast. So let's go in more tie codes. Add some coats, move this down here. Go, move this year, here as well, get the streets. Okay, then we close this year to apply that. So now we can go to selection to select these edges, delete them. Yeah, this is what we need. So now is now quaded, which is precisely what we want. I'm going to select select these vertices with scale two. I'm going to scale this out some more. Okay, select this as well. Scale out. Okay? Yeah, that's fine. This will work just fine, so I'm going to make a duplicate of this Control D. I'll move this down here, okay? So the first thing I'd like to create is the sparehead. So I would like to create the sparehad as our first piece. I'm going to select it now. I'm going to do an extrude W on the keyboard, extrude this out some more. Let's do this from the side view, Extrude this out a little bit more. I think somewhere around here should be fine. Maybe a little bit more. Okay. Most of these are going to make adjustment to tumble just carry on with this first. All right? This would work just fine for what we need it for. Then let's go to our top view. Okay? So the next now I'd like to do would be add, let's go to motorcades. I'd like to put instead putting a coat in there, let's just select the center one instead, sled the center edge. Okay? And we do let's see. I think I would need to let me come in close. Let's see how that looks like in here. Okay, so I'm going to bevo this, reduce the fraction for it. I think somewhere around there should be fine. Yes, somewhere around there should be fine. Then I would go over. Let's go over to the perspective view. Okay. Go to the side view motorycle. I'll add a coat around. Let's do somewhere around here instead. Alright, so I think there should be fine. One also around here. Don't do that. Let's do one around here, as well. These three should be fine for now. Okay? So now, I would like to extrude some piece out. I would like to go over to selection two face mode, select Let me start by selecting this do that, selecting these faces in the middle. This is the face I need to extrude out. So let's do extrude Let's go to the side view. Let's extrude W extrude out. So this is going to be a main triangular spare head. Let me get this up a bit higher this way. Okay. Then I'm going to start making modifications to this now. So the tip, I'm going to squash the tip down this way, okay? I think I need to extend this out even more. But we'll do that later on. Let's just make sure we get the proper sizing for it. I'm basically looking at the edge now to see if I have the right edge for this Okay. So then I'll go back to my side view vertex, select. Let me start by selecting these three vertices first. Move this up, select the center one, move this out. Okay? Yeah, that is fine. Okay. Then now we need to start extending out. I think I need to add some more pods to this. So let's go over to edge mode. She rightly can hold insert edge loop. Let's go in, say this here. Let's do three. Then add that in there. Okay. Close this. We need to make it straight. There needs to be straight straight as well. All right. Then we need to start expanding them out. I think I would go over to the edge. Let's select this edge, select this loop edge. But I don't want to go all the way down, so I'm going to let's go to the side view. I'm going to stop it somewhere around here. Stop it around there. Then I'll scale to, I'm going to scale this out this way. Out this way some more. I think probably that's way too extreme. Shring this down so I think that's fine. It should be fine. Okay? Something pretty mode like so. Alright, This we're going to fix in a bit. But let's just get this out first and see how this is looking. Okay. Then we need to start making corrections to this now. Let's do this from this side view. So I'll start by selecting go to Vartex mode. Select a lot of these vats, squash this in. Squash this in in some more. You need to do a little bit more work in here. So select these three, squash this down some more. Okay. So more S something tiny like so. Get this in place as well. Some more a bit more to compensate for it in some more Okay. I even the lower part is a bit smaller, so we still need to keep shrinking this down a bit more, shrink this down some more. Okay, let's do here as well. Okay, here as well. Yes, let's shing this in some more. Okay, let's go in and let's visualize. Let's see what we get. So now we need to make some modifications on this. Yes, we would need to modify that a lot more. We even we can even completely collapse if we need to. Let's do something else instead I would like to select let me come in close, select all of this, go to the top view. We have the selected. Oh, so letting you wrong one. Letting at the wrong place. Supposed to be up here. Okay. And I'm going to let's see we can get the side side view instead. Let's use the side view instead. So I'm going to deselect this. Let's do for your backside also. I'm going to deselect this. I'm going to deselect this, okay? Then we need to start pushing this up. Let's get this up and do that. We need to get this selected as well. Select this as well. Move this up. Okay. Scale this in rather squash this in. No, no. Yes, I think we make this work actually. So let's go to edge, select this edge, and move this up. Move this edge up. Okay? Yeah. That's begin to look a whole lot better now. Okay. Yeah, this would work. Yeah, this will work just fine. Let's see how high up, need to move. Let's move this up a little bit tiger. Okay? And I'll go in and then select this edge, select this edge, go to the backside, select this edge and this edge, squash them in some more. Trying to make sure we get better transitions around those parts. I think this should be fine. Select this select this this as well. Come on, this as well. Move this up a bit higher, squash this in some more squash this in some more. Okay? Yeah, this should be roughly fine. So we select this now, still I think I need to add some thickness to this edge. We need to kind of scale them out a little bit more. So let's go to the side, the side, the side view instead. Isolate it. I need to grab, go to vertex. Let's grab. Let's start by grabbing all of this. Now this selects these bits. This selects these bits. Okay. Okay, we definitely need these bits. So select those two. Come into the side. I'm going to deselect everything down here. Okay, I think we should be fine, and I'm going to scale out some more. On do that. I think this one. Let's just scale out first. We'll make modifications to that by fixing that later on. On do that, you can select this as well. This also scale it out some more. Out a little bit more. Yeah, this part is a bit too extreme. So if we push that down later on, let me just get this out this way to begin with. Then I can grab all of this and all of this. Let me make sure I'm grabbing it correctly on this axis. Then you can push this back in. Select the top part, push this back in also. Okay? Yeah, that's fine. So what I'm trying to do is to create enough edge to this two I can actually add the motoric in here in the center part all down shifts. Put that in the center, then I'll just go over to edge more Dublck on this edge loop. I'll deselect it down here. Okay. And I'm just going to scale this out on the side. I'll just scale this out on the side. So that's going to be like our sharp edge for it. It out a little bit more. Okay? This select it all the way here. For this part, you need to push it up some more up a little bit more up a little bit more like so. Okay? Yeah, I think we're capturing the essence of this quite well. Okay? Yes, I think this should work. So I'm going to do an auto Smoth Let's see where we get with Autosm in here. Yeah, so we get an interesting result out of this Autosmon, which is precisely what we want. But we need to kind of add some you need to add some more e to it. Yeah, I think I lived. I don't want to mess this up too much, but we need to add let's see where we can actually add this instead. So let's let let me make a duplicate of this first. Let's make a duplicate of this. I think on the side, there's something you need to do on the side. You decide this side instead. We need to select this, squash this more a bit more a bit more some more select this, extend it out a bit more. Okay? Yes, I think this is pretty much fine. But this is fine. Let's just make sure we add. I think we select before we do that, let's make it duplicate. Let's duplicate this Control D to duplicate, pull this out this way. Okay? I think now the overall proportion, we need to take down. Let's reduce this quite well. Roughly around the length, it should be, I think, somewhere around there should be fine. Okay? This should work just fine. Okay. Yes, this should be fine. Let me go in to the side view. I'll go to my vertex, select all of these verts. I'd like to shrink this down some more. Do some shrinking in here as well. Okay? Grab all of this, move this up some more. No, I think down down here where it was before should be fine down here instead. Okay? Yeah, this should be fine. Yeah, so now let's add before we add that just before we add. Let's ad that now. Let's add now instead. So edge click on this edge. Okay? But I'm going to deselect it around here. We select around there. I'm going to do a bevlo? I think a bevo should be fine. Let's see. I think I need to close the gap so more make this quite small, add one segment in the middle. Okay. I think this should be fine. Should we turn off Chan fa. Let's see if Chan f actually does anything. Okay. Let's leave it off instead. Let's leave it off. Okay? I think this should be roughly where we need it to be. Yeah, this should be fine. Click out. Let's subdivide this. Let's see what we get. Let's see if we have maybe the edge is way too sharp. It's looking like our edge is way too sharp. Our edge is actually way too sharp for this. Let's don't do that. I think we need a little bit more spacing in there. I think this spacing should be fine. Let's subdivide subdivide, let's see. Okay, that's fine. But we need to add holding edges to this also as well. So click on this, click on this here as well, here as well. Okay, then we'll go across and do that, go across here as well. We'll do this for the opposite side. Okay? We also need to hold this edge because it needs to have those edge needs to be tight as well. Et's do a bevel. Okay. Let's increase the fraction for it some more. Then add one segment in. Okay. Yeah, that's fine. Okay, then let's subdivide this. So we have edges now to this, which is precisely what we want. Okay. But we do some little bit of cleanup in here though. We need to do some cleanup in here. So let's do that. I'm going to go to more ti cords. So we have a triangle here, 11, two, three. I think we can move this down this way and start to apply that move this down this way. Okay? So we have one, two, three, four, then we have triangles in here. We can just undo that. Think I need to do this again. I didn't do that correctly enough, so do that, let's just put this on this edge all the way down here, Enter. Okay? Then we can do this edge also all the way down here, Enter. Okay. Then we'll just select the center edge control deletes. So that's fine. I'm going to do the same notes or two for the opposite side. So more tie cuts. All the yeah Okay. All the way down here, right, then select this A control deletes. That should be fine. Okay. Then on this side, we just do one old way, then we do one old way, here, and start to apply that. Opposite side, do one old way. Okay? One way. Okay. And I'm going to select these vats and these vats, let's go to constrain, surface constraint. Scale to scale and do that. Let's move to instead. Okay. I think I did that way too much. Select this, select this. Bring this this way. Friends kind of create some more gap in between them. Frink create some more gap in between, so think this way. All right. Select this, select this. Move the this way. Okay. Let's do for the opposite side also as well. No, scale, pull this down this way. Select this, select this out this way. This and this out this way, this. Let's bring this down instead. All right. Since you like this and this, bring this down instead. Select this as well, bring them down as well this way. Scale in. Just trying to create something at least with some space in India and some gaps in between. Move this down. Okay? We can select this and move this up some more. Okay? So if we smooth this out now, this is what we get, which is fine. We can work with this, but we still need to make some more modifications to it. So yeah, we'll carry on the next lesson. 80. 79 Spear Body In Maya: Hey, welcome about, guys. So the previous lesson, we started working on the spare head. So we're going to carry on with that and then keep doing some modifications to this and then model the rest of the road or Westwood road that kind of holds this all together. So let's carry on. I'm going to go over to this edge to the opposite edge as well, and I'll move this down. So we still have this constraint on surface, which is fine, precisely what we want. I'm going to scale this out. Spread that out a little bit more. Okay, that's fine. All right. Now let's look at the reference a little bit more. I see there still some corrections we need to do on this object mode, F to frame in Okay. So I'll need to select this face in down control, select these faces, Extrude W do that less turn of this constraint, bring this down this way. Need to get it should be I think it's quite long. All the way here should be fine. Then I'm going to scale this out, so let's just scale this out a bit more. Okay? I think so should be fine. All right. Yeah, I think we have this in a good place. I think this should work out just fine. Then, I think I need to Let's get close. I need to extend this out. Okay. Let's extend this out some more out that way should be fine. Okay? A smooth, let's see again. Yes, I think we can work with this. This will work just fine. Okay? We can make this even more interesting. We can select all this phase. This phase as well, this phase as well. Do the same on the opposite side. Okay. And I can scale it out a little bit more. Maybe that's way too much on do that. Let's select this down here. Select this down here. Face mode, select this. Scale this out. Alright. Though you're moving it. I want to be sure he's kind of fine on the opposite cycle. This part seems like he's not looking good. He's not looking good enough. But I think we know to fix that. I kind fix that easily. Let's just pull this out some more. Then I'm just going to go to vertex, seleide these verts. Let me fix this this way. Drag selection in here, drag selection in here. Okay, I pull those out. Okay? Select this. Select this, select this. Push that out as well. Select this and this. Let's select this and this pull them out. Okay? I think this we can work within here this auto smont again, we should be getting this. Yeah, I think this is fine. I'm just checking just to see if I need to sharpen out the edge a little bit more. Okay? All right. I feel like I should add one more coats in the center around here and do that. The should be fine. Then connect this all the way down here, and start to apply that. Do the same for the opposite side. Okay? Please don't too smooth. I would like to get this edge slightly more sharper. Sharpness should be a bit more obvious to see. I'm going to double click on this. I'm going to extend it out. I'm going to deselect all of this down here. I'm going to scale it out this way slightly. All right. Let's see what we get for those moons. A lot better. At least we have something a lot sharper now. That's fine. Then I'll go over to Okay. I think I can select this duplicate of this, move this out, select this. Let's done extrude, create some thickness out of this. Okay. But then we need to scale it down some more. Need to scale this down. Let me center vote on it, scale down. Come in. Scale this in some more. T should fit right in. Yeah, I think somewhere around there should be fine. I'll select this. I think I would need to make another duplicate of this entire piece. So let's legislate this to Control D, move them out, back up, select this, isolate it. Then I think I can select select this phase. You need one actually? Will you need to delete this instead? You need to delete this instead? Let's delete this. Select the edge. Okay. Select this edge, slide this edge, pull it back in. Yeah, that's fine. You cannot maintain that out shape to it on the lower parts. Then the blick on this edge, let's don't extrude. Move this up. Okay? That's fine. Let's add more tycos to this Addicte addict here as well, here also in here as well, and one in the middle. Okay, that's fine. Let's let's go to selection two. Select Edge. She rightly can hold. Start edge loop. Come on. Such a loop. Yes. So what we need, three of these should be fine. Okay. We still need to add one around here, here. Let's just do more tyco. Let's add one around here. I'll select it, straighten it. Undo that. And to squash this down this way. I'll add another one around here. Hers well as well. Select this, squash this down. Okay. Select this scale it out. Okay? Yeah, that's fine. Let's go out of isolates. Okay. Select this now. Now, we need to get this as long as we need this to be. So to do that, I think we need to select the two, put them in a group. Named as to spare. Let's use all caps for this spare Okay, that's fine. Then we need to scale start by scaling it down around the roughly around the length we need for it. Let me compare move this compare this to the body. Let's see. Okay. Let's just say the length should be as long as from the nail, all the way to the heel. So somewhere around there. I'm just musing from the nail all the way to the heel to measure this most especially for the spare head. So that's what I'm kind of using to measure this now. S create out a little bit more. I think this should be fine. Move this in place, frame into it. Okay. Let's get in there, select the group. Select the group. Move this this way. IT I'm going to rotate the entire outin. Let's make sure we need the rotation in there, it should be rotate, rotate. Select all of this. Let's zero this out first. Okay. Then the Z axis, let's do 90 degree. Okay, 180 should be fine. 180 degree. Okay. So now, I think this spell is roughly let's look at this again. I think it's roughly around the same height as our character in here, so we need to get this wood stick, holding it, select the Look, on the on the head of just select the entire vertices at the teletp of it, and then we going to use a translate to and then get something quite high out of this. Something roughly around let's do roughly around should be fine. Okay? As you going to try and measure that out to see if this is fine, based on the reference we having here. So let's say we want to rotate this. Let's save this first. Let's see where rotating this. Let's see where rotating this this way. Okay? And then we're bringing it up. Don't do that. Let's say, it should be around here forward. Okay. I think it's roughly I think it's roughly around the length we need for this, that should be fine. Let's go back in and then set this back to 180. Okay. Yeah, I think that should be fine. Let me just pull this down. All right. But one thing we need to keep account of Ip twice m. I need to scale this out. Let's scale this entire thing out first. Let's scale this out a little bit more. Maybe it's a bit too much this way. Then I'll need to obviously reduce this. I'll select all of this. Scale this down some more. Okay. I'm trying to see if this road is way too I think this road is around this spearhead pasa way too slim. The handle is way too slim. I don't want to analyze that slim. I want something that is still good enough to handle coming here, I think I need to make some adjustments in here. I'm going to select all of this. Let me do it all of these vats, okay? I need to scale it out some more, so I want to scale it out this way. Okay. Let's see. I think this should be fine if we run Autos mount on this. Okay. Maybe scale this down a little bit more. Some more should be fine. Let's look at this again. I'll need to pull this up some more a little bit more, that way should be fine. Okay, select these two, save this again, make it duplicates, extend it out this way. So in case you wonder, when I want to sing this file. So we're going to create a new file, kind of do proper asset topping, we try to create XGen and a for it and then do look development. In a completely different file instead. But this file is like a total. So this file is just the file. You need to kind of create assets. Just roughly create assets in here. It's like this now. I think if I do an auto smoke before I do an auto smoke, let's go over to South Motor Edge Loop. Let's create an edge loop this way. I think we need a whole lot more than this. We need a whole lot more. So let's go and it stats. Let's do ten. Let's do ten instead. Okay. That's fine. Alright. But we still need to hold this edge. So let's solo this. Come on. Go out of solos, led objects. So I think I would prefer to do a bevel in here instead. Let's do a bevel in here instead. So bevel, extend the fraction out some more Okay, we need to chamfer. I think we need chamfer in there. Let's increase the fraction some more. Okay? I think this should be fine. Let's Atos moons. Yeah, that's fine. But we need also an ding edge for the bottom part, so let's go in. But we need to delete we need to delete this lower face. We don't need that anymore. So let's select this entire face. Older control, the select this. Oh, make the same mistake again. Let's just do let's just delete this instead, then we can just extend this in. Let's extrude. No, opposite order control, extend, extend this in that divisions across this. Okay. Let's do more thi coat. So do coat around, around. Yeah, well, then yeah, okay, that should hold up. That should hold up quite nicely. Go out of solo mode. Let's compare and see what we get out of this. So you can see the spacing in between these. Let's see if we have the same spacing here, we don't. So we need to compensate for that by selecting these edges, and then we bevel them just to have maybe two extra edges in between them. Let me clear this out te moding that correctly enough. Wood shifts. Okay. Yeah, well. Okay. Come down. Yeah, yeah. Yeah, so, well. Let's go wire frame. You have any other piece there, we don't. Go out to wire frame. Then let's do a Bvul Undo that should be quite averaged out this way instead. Let's do another one in between, increase the fraction a bit more, so average all of those out. I think they should be fine. This will work just fine. Then I can introduce one year on year as well. Undo that, undo that. Let's just do one instead. Okay. I think this should be fine. Save this. I think we can safely export this out now. Yeah, I think we can safely export this out. I think they are all in place now. So I'm going to select these two. Make another duplicate out of this. Okay. Undo that undo that. Let's select the group instead. Let's open the group Mure without any duplicate of that. So let's duplicate the group instead. Send this out again, select these two, eat three on the keyboard to smooth them out. Then go over to modify Smooth mesh preview to polygons. Oh, it's not select that yet, select these two. Modify smooth mouth preview to polygon. Okay, let's use something lower instead. So I'll go over to channel, smooth surface. Let's say this to one. Also smooth surface. Set this to one. Okay, we should be good in here. So I will select this two now. Then let's go over to UV it. I want to delete any UVs we have in there. We don't want any UVs in here for now. We're going to create UVs later on. So delete any UVs we have in there. Select these two. We can combine them as one single piece. Save again. I think this should be fine. Yes. And then we will go over and then select it again, export this out on OBJ export selection. So Africa me while Z imports, this is it. Let's save this a spare sip selection. Let's import this into It's important to Zbrush. So it's important to Zbrush does do an append sub to apend. Let's do a spare. Let's select that spare. So do's go all the way down, it should be down at lower sub to scale this out. And let's import this into imports Z imports. Spare. All right. Awesome. So we have this panel successfully imported without any issues in here, which is precisely what we want, so this should work just fine. So the next step would be to start converting or start doing some surface sculpted detail on eight inside of zebra. So let's just solut this out first. Let's get it closed up in here. Let's see where we get. Okay. I think this should be fine. I don't see any major issues in here for the most part. So this should work just fine. Alright, so we'll do that in the next lesson. Bye for now. Okay, before we done, I think we can I usually like to scopes from top to bottom, so I would like to rotate this dn shifts. Let's rotate it this way. Yes. This is fine. This is fine. So should be more or less like this. This makes better presentation sense in here. So something like this should be fine. Alright, so in the next lesson we'll go in and then do some surface detail, and then I believe we should be done with all the modeling for this, and then we can start preparing and organizing our file for UV and wrapping, okay? So I'll see you guys in next lesson. Bye for now. 81. 80 Spear Surface Details In Zbrush: Welcome, but, guys. So in the previous lesson we kind of imported this into Zbrush. So in this lesson, we start doing some actual work on it, so let's get started. So I'm going to try and get this in the center I'm going to solo this out. Then ton on symmetry for this. You can see now is not perfectly symmetrical. I can just easily do local asymmetry in here and then we should at least perfectly symmetrical. At least for as far asymmetry goes, it should be the symmetry we should be using for it. But at the same time, I would still like to get it close to the centers, Leamington off symmetry for this. Try frame this in here. Okay? So asymmetry, I think we still need to adjust that a little bit more, okay? There's no specific reason why I'm doing this, though. I just want to get it in the center if possible. Okay. Yes, stink is roughly the center now. Alright, so now I'm going to subdivide this. First of all, let's create a backup piece for it. So we have a backup. So then I'll go in, then subdivide this by quite a lot, actually. Subdivide. Let's do one more. Okay. So it's at 40 million now. So I'd like to test this out to be sure if I have enough resolution to hold any wood Alpha Alpha, I'm going to be bringing in. Let's go to Alpha. I believe I have a whitewood Alpha, whitewood Alpha. So we also have wood also in here if I need to use any of these let's use this white wood. This whiewood tends to give me at least good result for the most part. So let me double click on this. Let's try this on to do that, to test this out. So we need to do drag wreck instead. Okay. I'll come close check if we do that see if is holding up the details quite when I'm increasing intensity for this. Okay, undo that is not. We're not having that fine detail we need in there. We're not getting that fine detail we need in there. So I think let's go to the lower subdivision. Let's go to lowest subdivision level, Shift F. Okay. I might need to separate this out and then subdivide the pull once more, and then before subdividing it because I would like this to have a lot more resolution to it. This needs to have a lot more resolution to it, so let's delete higher. Then I'll go over to poly group at group. Control Shift click. Control Shift click, isolate this. Shift F. Let's see what we get, this is fine. I'm going to let's go over to sub two and then separate this out to split, split EN. So you should have to list out of this now. So this one is at one K resolution, so I'm just going to subdivide this. Let's do five K. Maybe more, a little bit more. Let me subdivide this one more. 23 k seems a bit much. Let's start with five k for now, dilute lower. I'll make a duplicate of this road, get this up. Then let's merge this down. So do a merge down. I'm going to merge the sparehad merging this spare head down. Go out of so low mode. Make sure I'm doing the right thing shift E. This is the wrong one. The wrong one. Okay, this is the one we need down here. So this is down here. So this we're going to merge this down. So let's merge down. Okay, so we have this a total of seven k. Fully count seven K. Now, let's subdivide this. I'm going to keep doing this until I get the right resolution that that holds up my detail quite well. Subdivide it once more. Last 2 million. Now, maybe we should try different kind of Alpha instead. I think I should still have I should still have some wood alpha in here that we can use. Let me go over to brush. I should have a wood Alpha in here. Let's see if we can get that. I think I found the right brush now to kind of test this out with. Over brushes. So I believe should be wood and back. Denis is precisely the one I needed to use, so double click on that. So if I increase intensity a little bit small and I drag this over mesh, should be getting better resolution out of this now, so I do that. So this is brush I'm going to be using. So, I think we're kind of establish the right amount of polygons we need for this, so we can continue on so I'll go over to layers and then I'll create a new layer in here. Okay. I'm going to name this layer to surface. Name this to surface. Surface details. Okay. No spelling that correctly enough. Let's adjust the spelling right that's fine. So basically, for this, what I'm going to do go Shift F. I'm just going to isolate this piece to begin with. Come on, do that. Let's go to lower subdivision level actually for this. Control Shift click. Okay it's isolated now. I need to go back. Okay. Let's select standard brush, set this in your Shift F. So for this, I'm going to be using the He polish, actually. So I'm using the H polish to create randomized variation in there. Just make it look like something that is a bit more a bit more handmade. So right, what we're going to do so to do that, I need to use the clay Builder brush, and I'll go to higher subdivision level. Okay? So this we need to do we need to do this around Okay. I think a more faster way to do this would be would be to use even the radar symmetry for it. I think a more faster we might use radar symmetry. But I don't want to look too symmetric all around. I think just on symmetry not working in here. Okay let's front facing, okay? Let me increase the brie ton of dynamic, and I'll begin to use the clay Bow brush. I begin to undo that lower bros size. I'm not going to add variations across this way. Let me start from the bottom instead. Then we work our way up Okay. So I'm just going to fill up the shape this way, come on, create variations of log detail across this Okay? Make sure I'm doing this as accurately as I can. Let me reduce the intensity of the brush down some more. It's not too aggressive because I still want to I still want to kind of see through the smoothness of this wood around it. Okay. Fill up the spot as well. Continue on. So this is just going to kind of create a bit up betting up wood surface to it is precisely what we want. Moving up come to the side, put some more variations across this. Okay? I think I went this should be this way instead. Rotate and keep fleshing this out. So after doing this, I'm going to smooth all of these down just to capture the detail, resurface, break up detail even more. Maybe for the back anytime I come to the mid maybe I will just turn off symmetry and then just do that asymmetrically. Like with the middle parts now, right? Don't asymmetry for this and do this asymmetrically. We continue asymmetrically upwards. So I know all these parts should be asymmetry asymmetrical. Okay. All the here should be fine. Front parts. Let's come, use the front. Let's go to the back. Don't asymmetry and I'll repeat the same nose around here. Okay. So we're not doing anything too special or too fancy in here, basically fleshing all of this out. All right, that's fine. Then we can turn on symmetry now, come to the side. We can fill this up. So this should make better sense now. Okay. But if I'm smoothing this, I'm not going to be smoothing this with symmetry turned on. I'm going to turn off symmetry and then smooth this out. That will give us a lot more asymmetrical surface detail in there. Okay, almost done. All right. That should be fine. I'll turn off symmetry and I'll start smoothing things out in here. Okay? Smooth out. I think we need to use might need to use something a more stronger smooth for this. I think the stronger smooth for this. That's fine. Let's just carry on first with this. Maybe I should just add a bit more pain pressure to it. But we still have control over the layer, though, to tune it down if we need to. So maybe we should actually leave something a bit more intense, so then use the layer to layer intense kind of get a blend down instead. Alright? I think. Going around this moons in this symmetrically. Okay, down as well. Teats Okay. Most of the details we have in here is going to give us a lot more interest to our surface texture. Most especially when we starting texturing on inside of subtnspena, it will begin to look a whole lot better with all these details in here Okay. So down. Smooth down. Let's go to lower sub dibtion level. So on the lower subdivision level, we should be able to get a more stronger smooth effect for this. Okay? But if you go on subdivition level higher, so the DTs kind of comes back out also. I is fine. So I'm just going to carry on with this. Maybe even go to lower subdivision level. I like how we have this lined up wrinkle detail across this. I believe I can keep that also to kind of allow it to add more surface detail to our mesh. So going across and around this smooth this out. And we still have the leverage of doing a proper blend to it with a layer intensity. It makes all the more interesting and we have a lot more control over it. That's like the essence of getting or adding layers to your sculpting. Especially when you kind of figure out, okay, you want to have some level of control over it, you just want to add that into a specific layer just to help just to help you have more control over the entitin smooth this down. Okay? So let's go on subdivision level higher. So go one subdivision level higher. Then we can randomly smooth out smooth out all these wrinkle detail we have. Which is cool, though I don't completely erase everything. I would still like to keep a few. So I'm just smoothing this out randomly just to create a lot more interest to it. Okay. That's fine. Alright. This should work just fine. So now I'm going to invert the selection, let's create details for this. You need to have details in here as well. For this, I'm going to be using the Tin dynamic it's like a meta piece, so a tin dynamic would work just fine just to add a bit up look to it. Basically just going to tap tap on the surface. So I'm just tapping tapping on the surface, and then we are good. Okay, we've increased intensity a bit more. But we don't want to go to extreme in here though, because we still want to keep this smoothness on it to some extent. But break up the surface to make it feel a lot more like leather. So make it feel more like metal. Me like handcrafted metal. Alright. Okay, Weduse the bros size Come in here, also tap some. Do we have, I've not done this back parts, so let's do for these back parts. I think I needed to add a few around there as well. This part was looking somewhat empty. Okay. Break this up. Alright. Here as well. Look at this at an angle so you can see the surface breakup in there. Let me use the, this will not work. We need the reflectivity to at least see it a lot more. Yeah, something like so. Okay. Yes, this should be fine. All right. Come to some of this edge and break that up a little bit more. Okay. Yeah, I think we should be fine. So this kind of creates some jab edge to it, which is precisely what we want. A little around some of these parts should be fine. That creates a lot more chipped out metal edge to it. Okay? For me, this time, I can start looking like some kind of chip chipped metal edge, which gives it a lot more realistic result to it. Okay. Yeah, that's fine. Don't need to go to extreme, bring everything back out. All right. I think this we can work within here. Now we can go and increase to the highest subdivision level. So let's go to the highest subdivision level and then we can tune some of these down. Let's tun down some of the details. I'm going to go out of recording. Out of recording, and then let's tune this down. Let's do a value of 0.8. Okay? So my major area of focus is the handle. Is the handle to be specific. So I think it's not doing justice to this, but let's go up to the metapis. Metapis seems fine. I don't want to completely erase the DT met for the metal head. I don't want that, so I think I will need to record this again and then smooth down even more the wood part. Let's go to lower subdivision level and then isolate it. Right so late this. Okay? So I think we'll go over to let's go over to Light box. Then in brushes, we have the so that brushes, we have let's look for the smooth brush. We have something called called smooth strong. So open that up. Let's look for smooth strong. Smooth stronger, double click on that. Click Okay. Okay. Close this up. Then we would hold down shift. So it's on Smooth strong now. So all down shifts. So this kind of strongly smooths out in the entire outing. Let me reduce the intensity a bit more. So let's go to higher subdivision level. The highest subdivision level even I think higher sublution level should be fine. Increase intensity so with this now, we have something we have more stronger smooth effect on this. Let me go to lower subdivision level. Smooth even more around here. Smoot more. I think cantonan symmetry for this smooth out some more Okay. I'll just keep smoothing this by lots. I don't want this to be way too intense. Though, for the most part, we're going to be looking at this from a distance, but even though we look at this from a distance, I don't want the edges to feel like to fill the way it is right now. I feel like the sculpting it we in years, a little bit a little bit too high. Okay. And we have this little merge down with the merge down with the chipped off metal or beaten up metal head. So I'm just going to keep smoothing this down. Okay. Smooth this down. I also need to go to lower subdivision level and then smooth down also. I'm starting from a higher subdivision level to begin with. Do some more soon around this. Okay. So down. All right. Smooth out some more. Okay. Let's go to the lower subdivision level and apply this moon little bit it's more intense in here actually, so let's keep smoothing all of these down. Though if you feel like you want to kind of keep yours though it's still completely fine out. It's still going to look good when it texture later on. But I don't mind to be too obvious. Looking at this from a distance, nothing. The distance view seems quite right. Let's go to higher subdivision level. Okay. Is the higher subdivision level. Let's go on subdivision level higher again. Yeah, I think this is better. Yeah, this is way better. So let's go to the lower solution level. Click Okay. Let's bring everything back out. Awesome. So have everything back out now. So the next step would be to start adding a new layer and then start adding the wood alpha in there. So yeah, so we'll do that. Let's increase the sublution level. So we'll do that in the next lesson. I'll see you guys in the next lesson. Bye for now. 82. 81 Spear Wood Details In Zbrush: Pcumberguys. So in the previous lesson, we added some interesting surface detail to our mesh. So in this lesson, we're going to carry on and then add some wood, some wood details to this, and I think I think this crash, yes, we also need to add and detail in here. So let's get into it. So I'm going to create a new layer for this. I'm going to name this layer to wood metal details. All right. That's fine. So control shaped click to isolate this piece. Okay. Let's go to lower subdivision level instead to make it easier for us to isolate this that's fine. All right. So I'll go over to Light box. I need to use my wood brush. So I believe we should be this wood and back. So this is a few once in her though a few once in year. So let's use this instead. So we increase the intensity a little bit more, right? Then we come in. Let's go to the highest subdivision level for this. Make sure you on the highest subdivision level, then we can start dragging this on top. I think the orientation should be upward instead. Let's do an orientation that is upward. Getting close, pretty much like this should be fine. So we're going to be doing this across the entire surface. Come close. Let's make sure we're capturing the essence of this quite well. All right. That is fine. Go up even higher drag one around here. Make sure the orientation is just right. So we want this vertical want our details to be vertical instead. Continue on. Rotate this in position. No upward instead. Let me make sure I'm doing this accurately. Yes, I think that should be fine. Yeah, that should be fine. Move down. Get this in place. Okay. Scale this out. All right. Rotate this to the side to the back even completely the back completely. Make sure this is right. Okay, that should be fine. Maybe you should just focus on one aspect for now. You just do downward instead. Or just focus on just one view instead and then once we're done with one view, just flip it to the other side. Alright. Let me go to the far end. Need to bring this on the far end so the middle point doesn't look a bit off I think this is moving on. This is fine. All of this is going to make better sense when we kind of add details or kind of start texturing this because once you big this out, sometimes painter is going to use all of these details, kind of create a curvature map that would give us a whole lot more control over adding surface that's in there. That's why we need to at least add some of these detail in here because most especially for wood, especially for wood, so we can get something good enough to work with. Okay. Yeah, this should be fine. Okay? Is software software has its own strength to actually push your work even further. So leveraging or rather using at least a good amount of softwares or using a good amount of when it comes to eat out surface detail Alphas or specific brush Alphas or even using the default brush Alpha in there just to create different layers of details in there that your final round out looks a whole lot more realistic and better. So most especially when you do when you kind of do close up shots, your viewers or the audience can actually can actually appreciate more the level of detail you took your time to actually on the surface, which is like a ten of joy at least for most artists who tend to, okay, let me give you a close up render so you can actually appreciate the level of detail added on this on a tiny micro level. I think I believe it should be almost done this wood is quite long. Maybe we should increase the height a little bit more. So we can be a whole lot faster in here. Okay? This way, okay, we're done on this believe almost one final one. Right, this way should be fine. Come into the top. We just do something this way. Something horizontal will work just fine. Then we can rotate it this way and create the level of detail we need in there. No. I need to make sure I get the orientation right and do that. The orientation needs to be correct for this right that's fine. Reduce this do that nothing that's accurately enough. It's much easier to get orientation before you scale it up. Okay? I think we can scale this up. Here, this way should be fine. Okay. Scale this out some more. It's fine, move up. Scale out this way. That's fine. Okay. Let's add a bit more lens to it. All right, that's fine. So we see some gaps in between that we need to fill up. So we fill up those gap later on when we break symmetry. Of now let just continue symmetrically on this. All right. Let's fill this gap up. Well, it's important to get the directionality rights. It's important to get directionality rights. It makes a whole lot difference to make your standard from others to give you that reward, realistic look to it. Okay. That's fine. I go to scale this out even more, make this even longer. All right. Come in close. That is fine. Now, even sometimes most of the details don't do that. Most these details get washed out. Most especially when you add color surfacing detail to you too. I can only appreciate the level of sculpted detail in there when you get a very high resolution renderwa your audience can actually zoom into dimension and then see the amount of detail you have added in there. Also, and humand tends to even if even though it's not completely obvious to us sometimes, but the human eye and human mind tends to pick up subtle subtle details, even without having to come close up in there. So it's when we actually appreciate the subtle detail or we actually have the observation skill to actually actually see that minute detail from a distance that will not tend to come even closer and then take a more closer look and then see the amount of work that actually goes in there. I'm kind of filling up some of these gaps. Filling up some of these gaps by adding details in there. So I'm doing this now asymmetrically, so I'm not doing this symmetrically anymore. So you should make things a bit more faster in here. Okay. We still have control over how intense we need this to be. That's the fun part. We still have control over how intense this should be. Okay? Fill that part up. Fill it up in a more straight line. He also as well. Come down here, here as well. Okay. Fill up this part. We still kind of fill up. I think we still have gaps at the back also. I think we have gaps where we need to actually completely fill. I can skip some gaps to just to add a bit more interest to it. So some gas you can just easily skip them. Yeah, as well. Okay? I believe is almost done. Yeah, as well. Okay. Yeah, this should be fine. Let's go to the back. There see some gaps we need to fill up. Fill up these gaps. Okay? We can do some that bigger if we need to. Just to create scale variation for the detailing of the wood. Right? Fill up these parts, let's do smaller ones in here instead. Okay. Yeah, as well. Okay. Here also. You are pretty much almost done. The basic guy just doing the same process over and over again. All right, this way, should be fine. I'll I'll skip this one here, move on to the next one. Okay. Here, I think we are good now. T should be fine. Alright, this is fine. So I'll need to Let me go to lower subdivision level. It the selection. Now for this, based on the reference in here, I would like to add you can see this detail in here. I I think we can easily add that instead of Substance Painter without without any issues. And it will still look good. So yeah, I think it much easier to add that inside of Substance Painter instead, too. Now, looking at this, I feel like I need to stretch it out some more. I feel like I need to extend the length up some more. Let's go to lower subution level. Okay, I'm going to max out the mid part invite the max Come on, blow this out. Okay? Center this orient. Extend this out a little bit more, scale it out some more. Okay. Clay out. Bring back the max. Let's bring back the max. Extend this out, add a little bit more thickness to it. Les to have a little bit more thickness. Blow the mark go to lower subdivision level, blow the mark even more, add some more thickness to it. Okay. Then, I believe we are done with this. Now let's go to the highest subdivision level and we compare this with the other machine here. So go out of isolate. We can move this out now because we're pretty much done with all of this. All the details need to add in years already there. A dots were supposed to have we can we can quite easily do them in quite easily do that inside of Substance Painter, but I think this should work just fine. Oh, did I make a duplicator? Let's see. I think I want to make sure I don't have a duplicate piece. Okay, SI darts, yes. This is fine. And move this a bit closer. Okay. Come in close. So I think, based on the thickness for this rod, you should be able to hold this quite well, so it should be fine. So we just need to kind of go into layers and then take down the intensity of this wood alpha. Let's go out of recording and then let's take it down a little bit more. So we can do let's the value of 0.7. Let's the value of zero. Okay. So it's still too sharp in there. Let's take this down even more. Let's Let's do 0.5. Okay. Let me just so this out so I can just visualize this without distractions. Let's cut it from a distance. I think it should be fine. This will work just fine. This will work just fine. Okay. So next lesson is going to be about rearranging, arranging setup in here, arranging this file, and then giving it the proper name, organizing everything and then prepared for Uvion wrapping. I'll see you guys in next lesson. Bye for now. 83. 82 Organizing Subtools In Zbrush: We come about, guys. So in previous lesson, we finalized on the spare. Okay? So in this lesson, we're going to start organizing our entire file setup in here. Okay, so to do that, this one thing I'd like to do first would be to make a duplicate of my of this Zbrush filing year, so I believe this is the one in here. Every other duplicate, I'm just going to delete that. I'm going to delete this. I don't need that anymore. I think I need this anymore. So this is the main one. So I'm going to create a new folder. So in this folder, I'm going to name this to final files. Okay? So I open up that folder. Then I'm going to save this file in there. So I'm going to save the filing, so let me just rename this to final he dress accessories, so I'm going to save this in here now this is saved up now. I'm going to start arranging my sub to India and get it organized and then rename some of those so we can prepare them for UV unwrapping inside of Maya. Right, so let me start by deleting. I'll go to any previous. There's no previous canvas in here, while you're working, you just want canvas in here. That's fine. At some point, Zbrush kind of crashed, so I had to use the recovery file and receive that as a new document. So that's why I might be wondering why I don't have any other canvassing here, so that's pretty much it. But it's not really big deal because most of what we need is already in one single canvassing here. So let's go in and then start arranging this as much as we can. So basically, what I'm going to do is that any sub that's kind of visible, I'm going to shoot that down and put that in a new folder, except for this body piece, except for this body piece and then this outer eye. So I need that already have that externally already. So okay, so moving down. Spot line is visible, but it's down it should be somewhere. Let's solo this out. Let's see what we get. So we don't actually need this. I'm going to go out of solo, cue to go back to our drum mode. It on that off. I would like to create a bit more space in a can I extend? Okay, I believe I can extend this out, increase the visibility count of visible counts in here, so you can see a whole lot of sub to around here. Okay? So now, let's move on to the next piece would be this mark piece here. So I'm going to send this down down shifts, send it down. I'm going to create a new folder. So it's not not to send it down. I'm going to create a new folder for it. Create a new food. So this food, I'm going to rename this as Idris Aces Rs so I know precisely what is in there. Right. So no, we selected the mark, so that immediately would insert itself inside of that folder. So which is precisely what we want. That's fine. So I would, let's just carry on. So go back up. We have quite a lot of subtools in here. So then we'll go to the next piece, which is this, go and get in framed in, right? So I'm going to shoot this down. Put this into the folder, go back up. And then accordingly, we're just going to arrange them that way. I believe this is another one. Select that. Hold down, shift, send this down. Okay, that's fine. Then drag that into the folder. Let's look for the next piece. Go all the way up. Okay, I believe this is the next one, select that, send this down, put that into the group. I'm going to hide I'm going to hide the group for now. So anything we have selected and put into the group will be hiding so we can see what is left. All right, so this is another one. Send this down, put that into the group, move back up. So it's basically just a repetitive process across this. Send this down. Go all the way up. This is another one. Send this down. Drag this in. Okay. Another one. Send this down, drag this in. But it shouldn't take us too much time to actually do this because we're basically repeating the same steps. Send this down, drag in. Okay. Here, I think that's all the way up. I should be the next one. Send this down, bring this into the folder. Okay. I think we can also keep things organized in here also, as well. So I'm going to for this Miscellanos, I'm going to let me drag this up here first. For every other piece that we don't necessarily need, I'm going to create a new folder for that also. Let me just name this to Miscellanos. All right. Then I'm going to start dragging this in the meshes that we don't actually stuck to that we don't actually need. There's no visible. I'm just going to drag that in there just to keep things a lot more organized. I believe I can still keep dragging shape in there. Okay? So we need this because it's visible, let's shoot this down, put that into the group, collabs this group, back up Okay. I select this, we need this. Send that down, put that into our group. No, into the group, into the group. I don't know why it's n into the group though Let me open up the group and then send this in, that's fine. Okay? Keep dragging this in into the group. Until we get to the next piece that is visible. I'm still going to actually delete the entire group, though, because I don't using it anymore, so let me select this. We want to be careful, though. You want to really careful so you don't delete or put what you're not supposed to put into the folder into that folders not supposed to be in. So I'm trying to do this as carefully as I can, so I make sure I select all the necessary mesh for it. Okay. Let me open up this folder, I think. Remember, we made two mpiece, so I will need to check because we have two armpis in there is one. Let's see if we can find the other duplicate in here. Okay, that's fine. So I'm going to shoot this down, drag this into the folder, move back up. Okay. So put this in get all of those in. But still checking and looking for the other ring band for the arm. Put this in in in here, as well. This we need. This is like a sound that's in here. Let's shoot this down. Drag this in, move back up. Okay. Bring this in this case we need. Put she send this down. Move back up, drag this in in her in as well. Now we need this. So I'll send this down, drag this in here. Alright. We need this also as well. Send this down, bring that into the folder. Drag this in, drag this in. We need this send this down, bring this into the folder. All right. Put this in here, select this, send this down, bring it to the folder. All right. I think we need this also. Hold down shift, send this down, bring this into the folder. Okay. Bring this in in here should go into the folder. Okay. Close that. Then let's go out of solo mode. But I think I'm looking for I'm looking for a particular piece. There's a particular piece I'm looking for. Let's see if we can find this in here. The collapse this first. Go in and select this. Yes, this is the one I'm looking for arm ring. So I'm going to shoot that down, then drag this into this folder. That's fine. Okay. I think I'm going to save this file again. Let's save this file. All right? Because still need to kind of merge we still need to merge some shapes together. But I'm just trying to make sure everything's working accurately by trying to organize as much as this as I possibly can. Because once we import back to once we import to Maya just to get right into van wrapping. I think this is fine. So let me make all of this visible now. All of what is in the ADRs assessment is visible. Then check if we have all of these complete go up, check if all of this is complete as it should. If you have the right mesh in there and not something else. Okay? So we have most of the image that we need in here. This is fine. All right. This is fine. Here, as well, this is fine. We can work with this. Fine, also down here. Let's check here, this is fine because we have this intercepting, so let me just hide that for now. Let's hide the arm rings for now. Let's select something else actually. That should hide that because ready maxed out. Turn this back on. Okay? All right, I think all of this is in a good place. We have all of this now in a good place, so we can move on good in here as well. Okay, that's fine. So now we can safely delete this. I believe we can delete this now without any issue. So go in the let's do delete all. Because if you use delete folder, it's really going to delete the folder without deleting the content inside the folder. Let's do delete all instead. Click Okay. All right. So we have this all organized now. So if you save this out again, you should have a lesser file. So we have this 2.7 gig now. Replace this. Then if you check the file again, we should get something a little lesser because I've deleted a whole lot of polygons that we don't actually need. I'm just going to delete all of those. And I will still need to I will still need to import all of this now. I think we need to import all of this back into the original file where we kind of sculpting the main character. So the idea here is to kind of optimize this file as much as much as we possibly can, so we can heard that to the other file. Let's go in and then check the file size we have for this now. Okay, not so much going on in there, so we have this art. We have this t 2.6 gig Okay, at 2.6 gig. Then the Idris body will have this at 3.4 gig. We' he going to optimize that also, too? So why we're in here let's even drag a copy of it to copy this and go into the final file and paste this in here. Because we need one of this also in here as a final file. Please don't copin, so let me rename this. I can just name this to final also. This is just ways to kind of optimize your file, especially when you don't have enough ram to actually hold all the entire mesh as one single piece. Creating them creating them in separate files and then bringing them back into other files, while deleting the polygons or machines that you don't actually need or soap that you don't actually need actually helps reduce the files delite bit more, and then you can bring them into one single file and do whatever adjustments you want to make in there. These are just optimization techniques that you might need for projects. Okay, so moving on. So now that we have all of these 91 single folder, we can start renaming them properly. So I'm going to rename this. Instead of just MAX, let's just use let's just use a different name for it. Let's do Tiger metal max, right? That is fine. Spell is ready in there. But I think we have a number in there. I don't want that number in there, so I'm just going to delete the number we have in there. Move on to the next one. So center bids, center bit shift F. That's definitely not center bit. Those are the add on. So I'm going to rename this to add on. E on an S. That's fine. Next piece. Let's sort this out. Let's see. So we can name this to job bid. We can give name this to Joe bid. That will work just fine. So let's rename that job bid. Rename bids. Alright, that's fine. I think I should most likely start hiding them. Anything work on them, we can just hide it so we can really see the remaining parts of this. Let me solo this what is this supposed to be. Okay? This is the year rings. I think I can merge. Okay. Let me just check this out again. I'm trying to see what I can merge with this. Trying to look for another piece I can merge with sets or we can leave it at its own separate piece so we can capture as much detail as we possibly can. The idea is to get as much resolution on this as we possibly can. Let me select this. This is already zone piece. That one is already zone piece. I think we can let me select select this 15 solo this, let's see this for the entire out Awesome. This is for the entire piece. So I believe we can merge this with this. So let me shoot it down first. Let me shoot it down. And out of the folders elect this also two sheets shoot that down. And I believe we can merge those two together. Let's check. Is there any subdivision level in there? No subdivision level here. Let's go to the next one. Check the subdivision in there, no subdivision level in there as well. So we can merge these two together. Let's do a merge. Merge down. Click Okay. Here, that's fine. So we have this now merge down as one singopie. So if we should solo this out now, one singopieTtal of 29 k, which is fine. Then we can drag this back into the group. Let me drag this all the way. Do we need to drag it all the way up? Not necessarily, though. Not necessarily. So let's just rename this. Let's just rename it. Solo this. That's the one. Let's rename these two. Bead, rope. Okay. Let go to your fronts and name this to chain chain bedrop That's fine. Chain, bedrop be fine. I would hide that. Let's go back up. Let's even bring this up even more. Just make sure our arrangements is fine. Drag this back up all the way. That's fine. Let's go to the next piece, so low this out. Okay? All right. I think I'll need to merge. I believe I might need to merge this with this. So I'd like to merge those two together. Yeah, we need those to merge together. So let's send it down. So solo this On shift, send this down, okay? Select this, send this down as well. We can safely put them in the same as one single sub let's check if there's any sub dibution level here. There's none. Go to the other piece, check if there's any sub dibution level there as well. There's none, that's fine. So we're going to merge these two together as one single piece. Let's merge down. Click Okay. Ship L, so that merge as one single piece. Let's rename that two. I think this center bit should be fine. So I'm going to dig that figure at the end. I'll drag this way up here. Get that organized. If you select drag this way as well. Then we can hide that. Let's go to the next piece. Okay. So this is the next piece. Let's just rename this two rings. Rings. Okay, that's fine. Yeah, I think that should be fine with I darts. So we have the A on. I think the naming for this is already fine, so we can skip that. Move to the next piece. Okay, Shi F. So this is the bed. So chess called this Clos means to cross chest beads chest or rather shoulder shoulder should be fine. Shoulder seems like a better one. Bad that's fine. I think I did I accidentally move something? Did I did not. That's fine. So moving on, so I'm going to hide this, move on to the next piece. This is the Let me visualize this again from the concept. Yes. This is the low part chess strap. That's fine. I'm going to remove the numbering at the end. Hide darts, cross chess strap. That's fine. Let's remove the number at the end. That's fine. Hide the darts. Idri's body. What is this supposed to be? Let's slow this. Okay, this is the Let's just name this armstrap leader. Unstrap. So let's name this to strap or rather and leather strap. You can give it whichever name you feel is necessary for it, but I think this is fine. Okay. Let's save this. I think we can continue on in the next lesson and then just round this up and begin to export them into I'm going to export them into Maya begin to do some UVs on it. I'll see you guys in the next lesson, bye for now. 84. 83 Exporting Subtools In Zbrush: Cucumber, guys. So in the previous lesson, we're working on organizing our five setup in here, so we're just going to continue on from there. So let's do that. So we stopped at the leather strap, we hide that. Let's go to the next piece. The next piece in here let's see. Let's go back to the and strap, turn that back on. Okay, I see we might need to Let's see. Okay, this should be just about fine. F see if I need to make any additional corrections to this. Okay. This should be fine. I think I can select this, go back in, make sure this is visible. Turn on symmetry for it. Asymmetry is turned on. I would like to bring this even closer. Make this quite tight. So wrap around the end even tightly. As well get this as tight tight as we possibly can. Okay. Yeah, that's fine. That is fine. So now let's rename let's rename this. Let's see. Oh, we have an issue around here. Let me increase that again. Let's make modifications to this Shift F. Select this. This little on both side. Okay, that's fine. Bring this closer. All right. Push this in. Here as well. Go around and then check this. We can't even solo. Let's solo this out. Make sure we have this wrapped around it quite well. Okay. I think I need to do that. There was a mistake there. There's a mistake in there. Clear this out. Let's do auto group first because you can see it didn't as a separate poly group for it. So let's go into poly group, AutoGroup Okay. Make sure the two is visible. Control Shift click Control click also as well. It the mags out invert the max. In the max, Shift F. Yes, it's fine now. So we can safely move them into position now. Can just safely bring this in we won't pull them out a little bit more. Okay? Close. Undo that. That should be fine. Okay. And what you stet so that should be completely fine. I'm just trying to see if I can just making modifications to this do that, do that. Okay? Extend those out, do that. Stand them out some more. All right. That's down way too much. Check around, make sure all of this is working just fine. Okay? That seems fine. Let's bring everything back out. Let us see tone of this dynamic in there. Let's see what we get out of this. Okay, clear the marks. Yeah, that's fine. This will work just fine. Come in close. We can bring this closer closer. Okay. Yeah, that's fine. So let's go back and then just rename this. We can safely rename this now hide this, rename this. Name this arm amo. That's fine. I would like to sieve this as well. Make sure we have the sieve That's fine. Moving on. Sander piece already name Sanda already, so that's fine. Let's just delete the number at the end. Hide darts. Since it skirts, let's just leave the number at the end. Okay. Hide that's waistband. Okay, it's supposed to be waste bed. Supposed to be named as waste bed, so let's rename that to waste bed. Oh, actually, waste cowry build Cai waste bead instead. So it's a bit more distinctive in naming. Cai waste bead. Yeah, this is the waste band. This is fine. Okay. Does that work just fine. Let's go to the next piece. Okay? So let's name this Let's Let's name this to metal, waste band, metal, waste band. That's fine. That's Ab splits, that is fine. Let's just remove the nombran at the end. Remove the nombran at the end, that one should be fine. Okay? We have the sat **** as well. That's fine. I think for the most part, this should work just fine. Select the sheets, increase the subdivision level. Let me see if what I scoped in there is no loss. Okay, what I scripted in there's no loss. Just in there, which is fine. Alright. I think we have this properly named now. So all of this has been properly named, which is fine. I would go back. Let's turn everything back on. Then we can begin to export them out. Can begin to export them. We want to delete any UVs we have in there and then export them out. So let's make all of these visible. Okay, no, I won't do that. Let's hide them for now. Let's hide them for now. I'm only going to make it visible after exporting it. So that will make better sense. So let's go and select this. This ring Shipped F. I'm going to delete any UVs we have in there. So let me move this all the way first. So we have the total poly count. Let's see if it's on the lowest. Let's make sure it's on the lowest subdivision level to begin with. So 17 K, let's go over to UV map, delete any UVs we have in there, then export it out. Yes, so let's export this out. So I'll go over to preferences. Important exports, exports, tunnel group, tunnel smooth normal. That should be fine. So want to export this at the subdivision level that is low enough for us to work with. So 17 k. This is fine. Let's export this out. So I'm going to be exporting this into the final fs. I'm going to create a new folder in here lemname this to Z exports. Okay, open up that folder. Save this as an OBJ which is fine. Save. That's fine. Let's move on to the next piece. I will need to export out the I think I need to export. You need to spit out the body? Let's see. Let's let's just carry on. I think we already have an export for this already, so we already have an export for this, so we need to copy the previous one that already have just export it out since we're here already. Let's export it out into this Idris body. It's just the body we need. The other ones we can grab later on. Grab the other later on from an external file. This is fine where it is. Let's go down to the next piece. I'll hide this. Let's make it visible, let's go to the next piece. Tiger meta Max. Let's go to the lower subdivision level. I think, let's go up up again. Yeah, 52 k seems to be holding more of the details. So I'm going to be exporting this out instead. Going to export let's go to lower subution level. Let's export this from the higher one instead. So exporting this at subdivision level three, let's go over to UV map, delete UV in here. So you have that freedom to export on many subdivision level as you please. That's completely fine. But I would like to export at subdivision level three instead. So export export this out. Turn its own, move to the next one. We're exporting now the spare now. Well to geometry. Let's get this down. The lowest one is seven k. Let's go higher. Let's export this out at 31 k because I would like most of the details to still be in there to have more of when we're texturing this, we have more of the resolution in the visual wise. So I'm going to export this out. Put out. So like I said before, you can always export from any subdivision level that you deem fit, but I'd like to get this at the highest possible resolution at the highest possible resolution in terms of both visual, in terms of mostly, mostly visual quality, actually. Mostly visual quality. So I'm not too concerned or extremely careful for the polycont right now though I'm still working with plicon that is kind of not too high and not too extreme. That will still give me at least very high fidelity results. But if you're looking to kind of optimize, you can always export out from a lower subdivision level that will work just fine. So for this, I didn't have any I did not have any UVs in there because we deleted the UVs before we brought this into Zebras for sculpting let's go to the next one, Let's go to the on. And then let's go to our geometry. Let's go lower. The lowest is CK. Ck should be fine. Let's go on sobs no. Ck should be fine for this CK work just fine. So let's check UV delete any UVs in there, export this out. Because we want to grit our own UVs directly inside of Maya. So we have greater control over it. Make the visible. Let's go to the job bid. Now for this, we don't have any subdivision level in there, so we need to add subdivision level in there. Let's solute this subdivide. We need to subdivide this quite we get smooth so we get smooth edges out of this. Something seems oddly wrong. Coming in close. Let's do actual size. Yes, better. So I kind of zoomed in and then it's kind of making the is a bit more a bit pixelated. So just click on actual size. So you should be able to see the quality a whole lot better now. So I need to undo I think 1 million seems to hold. Okay, I think we need to subdivide this one more. 4 million seems to hold on the resolution quite well. So that's fine. So let's go down. I think let's go higher, no, let's go down. I think this should be fine. I think the subdivision level one will be just fine for base tax for the base machine here. But the only issue you might have in here is this rectangular spherical shape needs to add a little more a little more resolution to it, a little more polygons to it to actually hold to actually hold the hedge a bit tightly. Let's test this out, though. Let's test this out. Let's test this out by exporting it at the lowest subiviion level first. Then if you import it to Maya, then we find out it's not holding up quite well, we can come back in here and make modifications to it and export that out again. Okay. But there are quite a few in here actually. Quite a few in here. We need to have them as good quality. So let's go over to UV Map. No UVs in there. Export this out. Okay? That's fine. Let's move to the next one. Let's move to the next piece. Okay? The next piece in here, we need to subdivide the subdivision levels in the none. So let's subdivide. Come in close. Okay, we need one more. He, one more work just fine. Let's go to the lowest, lower should be fine. The lower should be fine for this. Then we can check if there are any UVs UVs in less exports. So it's still going to be back and forth. AntN is no working where we can always go back and then fix that and export again. Okay. Back to the sub two, I believe, this is the one we just finished. So let's go to the next one. Okay. Let's see. We have this at 42 k. We need to subdivide, subdivide again, subdivide one more, it should be fine. So let's go down to the lowest. And export this out. Let me show, I know you sing the export out. This is going to be the piece that's going to take a lot of time doing van wrapping for because they are quite much. So export that out. Let's move to the next piece. Okay, the next one. We already have divisions in here already. Let's go to the lowest. Come close, I think you should up quite nicely. A UVs in there, no UVs in there, export this out. That is fine. This we can work with in here. Okay. Moving on, let's go to the next sub two. Okay, this is the one already it is already on the only lowest subdivision level, I believe. Yeah, it's already on the lowest subdivision level UVs, no UVs in there. Exports. Save, that's fine. Let's move on. Come down. There's still quite a whole lot more to export in here. So let's carry on. Move to the next piece. Okay? I think this one might need to go a little bit export something a little bit higher. But let's subdivide this until we get smooth surface out of this. This is fine. Go down. Export this out. And then you vis India, let's check. I know you visit India, that's fine. Exports. That is fine. Moving on to the next piece. Select this. This we already have vis on here. Geometry, let's go to something. This is way too low. I think nine K should be fine. Nine K should work just fine for this. So let's make sure that you it's on the exports. Let's move on to the next piece. Okay. I think this should be fine at 19 at subdivision Level two will be just fine for this. It's on the exports. All right. Moving on. And later. Get enclosed. Let's see. I think I'll be exporting it at one subdivision level higher. One subdivision level higher should be fine. Let's check any UVs UVs in there, that's fine. Okay? Let's export this out, exports. All right. Moving on to the next one. And I think 15 k should be fine. You can export this out at 15 k. But let's subdivide this quite well so we get smooth enough surface around this. One more should be fine. Yeah, that's fine. Go on sub dilution level higher so export this out, UV map, delete UVs, exports. Okay. That is fine. Still have a few its exports. Sanders come in close. Geometry, let's increase this all the way up. Okay, we have this at 8 million. I think 8 million should be fine for this. Okay. Let's go to lower subdivision level. I think subdivision level one seems like a good bet, so we can export our subdivision level one. If we go on subdivision level higher, it just way too high, subdivision level one should be fine. So they visit visit the LSA export this out. Expose this out. All right. Moving on. Skirt piece, select that. Let's check geometry in here. Do we have this at the highest possible subdivision level without. Okay, we need to subdivide this one more. Then we can spot at subdivision level two. Let's come down instead. Let's see. This subdivision level one should be fine. Subdivision level one will work just fine. Then you vis in there, I know you vis in the exports. No, no, wrong place exports. So it's not the correct folder, so you need to bring this to the correct folder. So you want to be careful though exporting this to the correct folder. Okay, Cui coming close. Geometry increases all the way up. I think we have this ADIs possible for our details to see through our details. Let's come down. I think this should be fine at base one at subdiption level one. Let's check for UVs in the delete any UV we have in the export this out. Okay? Yeah, that's fine. Turn that on. Move on to the next piece. Come in close. Check geometry. I think we already at the highest possible geometry for this. Let's go on subdivision level her instead. So we're spot at this subdivision level, Geometry deletes UV exports. That is fine. So I think this is fine. So in next lesson, what going to call carry and then continue exporting and then bring them into Maya. I'll see you guys in next lesson. Bye for now. 85. 84 Importing Subtools To Maya: Okay, we come about, guys. So in previous lesson, we're still exporting most of this. We're going to carry on all soviets. So I'm going to export export this. I believe I exported this out. Let's just confirm SIS Let's just replace that again. Let's move on to the next piece. So this metal band should be the next one. So let me make sure there are no UVs on there. Okay? **** E. Let's see what we get out of this. So Deleten UVs we have in there and then let's go to lower subdivision level. Subdivision level one should be just fine. Then I can export this out to is on exports. Save this. I think we have two more piece, and then we should be good. Next piece, go to lower subdivision level. Let's check if we have any UVs in Delet UV we export this out. Okay? Exports. I think the finale now. Let's spot the final piece. Let's check the subdivision level we have in there. Let's see. I think the lowest subdivision level. Let's go on subdivision level higher. Let's see if we can use this instead. Or maybe it should be way too dense for us to use. Let's use something lower. Seven k should be fine. Let's spot this out. Let's check first if we have any UVs on there. You know UVs on there? Spot this out. Save. So now we need to create a new Maya file. Let me save this five first. We need to create a new Maya file. With a new Maya file. Let's first look at the original file we have in here. I think we can just easily copy all of this, select this, then we have the I set. Open up the I set in here, we have all of this in here, you need it to be we delete all of this. Save. Delete all of this. Weird naming in there, and I can select, I think it is fine, let me just select and drag this in I'm just rename all of this to Idris body. Okay, that's fine. I'm going to do an export for this. Export selection. I'm going to export this to the final Z final fs. Export this in a let me look out for this Idris. Let me name this to body set instead. I know it's the body on there that will be in there. It's fine. Save that. And we're going to create a new Maya file. Let's open up a new Maya file and get all of that in there. So we have a new Maya file in here. So I'm going to create create Create new Ina. Then we can start importing our models into this. So let's go to the file in final files. Z export. Let's start with Idris body set. First, that will be the first one I'd like to import in dragon drop this inner in now. This is precisely what we want. Okay. No. Okay, this is just the main body. But we need to import the set now. I believe I exported out the body set in here. Let me drag and drop the body set in here. Okay? So I'm going to delete this one that comes with the body set. Let's keep this one, we export it out of Zbrush instead. I think this should be fine. But this is way too dense. This is way too dense. This is where we imported the densed version. So I think I'll delete this. Let's import the version that we exported out that we kind of use as our main base. So let's go over to Z exports. I believe should be these two Idris bodies. So let's import this in. Yeah, this is a better one. Okay. Then we need to start deleting this weird naming convention in here. This naming is a bit of in here. Did that weird naming around those parts. Come to the next one, delete that. I'm just trying to get this a bit more organized the IRS deletes delete that should be fine. Then this is the body itself, deletes This is fine. Save this. So I'm going to be saving this into that final file also. Let me save this into the final file. Let's go back. Final file. I'll copy this. I piece this in here. Pies this in here. Then I'm going to rename this to final Idris. Okay? That's fine. So this is fine. So we have this in here now. So let's import in the order. Let's import in the order mesh, you need for this. So let me grab everything that's do with OBJ. Let me select all. Then diselect this body, diselect this body, select this body set. I think every other thing is what we actually need. Let's drag and drop this in here. So you can see how it's important in. Have you done? I believe you're done. Okay, one piece is missing. One piece is definitely missing. Is that somewhere else. The chess piece is completely missing in here. Did we export this out? I don't think we exported that out. Let's go back into Zbrush and get it out. For a moment I thought we exported everything out. It seems like we did not export this. Let's export this out now. 17 k. I think we exported it into the wrong folder. Let's export this out again. Geometry exports. She Imports Epot this in here, select this as well. Exports. Final file, let's put this in here. Go back Okay. Yes, I think. Now, let's bring it in. We want to bring this in now, so low part skin, lo part chestrap and then cross arm chest strap, let's drag and drop this in here. All right, so we are good now. I'll save this file. So we pretty much have everything that we need in here now, Export it incorrectly. Let's go in and check. See if there's any major issue we need to fix in here. For the most part. Oh, it's arm bound. We did not expose the second piece for it. Let's make sure we expose the second piece for it. Let's select this. Let's export this out. Probably I exported that into the wrong folder. So let's make sure we export this the correct folder, armor. Then come back to the file in the armor. Let's just go back and open it again. Amo let's drag and drop this in. We should be in here now, so this arm ring, I do drop these clothes out to the arm arm. So I know where those two are. Yeah that's fine. This is fine. Save this again. Let's check if everything is spotted correctly. That is fine. Okay. All good down here. Oh, we did not export out the shoe, the Sanders for this. The Sanders are not in here. Let's go in. I think we're exporting. I don't know why it did not even export because I feel we exported that out. So let's select the Sanders for it. Unless spot this out. Exports the same folder. But it's completely fine, though. So long we put this importing this in and then we have no major issue. So that's completely fine. So I think that should complete it. Let's check again. Sandra's the waistband. Okay? This is fine. All the way, this is fine as well. So you see any issue you need to fix in it's not going to be a major issue to actually fix that. You can easily fix that back instead of Zbrush. Let's go back to Zbrush and then fix that. So it's for the on, let's isolate this come in close. We just need to push some of these back in. Let's go back into ply group. Let's do group binormal. Group binormal is not working anymore. Let's turn this dot off. Try this again. Yes, it is working now. You can see interceptions in between these now. So this is what we need to fix. W select this poly group, the blue colored poly group, increase the brush size. You can use a move brush and then just move out instead. Move out also around here. That should be fine. Let's check around to see if there's any part we need to fix or adjust. We can go to deformation and just inflate this out a little bit more. Fl it out a little bit more. Let this out, bring everything back out. Then we can export this out again. Let's put this out again. Replace. Let's save this file. Okay, saving out now. So we can easily go back and then bring that back into our Maya file, and then we should be good. So let's go into our Maya file. We would delete this. Let me check. Okay. This actually work quite nicely. So we don't need to do any other work in there. So let's import this in again. So let's go over to the horn. I think we named this Ed horn. Okay. Let's add on, so drag and drop this in again. You can see how easily fix that. So that's fine. Check this out again. Make sure everything is fined where we need it to be. I think we are good year. We'll save this again. So the next we need to do is just to adjust the naming in here. The naming here is not good enough. Comes with this Zbrush pull mesh three D. So let's delete anything that has that Zbrush pulling mesh three D in there. So at this point now, the next thing to do would be to begin the UV unwrapping process for it, then move on to the baking process for it, and then move on to texturing process and then bring that back into Maya again, arrange that properly, and then go back to Zbrush and then do a pose. Do a pose for it and then bring that pull back into Maya and begin the development process. But before the development process, we obviously create Egg and hair. I just giving you guys a breakdown of the steps. We still have at least kind of a long way to go, but I believe I believe now that in the entire process for this entire course, I think I believe we're already halfway, we're halfway done. We halfway done, which is actually good progress. I believe you guys are working on this step by step. Must have gotten to this stage also too and have made significant significant progress. Almost done with this almost done. So in this butler aspect of this process now, we need to it's a process where you need to actually go in and then check everything to make sure everything is properly in the right place. Like you need to actually go in and then check. Save this again into going and then check. So let me select the entire out tin. So the total Poli count for this is roughly around to taplcunt of roughly around 505 hundred 500. So for this part latori, please, we need to kind of get this at the highest possible possible fidelity render for this. Oh, one piece is missing, so that's why I need to check. The bids in here are missing. Show that bids are missing in here. So if we export that out, let's go back in and get it let's go in and get it. So I'm going to, let's see go on sub divisional level here. Yeah, I think Sisk should be fine. Let's make sure that no V is on there. Then let's export this out. Final exports, cross shoulder bids. And then let's bring this in. Cross shoulder bids, drag and drop. Going to come that weird naming in there, so let's delete it. Let's delete those weird naming in there. All right. Save this again. Let me check one more time to see if everything is in place. Yes, yes. All right. Okay. Yeah, I think we are good. I believe we are good in here. I don't see anything else you need to adjust anymore in. I think you should be fine. So we have successfully imported everything in. So the next step would be to begin a UVN wrapping process. So I'll see you guys in the next lesson, bye for now. 86. 85 UV Unwrapping Asset In Maya: Welcome back, guys. So in the previous lesson, we imported all the necessary objects into Maya to start UV and wrapping process. So I kind of forgot to export out the leather strap, so I just imported that in. So we're good in yours. Let's start UV wrapping process. So I'll go over to modeling our workspace, go to modeling and select UV editing. So after selecting you editing, let's come in here, open transform, open creates, cuts on food, then arrange and layout. That's fine. This is mostly what we need for this. Okay. So but there's one thing I'd like to show you guys though before we continue on. I'll go to twos I'm going to modify layout. Let me just show you guys my setup in here, so we're on the same page. I'll select this. It should be on UV or it should be on 43d, pack together, non overlapping, reserve three D ratio, translates. We don't want to rotate this, I'm going to leave that off. I'll say this to four k. You said this to fork pixel. You need to make some corrections to this one. The shell pattern will be pixel differences or pre L gaps or distance between each shell. So I'll say this I usually like to use 20 instead. Then the tile pattern. So this controls the spat in in between a shell and then the UV which is zero to one space. So somewhere around there, the space in between this line and then where UV should kind of be at close to the border. So let me say this to ten instead. I'll say that to ten, so that's fine. So this pretty mode is setup I'm going to use. Yeah, everything's okay. Okay. Parking resolution, I'll increase that all the way up. Yes, this is fine. Yeah, I'm going to use this. I can apply, but it's not going to work yet because you don't have anything to apply it on. Let me close that. But I believe it's set now. So I'm going to start creating UVs for this based on the hierarchy we have on our outliner. So the minuscule already UVs in here. So UVs inia are not the greatest, are not the best actually, but it can work just fine, why? Because I was going to be adding a glass material to it. So the outer eye already has its own UVs, the eyes already has its own UVs here as you can see. Then the body a is on UVs. This is fine. This will work just fine for what we need it for. All good. Then, yes, moving on. Let me just come in here and check. Oh, we see some minor issues around here. Yes, we need to fix this. What the sound does, we need to fix this. Let's go back to Zbrush. Like I said, before any previous lesson, it's a back and forth process. It's a back and forth process just to get everything to look right. All right. So let's just hold contro select this. Coming close we remove brush. Okay, I can see something around there. Remove brush, move this out. Move this out as well, out as well, out some more. Okay? I think that should be fine. Okay. I see this piece also. Come in and pull this out some more. Okay, pull it out around here as well. Out around here as well. Out some more. Let's go back to Maya and then check this up. Let's see if there's something else we need to do. Okay, pretty much, that's pretty much fine. Okay, that's fine. Okay, clear this out, let's export this back out. So exports final f Z exports, that's fine. Sanders going to replace this. Okay. I'm going to save this again just to make sure we have everything updated. So by saving, we can go back to Maya, select the delete it. Import the updated version of it. So Sander, yes, the Citi. So I'm going to drag and drop. I believe everything should be fine now. Yes. It's fine now. I'm just going to delete that weird name at the end. Save this. Okay? I believe Zbrush is also saved. Saved. All right, all good. So like I said, stay back and forth. We're going to check, there's anything we need to fix, can go back and fix that and then re exports. So moving on, so the body Iris Rs body, all good Tiger max. So let's start with the tiger mark Let's start creating UVs for this. I'm going to solo this Control one gets cut close. Okay. So for this, we didn't have any thickness to this. That's fine. We don't any extra gore that we don't actually need, so let me select. Go to Paso, select the entire face. We would do let's go over to create Let's do camera base. Camera base to begin with. The old to heavy shell, select the shell. Move this this way. We'll go and unfold this. Since we don't have any thickness to this, this is just going to flatten out quite nicely. That's fine. We need to work on this piece now. Let me isolate it go in and isolate this. I believe does this have thickness to it? I don't think so, which is fine. Wh is precisely what we want, don't want something that has thickness to it. Well, now we need to add added coat to it. I want to create a sim code for this or we can just unfold this directly. I wish let's unfold it directly, see. Okay, this is fine. Unfolding this directly work just fine. Then let's orient this. Orient rotate this more this way. Okay? I would like to move this out this way. Then this piece, go out of isolates. Let's select these two. Let the UVs and then go into the three dview let's isolate it. All right, so let's create TVs for this. So to create TV for this, I need to go in b click on this edge. Move to the opposite side, lob click on this edge. That is fine. Yeah, we don't need to work on your part, let's leave this as it is. Let's go over and click on COTS. So now I have one piece cut out now, which would work just fine for what we need it for. Okay? Yeah, that's fine. Then what we're going to do next would be come down here. I create a coat around here. Let's do this election first. Zoom out, this selection around here as well. The coats. All right, select these two, run unfold. Okay. We just lay this out in a zero to one space so you can see them a lot more properly in here. All right. This is fine. OriensOiens Orient this again this week. Select all of this, do orient then we can do our own fix. Let's rotate it's 90 degrees, rotate 90 degrees to the right hand side. Let's flip this, flip this vertical instead, right. That's fine. And let's select everything and put them in zero to one space, but also clicking on layout. Using moments, laid out properly in here. So now we need to check. Let's check if it memorized the setup we have in there. So yes, it's memorizing the setup we have in here. If you go in and then look at it a bit more closely, you can see the spacing in between space in between this piece like two is for the shell padding. So the spacing between each shell is shell padding. So we have 20 pixels there and the spacing in between the UV line and then UVSLOl UV tirada, then our UVSel ten pixel, so everything's working correctly as it should. So that is fine. So let's go in and then check for new distortion. So UV distortion, for the most part, is all white, so we are good. It's mostly white, so we want a good place. Let's do checker pattern around this. Let's see where we get.G out of so low mood. Coming close, this is actually quite neat. So this we can work with not check a pattern. Go back to object mode. Then I hide let's hide all of this at the top, going through H. I've worked on them already. Anything we've worked on, I'm going to hide it just to keep this a lot more organized so we know where we are at. Next piece, was band. Let's this out. Let's out. Okay? I think this one comes with the material to it. One comes with the material. Let's see if we have any materials. So this is the waist band. Let's say there's any MTL file that comes with it MTF, so waistbund wristband. I will just double on the keyboard. There's no MCF file comes with it, so that's fine. Okay? I would like to go over to Zbrush and then check if I have any texture file I like I feel like the texture file that comes with it, I don't want that texture file. Let's go to texture Map, there's nothing in UV. There's nothing in here. Okay? Okay. That's fine. All right, so let's turn on of the display imaging, turn it off. So now let's go into face mode, select the entire face. Let's start with camera Bz. That's fine. This is not the front. Let's go to the front. Okay. I'm going to phase mood, select this select this phase. Let's isolate just this and then make I do our correction or working in here. So I'm going to go over to edge mode. This one shouldn't be too difficult. You just need one. I'll look a good angle to this, most likely on the inward parts. So I'm going to select this, select this, come down over here, select come over to the opposite side, find where it is. He also select that. That's fine. That's pretty much all we need go to the opposite side. The idea is to ide your UVs well is not going to be that visible. Let's go over here and do that heres well. Come in close. Resell, up close. I believe you well. Okay, I believe we are done with that. So let's do cuts. Awesome. That's fine. Go out of isolates. Let's select this face mode, bici, local cons, isolate for both Mint for both side. Select, select isolate. Then let's find a coat for this. Let's look for a good place to project our coats in. I think I found a good place. We can project our coats on the lower parts around there, like so. Let's see if that goes around correctly, it does. I'll do the same also around this edge loop. I'll go in and then check to see if it's in the right place. Let's see if that goes across. Come close. Did that go across. I'm not entirely sure if that goes across, though. But let's check on these parts. If it doesn't go across, that's fine. Let's work on that later on. But let's carry on. Let's go this edge look. I believe this edge look as well. Okay, let's do cuts. You shall select these two shell, led the two shell, leave those up, unfold. Okay? Seems like we have an issue somewhere. Don't do that. Don't do that. I believe it's on the opposite side. I think it will be a whole lot better if we just do separate single piece, it a single piece, we get better visuals on it. This loop close, come close. Just look as well. Do records. Okay, I believe that is fine. Go out of isolate. Let's select the top is now so we can get better visuals on this. Yes. Now I can actually see where we need to actually add that loop now. So that is in there. That's fine. Go to the opposite side. So now we know exactly where we should add that loop. Come to the edge, add that loop, the cuts. So I believe now this would be fine. So let's select these two. Let these two, lift them up on fold. Yes, much better. T should work just fine. Select this as well. Done on fold. Okay. Select every single thing orient. I would like to get this rotated in the same directionality as with this new directionality in our TD view. So let's just get this rotated in that same direction. Rotate this way. We still have this piece on fold, that's, that's fine. Select this I'll rotate to the right hand side, 90 degrees, left hand side, 90 degrees, left hand side, 90 degrees, right hand side, 90 degrees. Select the rotates. Select every single thing in here allege the. Then we check for distortions. So it's laid out properly in here now, which is what we want. Laid out properly here. Let's see. Okay. I think I would like to rotate this this way. Let everything again. Let's do and Itin't take too long, actually, so' take too long. We're in there. That is fine. Let's check for distortions. Let's start check for UV distortions. We have this pretty much white on most region, which is what we want. Do checkup pattern for this. Let's turn off this with distortion. Check pattern. This seems to be working just fine. Turn that off. Save this up. Awesome. So let's move on to the next piece. Hi this. App split. Let's solo this out. This one does not really This one does not have any thickness to it, so I believe you can just do camera biz. Then on food, always turn that on. Give you a moment. You're just going to flatten things out and then we should be good. Okay. So this is pretty much what we have in here. Let's select all of, you know, UV shell, select all of this UV shell orients. I think we have some This is also indie. Let's select entire out in again, let's done on food, including the tiny pieces we have in the Okay? Everything's all selected. Almost done. Alright. Not sure where those tiny pieces are coming from, though, but it won't be a major issue because let's check our UV distortions in here. So there isn't much distortion in here. We have a little redness around the edge, but it's not a deal breaker. We can help it a little bit more by adding a coat in between to stretch that out. So let's do that. Let me just come over. Let's do this from three d v instead of edge mode. Oh, I see where the issue is now. I hole it was when we put this into Z. That's why. But it's still not a D breaker. Let me select all the way. All the way. Okay. I'll do it cuts. Okay. We can also do the same nodes around. Now we can see where exactly it is in our UV editor. We can also code data parts. Can code data part as well. Also select these codes. I think we should have one on the opposite side, select these codes here as well codes. Okay. That should be fine. Come also around here. This is going all the way going all the way. I think you should be this Cats. Let's do on the opposite side. The coats Okay. It's fine. We can select the UV shells. Let this UV shell do unfold again. I shouldn't take too long. Okay. Then select everything. Let's I'm going to free up some of this here. Free up some retention in here now. And then we should be good. So we should check this again. I can see how we kind of release. So retention we have in kind of release now a little bit more. I notice we didn't cut this apart. Let's cut this. Let this shell unfold. Let's fold just the shell alone. Okay. Let's see what we get. It's kind of stretching in a weird way. Stretching in a really weird way, let's turn up this UV distortion. Let's check this again. Let's make sure the cut is there. We have our cut there already. So UV shell, let's unfold this again. Let's see. Let's see if it's going to be an issue or not. It's kind of folding itself in. Let's check for distortion. Now, there's a lot of distortion in here. It's definitely an issue with this. I think the way it was previously, it should be just fine because it stretched out quite nicely. It should stretch out quite nicely. So I'm going to I'm going to leave that as it is because this should work just fine. Let's turn on the V distortion and then check mapping in there DV mapping is fine? If mapping is fine. Select the pull this up again. Okay? That's fine. Save this. So in the next lesson, we're going to move on to another piece. Move on that piece. So let's check a pattern and hide this bring everything back out. Save this. So the next piece we're going to be working on will be the calorie waste bit. We'll do that in the next lesson. Bye for now. 87. 86 UV Unwrapping Cowry Beads In Maya: Welcome back, guys. So in the previous lesson, we started working on the UVs of our models. So we're going to carry on from there. So this lesson, let's move on to the next Picebook will be to create UVs for this cay piece. So let's isolate it. We have a lot going on in here actually, so we're going to take some time to actually get this right. So let's jump right into it. So I'm going to go over to Facebook, select the entire face, and let's do camera bis to begin with. So I'm going to start by working on the bands in there. So let's start with the bands. So to do the bands we go over the lower parts, DoubleClick this. Then on the back edge, double cli, we're just going to continue in the same fashion also across this. Undo that. Let's do instead. Okay, then we'll do and moving on, continuing the same fashion. Let's do y and y. So I'm just going to do this tutorial then. It's just going to be the same repetitive process across the entire model. So let's just spend at least this tutor are working on getting the right. Yeah, yeah, let's do as well. Okay. We're going to move in a little bit it a little bit faster, just to get this done a bit faster as well. So that's fine. Moving on. You see the same repetive process across this around here as well. Move on to the next piece. Let's start from this and then this, then here and here. Okay. Let's do across across here, yes well, as well. We still have a few to go. Yeah, well, also. So the idea just to do one half and then continue on with that. With the same region we're going to be doing this. We're going to be doing for the opposite side also. Let me make sure my camera angle is not moving out of common. Move this in place, okay? Cameras are moving. My camera is just moving way too fast. Alright? I believe this should be fine. No, that's wrong that's the wrong side. I believe and yeah, okay? Let's do, and yep. That's fine. Come on, fine, yeah. Okay. That is fine. Moving on to the next piece. Let's do on the edge. Okay, that is there, yeah, yeah, as well. Okay? Yeah, yeah, yeah, also let's do as well. Okay, almost done. Okay. You can do for the back piece. Let's do from the back instead. Okay, let's do cuts. That's fine. Now, let's go into the calorie and let's do something for the calories. I'm going to do it from the back because just somewhat ide. So I believe I can just come into the back around this way should be fine. We can do Nope. Is going across way to moto done one darts. Let's look for something that would work. Now, because we can z image, that's where it's going across the entire outing. So I think we can the more preferable way to go about this would be to can we get something in the middle? Let's see if we can get something in the middle. Let's find something in the middle and then go across that. Does this go in the middle? Let's see, do that. I think we might need to actually isolate it. We need to isolate. So let's isolate. Let's select all of this and get it isolated instead. Now to make things a lot more easier to visualize. Okay. So so this out let's figure this out together. So let's use. Does this go across? It doesn't go across. Does this go across? This one goes in this way and that no, we're not going to use that. What about this selects? Okay, we can do as well. Double click in the we can do a cross also around here. Yes, then yeah, also, this would be fine. Let's do cuts. Yeah, this should separate things out. Let's go in and then unwrap this. Let's see what we get move this out. Let's do unfold. Yes, perfect. This will work just fine. So we can continue the same fashion. Let's continue the same fashion, and then we should be good. Okay? What does this look like? Undo that. Select, double click. Okay. Let's continue this on. Do this all the way down here. Double click on this. Undo that. That is not in the right list. Let's make sure we connect this correctly. I think it should be fine. Let's do cord move on to the next piece. Does this go around? It does not. I can select this and try to find the connection piece all the way here. Okay. You can also use this too if you want to. We're going to be texturing this unit with Tripena mapping. So where do you visit not entirely relevant at the moment. Let's do code. Next piece. Let's see if we can go across. Can we go across like soup? We go across like soup. Now, let's just continue the same fashion we're using before. Continue the same fashion as we as in before. That should be just fine. Okay. Yeah, that's fine. Do cords. Move on to the next piece. Let's do this from the back side instead. It's even difference? Let's see. These the front. Have I called this arterin? I've called artergino? Okay, this is the front. Front side, back side. So moving on Come enclose, connect this. Connect this. Connect this this way. Double click on this. Records. That's fine. Back parts. No, connect it this way. All right. Double click here as well. Double click here as well. Records. Continue in the same fashion selects. Dubcl con come in here dobicl condi as well. Do you codes. Dobicl con select, select Dubc con doubl con doct. So I just the same repetitive process across this. Basically just repeating the same process around this. Which is fine. It's not going to make it's not going to break our texturing process for it, so our texturing process will still look good. You just need to kind of call these su parts. Okay. Select this, select this. Double click on this, select, double click on this. Do cuts. Okay. Same also in closes. Double click on this, double click on this. Cuts. A few more to go at least on one side. So we click on this. Okay? Or do we miss that. Okay, connected now. The cords. Okay? Yeah, yeah, well. Double click or we can come down get in this records. Okay. Double click in here. Okay, in the records. Okay, as well. Double click, yeah, double click. Maybe we can do multiple let's do multiple selections instead. Okay, as well. The cords. Let's wrap all of this, let's see what we gets. I'm just going to go to UVs. We can also object moding stylus, let object mode. Oh, you need to do UVs in stylus, visius let all the shell. I'm just going to pull this up to begin with. Then unfold. Okay? Yeah, it is fine. We also need to do a cat also in the middle. We'd also need to do a cut in the middle. No, a cut in the middle around here should be fine. Let's see where that is. Yes, Edding, that's fine. Lets do cuts there. Then we can fold this again. So we stretch out quite nicely now. So that's pretty much what we're going to do. We're just going to add cats in between those. You can send it to add a cat sd cat in here Let's the cut in here instead. You cat. Don't do that. That's in the wrong place. Don't do that. Undo that. Let's the cat first and get that out of the way. Some more let's put this up. Okay. I was doing anything wrong, please, so that's fine. We can just do code. We should be fine. Cats. Okay. Do it undo that. Cote instead. Okay? Move this out. Let's get close the cuts your rack, move the side, get in the Let's do edge mode. Cuts. So it's quite close that in quite close, that in here. You need to get them out. Edge mode, locally conduced edge cuts. No. No worry, spend some time there and just make sure we get this because we need to spend a lot of time just to wrap a whole lot of piece. Actually it's a boring process, boring but necessary process. So it's something that actually needs to be done. It's something we can just completely put away. We cannot put this away. We need to get it done. Once you get it done. Put this out. UV Cats. Okay? Undo that. I think we can do a cat also for this. Let's move it out first so we don't accidentally break something in there. Coming close to a coat. Select this, move this down. Do we cuts. Okay? I believe we're almost slightly almost done. Do cut we cut in the records? Okay, we have to we have one here. This one is a tricky one. No. This one is the records. Then do cut as well. Okay, I think we can use the part to grab, move this out. Okay? Records. And we can select all of these new vies. Then we can do an of fold. There's an of fold in there. Here, we're good now. So this will work just fine. This for a start to work just fine for a start. Select all of this. Okay. Select. Select the two. Let this two. I believe this. No, do that. And this Let's select this also as well. Move that up, do unfold. We need to few things we need to correct in here. This, for example, we need to fix. We did not do this well, so let's do cuts. Select this unfold. That should fix it. Okay, we do also for this. This we need to fix. Or the coats. So just go in and then make sure everything's working correctly. This also needs a coat. All right. I believe this should be fine. I'm going to select all of this and pull this line pull this here instead. Let's say this up around here instead. What we on this piece is what we're going to do for the other piece. Don't be same pt process across this. Let's go out of isolation mode. Okay, down to the next piece. We can just do UV shell and select all of this shell. We can isolate this, actually we can only work on this two now. So the same repetitive process around this will be just fine. You going to repeat the same fashion in here. So get this in, double click in here, get a Okay? Let's do, let's go to the front now. Here down here. Okay? Yes, that's fine. We can go to the back, one here, one loop here. Around around her, to the back, one, one year. I think this will be a lot better. A lot better. Need this way is a lot better, so, rotate to the back across here as well. Undo that, undo that. Rotates and year. All right. Around here as well, rotates the back. Okay? Come in here as well, do one year year or. Okay. Move out. I'll try and do this as fast as I possibly can. But I'm not going to do this for the entire. I'm not going to show the entire full process because it's just the same repetition across this. I'm just repeating this across this for the curry model. So I'm not going to use this tutorial alone to just go through and do this. Then off recording. I'm just going to finish it up. So we don't waste too much time recording something that is just too repetitive. Okay. So around here as well, to the back. Grab this loop. This loop as well. Okay. Yeah, the backside. Let's do y and y. Okay. That's fine. Moving on. Then the back, grab this loop, grab this loop. Okay. Just loop, look at the back, B also. But those parts are going to be hidden. Move on to the next parts. I'm holding down sheets while doing this. So when I coat, I'm not going to coat simultaneously every everything kind of every selected edge Yeah, over here, over here, as well, I believe we should still have a few numbers left. Best guess, let's say, four or five more lefts. Oh, that was on the Oh, that was on the last one. I guess I was wrong. Okay. Then let's do cut. All right. That is fine. Cut this or do you want it to be, then we'll go over to UVs. Let's select the shell. Select the necessary shell for this. So you can actually isolate it and then we have more space to work with. All right. So that's going to continue the same retive repetitive process across this. Okay? Come in here, double click in her double click. Do cords. Okay. Here's the back parts. No, I think you should be this. In here as well, grab the last piece. The cuts. Okay? Here is the obvious obviously front side. Come in close. Do click on this, select this. Come all undo that. Undo that. Okay, I was on the wrong one, so it should be all the way here. Select, then double click on these records. Okay. Let's do one last one for this tutorial purpose. I well, all the way down around here, click on this loop records. So I'm not going to go over and then do the entire cowry piece and then come back when that is done. I'll see you guys in the next lesson. Bye for now. 88. 87 Unwrapping Ear Loops Chain In Maya: Come buys. So the previous lesson, we were working on the curie models in here. So we did the first rule. So it's just the same repetitive process across this. I did the other rules, and then lay them out entirely me zero to one space. So nothing too different from what we did earlier on. Deleting diff different India just to select all of them, and then do a layout, and then we are good. Pretty much the same we're beading for the part of the UV and wrapping of the other models. So I just carry on with that. So if you check this now, the UV distortion, we can see they're all good, hardly any distortions in here, which is fine. So let's carry on. I'm going to hide this Control H to hide that. Let's go to the next piece. So low this out, so let's work on this. So let's do a camera base to begin with. I'm going to start by working on this chain first before moving to Europe. So let's do the chain instead. So to do that, just the same repettive process to do cylindrical shaped shapes like this. So just to hide let me ID if it's somewhere around. Let's ID if it's somewhere around here instead. Then this time around, the loop is going to be in the center of the mesh. So, so let's move to the next one. The loop in the center. Come on. Then we'll do another look down here. You can hide this look at the top. You can hide this in here. Camera movement is just moving way too fast. We know this is supposed to be here as well. I think that is fine. Moving on. We want to the next piece. Let's do one in the center, loop in the center. Then we can do one down here. Come on. Just keep moving way too fast, one year, one year. I'll move quite gently now down here. Get close, Loop here. All right. Look also here, and down here. That should work. I have a loop here already, then look down here. There's a look in here on the edge. It's just the same repetitive pattern as well. Just repeating this also. Come down here this here, L here. Do the same here as well. Down loop here, do that. Do that again. Edge loop in the center. Loop here, Glo in the center. Let's do one. Okay, that's fine. We'll do a cat. Cord that is fine. Let's go to the opposite side and repeat the same thing. We'll repeat the same thing in here as well. Let's go to the back side. Grab this edge loop. Yeah, well, get close at the back side also. We're going to give the meta piece. We're also going to using trapna mapping for this. But at the very least, you still want to sort of hide the UV. Also very important. You still want to hide it off the camera view as much as possible. Close, I think, Okay then here as well. Come down. As well. Let's go this loop here. Add the loop here as well. Okay? Here also need to hide hide this in here, as well. Hide this in here. Okay, that should be fine. Hide our UVM. Hide the UVM, get this loop in the center. Get this loop in the center, add our seam. The last piece. Let me add the same up here instead. He that's fine. Do cuts here that's fine. Let's move on now to another bits. Let's do this instead. Double click on this WFacem do click on this face Mo. Let's solo this out. Get them soled out. Let's welcome one, and then we do the same for the other. So I think we can do for this one, we can definitely add the loop anyway. But let's just add it somewhere underneath this. Okay, Loop across like so should be fine. Yeah, that's fine. I'm just going to double click on this to get that look also in there. Do the same for the opposite side. Find a loop in the center close. That goes all the way to the center without wonder. Let's do this loop instead. Then on the edge, Edge also as well. Then we do coats, that's fine. I work just fine. Is into the coats for the back piece for the back part. So let's select this loop. You can select this loop also as well. The coats go out of isolates. Okay? Let this from the outliner once more, go to isolates. I think, let's move on to the next piece. Let's do this. A far out, select this how far out. Is this okay? It's here, so let's do the second parts. That's fine. Let's solo this. Solo this out. Let's look for where we can add a loop code to this. Okay? We can do the code here. Yeah, this will work just fine. Go across this, and we would go across this as well. All the way across you'll be fine. We'll put the same around here. We can do do we grab this loop. Okay. Grab also. Oh, this goes across. This also goes across. It's going to split this into two. I don't want this to split into two. So do that. Let's start budging a quad for the other piece. Select this entire thing. Do cats. Come back. Select the entire thing. Set the entire loop, the cuts. I'll select this edge, go over to my UviN wrapping or to the editor. That edge I select. I'm going to double click on it. So it's not going to go across where we already have seam line, which is what I want. So I'm going to cut this now. Yeah, this should be fine. Okay, select this again, solo it out. We can now select this. S also at the back. Okay. Yeah, I think we are good. Isolate those two. Okay. Then I'm going to do a loop across here. Coming to the opposite side, I'll do a loop across do that, do that. Loop across here as well. Do it cuts. Select this edge. Let's find where that is in our UV editor. So you can just select the entire loop for it. Select the entire loop for it. Do cuts. Move to the opposite side. Let's put the same thing in here. I'm just going to look for the loop this edge loop in here, select this edge loop. I'm just going to separate that out. We cut, then select an edge in the middle. Let's find where that is now to the editor. Well, now I use the editor, which is also kind of two dview also. The layers X and Y. So cut it out, go out of isolate, select it again, go back in the Okay, we have done for this piece, this piece, this piece, this piece. The final piece would be this to face more dolly on this pace, isolates. Isolate again just to get this separated out. Come close. We can do Dubli on this quartz, come over to the opposite side. Close the click on this edge do cuts. Lets edge cut also. I'd like to code this down the middle as well. Let's code this down the middle. So the click on this record also. I'm going to select this edge. Let's find where the edge is in our UV Editor. Find the edge. I'm going to select the edge. It's going to be like an edge loop. Leather edge loop cuts. Go to the opposite side. Look for another edge loop. Okay. Not click on this cords. Alright, so now we can von unwrapping the entire outtin unfold the entire outing. I'm saving this out. Let's go to vicious. Let all of this unfold. Okay, the orients, there's the letter. But I would like to get all of this long strip of which is actually do. I'd like to get them in the same should be like in sequence. I'm not worried about the chain on the, so the E in metal materials for those spots. This looks we need to get them flowing in the same directionality. So let's select select them. I select this one. I'm good. I'm going to rotate it this way. That should be fine. What is this supposed to be? I think something's off in here. You do this correctly. So let's find out what those are we have not done for this. We have not done for this. I would like to select them and do what we need to do for it also. So let's select this edge in select this edge, select this edge. Entire edge will be selected. Here as well, I do codes slide this edge here. Let's find where that is. Don't click on this. Do you codes Come across also in here slide the entire edge loop. Do codes. Do the same for the opposite side. No the entire edge loop instead. We do a code select an edge. Let's find is double click on this codes Let's unfold I need to select. We can do this. We can UV shell, select the entire shell, then come into UV Editor and then do unfold. Okay. That's fine. We do Orient, select it, orient it this way. Select the entire ten. Let's do it. So we have this all set up. We need to fix this. Select this to unfold. Okay, I think we need to cut it up a little bit more. So let's go and then cut this in. Let's the cut unfold. Don't click on these records. Select these records. Undo that unfold. Oh, really? That was a completely different piece. Okay, we have this quote in here. We're supposed to merge this together. Supposed something doesn't feel right in here, so we need to fix that. Supposed to have that mesh together, but that's fine. Let's just unfold this and then we'll find a way to merge that together as one single piece. So UV Okay, let's start by connecting these together. Let's double click on this edge. Let's do so. Then we need to same edge we select this edge, double click on this edge. Oh, we can do this in ends. There's double click on that edge. Then we do cuts. Okay, that's fine. I think we can easily fix that. Then up here, we need to merge kind of sew this together. So let's select this come all the way zoom out some more locally conduct. Let's do so. Okay, select this unfold. Yeah, that's more like it. Let's see if we don't have the same repeating issue across this across the other piece. It does fine. So we just need to orient this. Let's get proper oriented. Let's orient here first, then we can rotate. Then we select all of this. Check if everything is in order, then let me make sure. Let me make sure this orientation for this also. Change orientation for this Let's get everything moving in the same direction. I'm going to keep rotating some of this. Select these two rotates, select these two rotates. Rotate this as well. Select these two rotates. Let's see. I think it should be fine. So let all of this now. And then let's do layout. Let's give you some moment and then it should I should. Okay? Awesome. So we have this in here where we want it to be. This should be just fine. So we can go and check and see if there's any limit go out of this. We can go in and check if there's any issue. You need to be mindful of, I believe not. Let's go and select it again. Check the UV distortion. I don't think there's any UV distortion in here. All of this should work just fine. Yeah, this should work just fine. Save this right on the next lesson, let's add this on the next lesson model is going to move on to the earrings and then we get some shape going on some UVs going on in the I think this we can actually do Se up some time to kind of do this. Let's do this instead. See up some time to get this to work and create UVs for them. So let's go over and then start with the camera biz. Let's start with camera Bs in here, go out of this distortion. And it's just the same repetitive fashion. You've wrapping for this cylinder, so clicking here. Let's do on the center center center, here, center, year also. Recapture everything. Okay, I'm missing one. Center, here as well. Let's do this in a yeah, yeah, well. Yeah, well. Okay? That should be fine. And let's go down and then do the same thing across here also. Okay? Get close. Yeah, that's fine. Let's see. I think we're still missing something. Let's go in. Okay, one more is left. I have just one more left. So let's get in there and then do the same also around. Okay, I believe that should be fine. Let's do codes right? Yeah, we can do codes. I've done that already. That's fine. Let's move to the side of the and just repeat the same process. So coming close, make sure we're on edge mode. Okay. Click on this edge, D click on this edge, go up a little bit more, go underneath it. Like so do click on this edges the front, you like this on the cycle. That's fine. Let's continue on or add a looper. Let's the looper, here and here. Then get in there a loop across this also. Let's check if I'm missing anything. I think we are miss we have everything in place? Yes, we have, we have all of that in place. So let's continue on. So I'm going to carry on. I'm going to look across this here do that do let's do here instead. Here, as well, here, also, here as well, here, also. Okay. Let's getting close. I think we're almost done, need to make to do the same also for this. And then we should be good. As now as we're done with the one at the back also. Let's look. Okay. That's fine. Check this again to be sure if everything is in place. Yes, it is. Let's go to the one at the back. This will be like the final one because this is the last loops of ring. Then we can just do a coat and then unfold all of them. Check this from a different camera angle. Let's see grab this. Grab this as well. Then we'll do CT. Go and select the entire ta do one fold. Okay, I think we are good. Then we'll do Orient. Then we do Oh, let's make sure they all action. It won't really matter, though, because oh, we missed one. We missed one. Let's find where that is. Okay. Yeah, this one, we did not do this for. So let's select the edge records on food. Okay? Orient. We can start to live as it is. Don't really be an issue. It won't really be an issue. We can actually work with this this way. Or we can get all of them in the same orientation if we need to. So let me select this. Okay, no. This select these three select this as well. Let's just do Orient, select all of those, and then we can do layer. Yes, this is probably better optimized. All of this occupy most of the zero to one space. So let's check for distortions. For the most part, no distortions. So this will work just fine. We check a pattern in that works just fine as well. So yes, so we can move on to something else. Let's save this, bring everything back out, then hide those. Then we can work on the next piece in next tutorial. I'll see you guys in next tutorial buy for now. 89. 88 Unwrapping Round Head Bead In Maya: We come about, guys. So in the previous lesson, we worked on the E loops or these rings, if you should call it that. Let me hide that. So we're going to be working on the next piece, which would be the Ed center beds. So let's get right into it. I'm going to sold this out. Let's do it from the side. So let's do camera biz to get a Bz UVsual in there. Then we'll start working on it. So I'm going to work. I'm going to start working from the left hand side. Let's start working from the left hand side. So I'm going to select this piece. Let's go to the back of fits. Let's go to the back of fits. Come in close. All right. Something like this should be fine. Okay. So now let's start by working on this piece. I'm going to go to the edge. I would like to use Let's use the back edge instead. I'm going to select this back edge instead because the idea is to hide the seam line as much as we can. So I'm going to start with this. I'm going to do cuts. Okay. That is fine. Then I'll come over here also. We can do I can do something like selecting this entire edge. Selecting this entire edge. Then select this edge, go all the way. Do you cut also as well. This one looks like the prefers one we did. What was going to select this edge in the select this edge also. Do you cut I repeat the same thing no across this. Okay. So select this edge. D click on this edge cuts. All right. So this is how that's going to start or rather create UVs for this and I'll wrap this. So in this fashion, should work just fine. Okay? Let's see if we're doing that correctly, we are can see the edge here. Also do the same thing around here as well. Select undo that undo that. Let's select a different edge. Let's select Let's get close. Let's select this edge instead. Get close, select this edge. Okay. Here that's the one, slides edge, select that edge. Also go via slides edge. Okay? So we need one that we're going to kind of code this in the middle. Let's do from here, they all do. Okay? Then from here, do we? I think we need to get a bit closer in there. We need to get a bit closer. So let's use the I believe wire frame. Let's get in close. We're missing just one edge. I believe this edge that's the edge. I believe that's the edge you're missing, that's fine. You do cuts. It five on your keyboard to do wire frame on display. Smooth shader instead. So that's fine. Let's carry on with this. So I'm finding the edges that are notes is inside of this actually. So let's go in. It's buried inside of this. Let's select this edge. Okay? This is also buried inside this way. I think where we have it is okay. Then we can select this edge. I need to go in. I believe all the way here should be fine. The cuts. Okay. Then we're going to carry on with this same way we did for the previous ones. Move to the next one up around here. Let's see. I think it's buried inside of this. Let's go. Let's find it that's it. Let's do for the next piece also. The idea will just be to go around this once we are done, let's do cut. Okay. I think we can do around here and select this. How do we then select this loop the cords? Select this Here well here well. We have the same also the same shape in here. Let's select it. You should be able to find it here. The other one is going to buried inside, so I think this should be here. That's fine. Okay? I think we have one buried in here also. Let's do select this. Okay? Get in there get in some more. Let's do this that goes all the way here should be fine. Then we look into it. Select this records. All right. Let's go in Can we see, you can see the other piece through this. Let's select this. Okay? That should be fine. Select this edge. I believe it goes all the way. That's precisely where it goes all the way to. You can continue on or records. Okay. Let's look at the next one. Next one is buried in. We can use this select undo that. Okay, you should be fine. All right. Let's go in. Okay, we can select this and select this. Get us finalize the cuts. This one, you guys already know how we should get this done. So let's just do that. Okay. Select select this here as well, here as well. They do cuts. Similarly with similarly, this also. Don't do that. Select. Oh, you know, we kind of got this from a police vessel. I police vessel almost looks like a cube, if you kind of decimate it to the lowest pol counts. It looks more like a cube. I don't think that's the right place. That's not the right one. Okay, go do that. I think it should be here here, as well. Yeah, that that sits. Okay, we can do here. Let's find a continuous look for it. Okay. We need to get in there so we can actually see where we need to end this I believe if I come in should be here, da should be fine. Records select these points ore verte. Well, do we select this all D records. Okay? We can do this. We can do all the undo that. Double click. Okay? Undo that. We didn't do that correctly, select this. Then double clicking here. Undo all of this. Let me do undo all of this. Let's repeat this again. So we are sure we're doing this accurately enough. Okay? Yeah, that is fine. I think we can do select select how do we grab this. Okay? It's beginning to I don't want to kind of comp on the right track. I don't want to get this sms visible on a camera view, so that's why I'm kind of checking this just to be sure. I'm on the right track. So let's do a quote for this. You still have a whole lot more of these models or objects to create UV unwrapping for. Let's see how fast we can get this done. The codes quite a lot of this in here, but I'm sure you guys already get the idea. I'm sure you guys already get the idea of how this should be done already. Because it's more or less like those repetitive repetition in here actually. So just put in this around there should be fine with the codes it Okay, come in here. All right. I believe down here. Now, at this point, we are trying to fight with trying to fight with the camera and go in here now. So let's just carry on. At least we know where we are, so we can just continue on despite the camera angle not being the best at the moment. Okay? Select do we select these records? Okay. An on. Yeah, that's the one. Okay. Yeah, as well, as well. As well. All right. Okay, as well, also. He also records. Okay? Yeah, also. Select this, continue the edge flow or edge loop, select this. We can do this, select this or should be fine. Let's look through this. Let's see where that is. The cuts. Okay? Can't tell us how much or how many of these we still need to do though. But I believe we are doing just fine. We're doing just fine in here. So let's just carry on with the same energy, continuing this on. Okay, the cuts selects I think we need to go in, Let's see where that is following the line, get close. Okay, you should be fine. The records. Space around the keyboard. Let's see. Let's see, let's see where we are out on this, we're still We're still slightly far away. So around there, so we see to go all the way around this, that's fine. Let's just keep working on it. Okay. So yes, move on to the next piece. Grab this. Yeah, well, select this. Select this. Move to the next one, this here as well here also. Similar Oh, wrong, please. Undo that, undo that undo that. Let's repeat this again. I undo that. I'm doing this correctly, should be down here. Okay. Yeah, we got it now. All right. Let's continue this on move this this way, all the way. All the way should be fine. Let's look through this. Grab this as well. Okay. Let's do cuts. I think we can do Let's do here instead. Okay. As well get in there wrong place. Here. We can do from around here. Do that select here. Move all the way in. I think we can select this. Okay? We know where this is supposed to be, so let's just get it done. You still have all copies of this. Okay? Here, that's fine. Here, as well, select. We can come all the way, select this loop, unless the cuts Yeah, good. Moving this as fast as I can, so continue on. Select this, select this. Yeah, we could have used Z UV master instead of Zebra bots. That's not to give us greater control. It's going to create it's going to create sims where we don't use SIMs to be. And it seems to might be most likely most likely be visible on a camera view, and we don't want that, so we want to completely either UV Sims as much as possible. That is why we are doing it this way instead manually by and kind of have greater control over it and where we want our sMlines to be. And putting our sMlines where it's not going to be too visible to our render camera. I'd like general idea for general idea to keep in mind while creating UVs Okay. This now we need to go in. Okay? We can do around here. We can do, yeah, yeah. How do we select this? Okay. We can select this. We can select here. Do we a select this. We can do a codes Next bis, here, go all the way to the opposite side. You can do a code That's fine. So let's move on. Select, well, yeah, well. Fine with you. This is also all the way down here, select those. Okay, we can do move out a little bit more or do we select this? Okay. Same here. These car shape are kind of much easier because we already know where they're supposed to be. So just to double tap on this region and then we are done. Okay. Select select. Right. Coming close. I believe we should Okay, ready, ready halfway, already halfway through this, which is good progress for this. This can just do this here, select. Make sure we know where it is. Okay. Then the cuts. So now we're halfway now. So I can see we're halfway. So we're not going around all the way to the forehead center, so let's carry on. Put a perspective view. Okay? I believe should be like the longest one so far. The one that goes from the all the way to the joy is the longest bid longest bid in for it. So still have that piece to deal with. Yeah, yeah. It's going to take a little bit of time to get this done, but we would get it done. Like I said before, it's like, the boring aspect of the entire process. So, it's also necessary for you to have greater control over how you want to texture the mesh. Okay. All the way there should be fine. Okay. Even though we don't finish it here, we can just continue on the next lesson and keep working on it. Don't do that. Select? All right. Let's go from around here, here, or so all the here, here, or so. We can do this. Okay. Come in close. Let's look through this. Next piece. How do we see the edge, let's do cuts right. Select this. Let's get close. Okay. We can do from around here. I believe, that's the one. Okay. Let's do one more. Let's go around. Records. Okay? Lay this out. Do select or do code here as well? Moving on. No, here select Dub click to go the way, select records select this, select this.This as well, this as well. Okay. Select. One last bit, also around there also, also. Coming close, Slet that loop. Let's go in there and see where that stops. You can select this. You can see it now, then. No, come on. Then we can just continue it on all the way here. Okay, select this. Yeah, well, well. This is the police fair. This one doesn't take too much time. It's kind of nowhere. You need to add your head loops too. Let's do here, here. Okay? We can do. Let's do cuts, right? Yeah, select this. Move to the side. Move to the side. Yeah, well. Let's continue this on. I believe they there should be fine with codes. Okay. Next one. Let's start from around here, selects. Gow selects. Yeah, yeah, well. So Like I said before, the ones are not too complicated. We already know where we need to put our selection. Let's do this. Keep just keeps jumping way too fast. There's the cuts. Okay. Is it going to take a moment kind of check where we are at, though? Let's just carry on this way. Select this records. Okay. Select this. How do we select this edge loop. Records? Let's see where we are at. Okay? I'm going to go from go to to view. Let's check where we're at now, okay? You're in here. You can see we're putting it in. We're putting our sim line in your right place, okay? So let's do Let's do one more. Let's do one more, then we can continue the next lesson. Records. Okay, so I'll see you guys in next lesson. Bye for now. 90. 89 Unwrapping Side Head Bead In Maya: A cub guys, so we're still on this Ed center bit, so we're still creating UVs for this. So let's carry on with it. Let's go to the next piece. We're just going to continue with the same fashion of creating UVs for this, select this. Maybe select this instead. Okay? Go around double clicking here, select, select. I need to be careful though, so I don't move this way too much. This is the loop, select dt. Okay, I'm just checking it just to be sure I'm on the right track. Yes, I am. Sh is fine. That's precisely what we want. Select this as well. Move distance, doop click on this, dot click on this. We already know how this goes. So let's just get this in Okay, that's the right one. This is the right one as well. Also, select this, select this. That should be ending, select this ending around here. Move on to the next piece. Let's find where that ends. End there as well. Move out. Let's try and pick up the piece. Okay? Here also. No, do that. Yeah, yeah, yeah, change this all the way. Let's look into it. Let's find where that where that piece supposed to be. I believe yeah. Okay, that's the one. Okay, let's move on. Yeah, yeah, yeah, as well. I may start getting tricky because of the camera movements in here. But just maintain that steady maintain that steadiness to it, and then you should be fine. Let's go yeah, select. Double click in select, select. Sild'm molding downhet whilst I'm doing all of this. Select, select yes well, select as well. Select Let's make sure we're folding the pattern accurately enough. Okay, we can select this move out here. Yeah, well, as well. Okay. Let's find where this is. You can see it already is around here, here, also, ending at this point. Do the same. Let's find this also. Okay. I believe that's the one go up here, right? So I moved in a whole lot faster because we still have quite a lot of models to e and wrap. So let's try as much as possible to pick up the piece. But I'm sure, at this point, already, you guys already you guys already get a general idea as to what I'm actually doing in here. So it's just the same repetitive fashion in here. Basically just doing the same thing because we obviously used the same shape in there and just modified it a little bit more. Just some shapes we just modified. So, most of the shapes in here, most of the models in here actually are actually the same. So let me get close, and make sure I'm selecting the correct one. So yes, that's correct one. Okay, here, also, Okay, so it's also very important to keep in mind that it's much easier to UV and wrap on a lower subdivision level down on a higher subdivision level. So you want to get this slow, aside from just optimizing, it's much easier to work faster on a low subdivision level down the higher subdivision level, most especially when you're creating your UVs. So that's just something to keep in mind. As were putting this out, I will putting this at a low resolution at low poly coonsl. I would have control over where I need to create my UVs. And it kind of helps Maya also to process loading to process, I think we can I think we can use another edge instead. Do that, do that. Let's use do that as well, and do that. I think I will do this also. Okay, we can use another edge. We can use this edge instead. Because we're trying to hide our SIM line. So it's important to hide our SIM. So let's use edge that is not completely obvious to see. Let's go in there. I believe this should be the one. Nope, that's not the one. Get in close. Again, this is the one. That's the right one. This one goes up, so that's fine. We're not doing that, so let's continue on. Yeah, well, yes, well, that's the coat now. I've selected quite a lot. Let us out. Move on. Go around there, select this. Let's do no do that as the wrong one, select this this move yeah well, yeah as well. We can select this, select move out the way, select this, select this loop. O police spare, we can select where where is kind of behind our camera view. So let's get in close. I find that edge. Okay, I can see it now. So let's select the edge. That's fine. Select this edge. I believe that's the correct one it is. Moving on. Let's select this. Select, move across. Okay. Awesome. We're basically repeating the same thing so let's just be as fast as we can be for this. Okay? Select this, move across. Oh, awesome. I think we're done. We're done with this entire loop. That's awesome. So select that. Select our course and then we have the cut out. So what we need to do now would be to create. You can see for the most part, our UVs are kind of ding. Look at it for the most part, we have ding UVs, which is fine. Precisely what we want. So now we need to go across I need to go across now. Let's see, yes. We need to go and do the same do pretty much the same thing, for the top ring. So that we do that now. Okay. So let's do a diving into that. But this one might be slightly tricky though because we need to add our UV. So a camera will most likely be looking at this from the side. So we want to kind of protest this side by making sure our UV seams are not visible on this side, on the side view. So for the opposite side, it's going to be the side view. So majorly our UVs should be around there. So that's like general idea for that. So let's get into it. So most likely on this side view like this, around the edge be fine. Should be hiding her seams on this edge. So let's go in. So it should be this as well from under this. Oh, we can actually hide. You know, this is like a cube that's kind of smoothed out, making it look like it's fair. I think maybe I should add. For this first one, I should add the same underneath here, hiding underneath. That make better sense if you hide this underneath instead. Let's see. Let's check. Yeah, that makes better sense to hide this around here. Let's see. I think this should be fine. I will work just fine. Let's go in here, go to the side. Let's hide this on the side. Okay. That's fine. Double click and select this, right? Bully hide this also. We can hide this. We can hide this around here. Let's use this instead. But this one is slightly tricky so we want to be intentional about where we are hiding this same line. Really want to be very intentional where we're adding the same line. Okay. That's fine. Get in eye this here. Okay? Side. We can eye this here so we can go in. Okay. Slet that, select this, continue on and this all the way here. All right. Moving on, we can do here instead. Okay? All the should be fine around here. All right. Though, we're going to be looking at this from existance, but at the very least, we still want to hide our UVM. It's important to hide our UVM. Oh, no. Wrong one. Wrong edge loop. Wrong edge loop. Yes. This is the place we need to select here, here, also. Yeah, that's fine. Same here. Same here. Find where that is. No, no, I want to use that. Let's use a different regional instead. Let's Let's hide this around here instead. Okay. That's fine. Yeah, as well, select all the go and check this again just to be sure on the right list. Okay? You always want to kind of check around just to make sure you're on your rice place. Okay. Moving on, I'm just going to check, go out and then just see, make sure I'm doing this on your rice pot. We as fine. Around the selects, how do we select Okay. We can do all the way here as well. Sled that loop. Come close. Select. No, that's the wrong side. Let's do from this side instead. Okay. That's fine. Yeah, select, move up this way, select sled this loop select this, go all the way, select, like this loop. Zoom out a little bit more to make sure I'm hiding this. Seems like I'm already srailing off yes, I noticed I'm still enough already. I'm really still off adding the sims going to be visible. I don't want that. I don't want that, so I can easily fix that by just deselecting a few of this. I'll just select a few of this down control instead. So putting down control and deselecting that let's add this somewhere else. Putting down control, select, Okay? We had that in a completely wrong place. So we need to do that. That's why you also need to check around just to be sure. You're not putting your seams where it's going to be visible. So check this again. It's going to be visible from this side, I need to hide this in here. Okay, I will need to select deselect this down Control, select that. Select this, select select, that's fine. Then we zoom out again. Let's fine you right, please to pull this in. I think around there should be fine. When I'm putting down shift now I'm repeating this. Okay. Let's do as well. So it's important to actually check. You need to check to be sure you are putting this in the right place. Very important. Go up all the here. Okay. Let me make sure I'm putting this in the right place. Let me select select this loop instead. We can do, yeah, yeah, all the way up. Okay, that's fine. Then we can move on. All right. Yeah, as well. That's fine. Yeah, yeah, also get in I think this is this is fine. We can continue in this fashion. Let's select all the way down here. Zoom out a bit let's see actually if we're actually hiding this properly as we are. Let's fine there. We're hiding this way it needs to be eating. Let's do instead. Okay. All right. All the way. Moving on, we can this here, here, find the endpoints. All right. Find the endpoints. Enclose also can go all the way, also. Okay. Yes, no, undo that. Undo that. Yes, should be fine. This select this at the end, do a loop. You can do a cat now L's the loop coats Moving on. Okay. Just mount again, Make sure I'm on your right spots. You can do this side. Okay, that is fine. Move up. Okay. Up. This loop gets in the Zoom again. Let's see, making sure I'm on the right place. That's fine. Next piece. Get underneath this, select, select, select, go to the side, find where that is. All right. Continue undo that this way. This way, as well as well, get in underneath it. Make sure you don't knock your camera off. Just make sure you don't completely knock your camera off. So you don't begin to struggle to find or get back in place. All right. Move up. Okay. You are well, select. Move up all the way should be fine. Yeah, well, as well. Select these edges, select this edge, select this edge. So the camera angle is beginning to look like we're about to get knocked off, but just maintain try as much as possible to maintain the orientation for it. Up this way, select. Zoom out. Let's see. We're begin to food into that cove. So let's get close. Change our camera go little bit more so we get better view on this. Okay. Aswell get in underneath this. There's the codo. Click out. Get in underneath it. Awesome. As well get it underneath it. We can use this come all the way down around here, use this. Here, let's come down. Se let's use this. Okay. Let's use this instead. All the way down undo that. That's the wrong one down here. Select the loop. On do that. I think we went down way too much. Select, select, select. That's fine. Okay? Next piece. Awesome. That's fine. Next bisc. All right. Moving on. This piece selects, almost done. Almost done with this side. All right, select selects, select selects, select the ring, select go all the way down. Okay. Awesome. Let's do a cuts. Click out. And let's check. Let's see how well we hit the UVsM. So basically vein this from this angle this way. I think we did a pretty good job for this. We a pretty good job for this. I think this should be fine. Let's select this again. So we should be viewing this viewing this from this side view. So we did as much as possible to hide our same line, which is fine. Let's go to the next piece, which is this. I'll save this. So I think we pretty much the same thing we're doing on this side. We're going to do on the opposite side. So I think War can just do this off camera and then we can off record and then we can move on to the next piece, which is the job bid. So I'll see just continue on and then yes, at least as far as this tutorial goes, let's just see we can just continue because this is going to be the same process, nothing too fancy. Let me make sure I check the camera angle for this. We want to hide this underneath this part like so. So let's go in edge mode. So we're hiding this somewhere around here. All right. Let me select this loop instead. He also here as well. That is fine. Move on to the next one. Select, select all the way up. Okay, we can hide this down here instead. Okay. Oh, undo that. I think we missed the mark. We're not doing this accurately enough. Something was off. Undo that. Okay? Now, we should get this accurately enough now. Yeah, that's fine. Moving on. Let's look for where we are our SIM, so we can continue on from there. Alright, do that. Here, that's fine. Moving up, well. Let's look for where that SIM line is. Make sure we continue on from that same fashion. Okay? Let's do cut so let's just do one more piece. One more should be fine. Okay, as well, select, select records. So I'm just going to do this off record now and then we'll come back when I'm done. So I'll see you guys in the next lesson. Bye for now. 91. 90 Unwrapping Jaw Bead In Maya: Lomb guys. So we have, I've gone around and then done the UVs for the opposite parts. So now let's unfold all of this, and then we would arrange them in zero to one space. So let's start biting on fold. We also need to kind of check for issues also in if there's any, and then fix those almost done. So it's done on folding, let's do an orient, okay? Let's do layouts. So let's get moments. Okay, so this is what we have. So you did a very good job laying out everything out well for us. And I don't really see any issue in here so far. Let's check for you with distortions, click out. For the most part, we're seeing mostly whites, which is good, precisely what we want. So this will work just fine for what we need it for. Yeah, awesome. So this will work just fine. So let's go out of this. That is fine. Let's move on to the next piece, we need to hide this. So let's hide this now. The next piece you need to work on will be the bid. The next one. Save this. Okay. So now let's go over and then start working on this as well. Let's work on this and then get this right and then we should be good. So pretty much the same same we need to kind of hide our same line. So we need to hide the same line where it's kind of touching on region where it's kind of touching the jaw or we can hide this at the end. But majorly we're trying to hide this somewhere around. Let me get close. Somewhere around here, should work just fine. So let's get right to it. So I'm going to start with Okay, do that. Let's start with camera Bz. Let's get this front facing camera Bz. Alright. No, do that let's make sure we have all of this in view. Let's get all of this in view camera busy again, that's fine. Get in close. Okay. Then we can use our edge mode. Let's go to Edge Mode, click on this, select click on this. Let's make sure I'm hiding this Nicorette please. Get close. How do you select this? Let's do around here instead. Okay, surround there should be fine. Select this. I think we can do here as well. That is fine. Moving on. Come down. Select. Let's make sure we are full in that same directionality to it to actually ei the UV SM. So I think here all the way down here should be fine. As well. Come in close. Okay. All right. That's fine. Select come close. Select this as well here, here, also. Okay. Let's go down here all the way down here. Let's see where Sim is. Let make sure we're doing this in the right place. We can do around here, as well. You can do down on this. That's fine. Let's check this out again to make sure on the right place. Yes, we are hiding this quite well on the right spots. We can do let's do this instead. Okay. Also here also, as well. Move down. Continue on with this. These are mostly police fare. We can just get them where we know they should definitely be on. Okay. That should be fine. Move down. Let's figure out where we need to line this up. Okay, we can line this up somewhere around here. Come all the way down. Go do that. T wrong place do that again. All right, that's fine. Move down. Okay, well, go back in the swell. That's fine. Come down. Here. Okay. Move around, do that. Yes, that's correct. Or. Okay. F the same directionality for this to make sure I'm doing this correctly. Zoom out, we can do this all the way down here. Zoom out again just to make sure I'm doing this accurately enough. Okay, yeah, that's fine when you write spots. Moving on. Okay. All the way, yeah, that's fine. Yeah, I swear we can do e all the way down. Yeah, okay. Go around this around again. Okay. Do the same repetition across this also. All right. Get down here, here, swell, rotate. Okay. Make sure we're following that same pattern. Select those, select those, this as well. So I think we already get the general idea, so if we continue in the same way, we should be able to get good Vs of this. Let's make sure we get the right there. Yeah. Come down around select. Select this, select this. How do we select that loop? Loop here selects, zoom out again just to make sure, we're staying the same place. Wording this accurately enough. Okay? Move down select move down. I think at this point, may need to do coat now. We have selected quite enough. Select do coats. That's fine so moving down, continue on with this. Okay. Go down. Let's go and find where the continuation of that seam is. Go down all the way here. We can select this, move down. Okay, do that. Let let that p. Ready know how to get this in. So let's do that quickly. Same for this. Okay, well. Well, yeah, also, also, as well. Let's figure out where, the line comes down would be. Okay, we can do all the way down here, sled loop. Continue on in that same fashion. Sled that loop. Okay. Sled that loop, slide this loop. Check this around. We're in the right place. Moving on. I think that is eating quite well. So we're going to continue on. Let me go push this to the back a bit more. Let's push the same line towards the back some more. Okay. All right. We can do this, or do we let this loop? Okay. I think for this, let's just do at the top, undo that, undo that. Get in at an angle, get this at an angle, select, repeats Alright. That's fine. Let's go back in and get proper camera and go to this so we don't get too side tracked. I think around here should be fine. Or do we select here as well, select this. Or do we select? Down select zoom out again just to be sure. Okay, we're already moving now to the opposite side. So let's do cuts. For the opposite side, I think I would like to start I'd like to start from the top part instead and work our way down. Let me start from the top side. Look for you best place to hide this. To hide our SIM, I think best place to hide our sim will be around here. So let's go select this. Okay. Most of the backside. Come on. I need to be careful with my camera movement so I don't get knocked off. Yeah, that's fine. That's fine. Make sure we're froing the same line for it. All right. Okay? As well. Repetition, repetition across this also. Go and find the line. Okay, as fine. Select all the way down here, select select, select all the way down here, selects. Okay. Yeah, as well. Come down all the way, select this loop. Repeats. Come across. Come across again. Select come easy. Easy now. Let us find were back in place. Okay. Alright. Let's find this, all the way down yet. We can do this way. Alright. That is fine. Okay. Same thing also down here. All right, one last piece at the back. Find the directionality of this same line. I believe this should work. Okay. We can do all the way down here to let this look. Okay. Easy now. Yes. Awesome. I think we can Let's do a cut after this police phase. Let's do a cut after this police phase, get them in. You're swell, rotate to the back. Okay. Yeah, swell, ah, swell. Yeah, well, up here. Okay. That's fine. Yeah, swell, yeah, also. A, also. Yeah, also. That's fine let's records. Almost done, I'll be a few more to go. Let's find where we have that sim code. Let's check this again. Yes. We have the same code sim code in the right place. So let's continue on the same direction around, select, all the way down here, select that loop. Let this loop, all the way down. Okay, we can add this all the way down yes, let that loop. Get a good camera angle to it. Select, come all the way down. Select, go way down. Go the way down, select this. Select this loop, select, go the way down, select, et undo that. All right, that's fine. Go across this opposite side. No, no. Get enclosed, find those edges and then double click on that to select that loop. I need to find where the continuation of our loop continues on. So all the way down, yes. I believe all the way, yes, you'll be fine. Can select this, come all the way down, select this loop. I believe this also also that is fine that would work. Also as well, this as well. Certainly, select this entire loop in the same repetitive fashion. All right? That's fine. Let's find where the continuation goes in on. I believe on this edge, found it. So we can do, then we can continue this loop down all the way, select this loop. Undo that. Sledde sloop selects all the way down a sledy sloop. Okay, this should be fine. Come all the way down. All the way, there should be fine. Oh, that's last piece, so we can do it cuts. So we have this now don't wrap. I think I would like to hide this. I think we're getting these two close. So I'll select this. I'll select come enclose this as well. I would select this as well. Then let's do so. Let's create new sin for it. Yeah, I believe. Here's the place, old, as well, that's fine. Let's do cut in there. Save this. So now we can we can quite easily just unwrap all of this, select all of this fold. Okay, let's done orient, then let's do layouts. Yeah. Awesome. So we have this laid out accurately. Oh, let's see this might be sue Let's find where that is. Seems like we don't have any loop at the edge. So we need to add a loop across this, This is why we need to always check just to be sure we are doing this correctly enough. Let's do unfold, Unfold, right? Orients. Let's check also around just to be sure if everything's working correctly. I think, we don't have this correct. Yeah, there's no edge loop across this, so let's find there is, but we did not select a loop at the bottom, so let's go in the day cords. Select these two unfold. So you want to kind of train your observation skills to be able to know what is actually missing, if there's an issue somewhere. And that's how I kind of figured out where there are issues that need to fix. So for the most part, I think this should be just fine. Let's let all of this again. Let's do layout again, and then can go on and Awesome. So we have this laid out now properly. Let's go out of isolate. Then we can hide that and move on to the next piece, let's save this for now. Save that, control, to hide it. LG next piece to load this out. Now for this particular one, I think we can actually use the automatic UVs for this. The automatic UV should is working just fine. Though we have too many pieces, though, but at the same time, this should work. The pieces are just way too much. There are more easier ways to kind of get this to work. There are much easier ways to get this to work. No, I think let's see. Can we do at seem? Let's go back to object mode. Is there a way to get this to work a lot better than it there are no options to actually shift Is there option for this? Let's see if we can find an option for it creates automatic. Let's go. Okay, there are options for it. Let's see how we can if we can adjust this a little bit more. Great we set, no. Planes. Let's see what happens when we set a planes to four. Let's do four for this. Apply. Now, even worse, let's go all the way up. Let's go it. Let's do apply. As much as I'm liking this Samson not liking, this is not good at all. So I think six is the best for it. Feels like the best for it. I think at this point, we don't have any choice, but to do this by hand. We just have to do this by and. Let's start with camera Bs to begin with. I was trying to avoid this byan but it gave us no choice. We just have to do this by on let's go in. Now we can quite easily just split this in the middle. Let's do an experiment and try for Wondo. A preferable to do this would be to select this edge, select this edge, this edge as well. Then select select this edge and then select this edge. Select this edge, do that this edge down here. Let's go out. Slide this edge down here. Select this edge also around. I pretty much like so. Pretty much like so, then we do cuts. Then if I should go in and then select that shell, let's select that shell, move this out this way and done no food. So we should get in something like this. So this is a monitor way to actually get good UVs out of this. So we need to basically do this for the entire piece. And this will give us better UV sets. So if we check distortions for this, you can see there's hardly any distortion in here. So this is a much more neater way to actually get UVs out of this. So let's just carry on and then do that instead. There's pretty much no other way to do this than to just do this manually. We just have to do this manually. Get in underneath this. The only issue we're going to be having is just moving a camera just to find the right angle for it. That's just the issue matter, but aside from that, aside from that, we can use this to get proper UVs across this Okay, let those edges go all the way down underneath this. Swell. Come in close. Make sure, have you selected that already? Oh, that's the wrong one. It should be this year in here. Maybe I should even start by selecting the bottom part, let me start by selecting the bottom part. It's much easier select the bottom parts and then the top part from this angle. But the bottom part is where we have a little of an issue with the camera angle for it. Okay? Yeah, well, select up all the way up. Then let's finalize with selecting these top parts. Okay. Yeah, that's fine. Yeah, swell. Select, select. Okay. Then what do you select also? Yeah, that's fine. Unless you cut. That's fine. So in next lesson, I'm going to carry on with this. 92. 91 Unwrapping Metal Band In Maya: Welcome back guys. So the previous lesson, we started to create sem lines for this metal waistband or waste metal piece. So we're going to continue on and then start rather continue adding those sem lines and then unfold them. So we already have seam lines here ready. So I'd like to go down I continue creating the seams in here. Be it's a lot much easier to create the same line on the bottom parts before moving on to the top. So I'm going to go around and then starts to continue creating that seem on the lower parts before moving to the top part. So let's do that instead. There are quite a lot, though, so we're going to just keep selecting those edge, then finalize by going to the top later on. But I'm sure you guys already get the idea since I already showed you guys an example, an example in here with this piece we created. Let's show you guys the right way to create new vis for this cold panel or this meta. The issue might have is the camera angle just to work on the lower parts. That's the issue method the camera angle just work on the lower parts. Let me make sure I'm selecting this edge also. Okay. Let me start letting it to before going to the lower parts. And that will make the whole lot easier. So I don't forget the edge right. Let's do edge first. Then we can go to lower parts. Then we can get them in here as well. Okay? A move to the next one. Okay. Here us fine. All right, here as well. Okay, here also as well. So basically, I'm just repeating the same thing. Like I said before, creating Uvu wrapping is the most boring aspect of the entire process. Boring, but still necessary. Something you can't avoid not doing. So you just have to do it if you're looking for control over your mesh. I think I missed one party that's it. Come close. I think we're on the right track so let's carry on. Okay, move on to the next. All right. Yes, well, I think we are fine we see the top part to deal with but let's just tackle all of the first. Let's tackle all just on the lower parts. That should be fine here as well. In, that's fine. Moving on. Already at the end, that's fine. Now let's go to the top parts. Let's select let's not forget the edges. I think that's fine. Let's make sure I come in closer and make sure that edge is selected, both edges are selected. Now we can go to the top parts and we can finalize on the top part. Okay. That's fine. Yeah, as well. A. It's much easier to do the top up because we have nothing blocking our view in there. So we can just quickly and quite easily do this Alright. That should be fine. Move out. Okay? Move out some more around there should be fine. As well, or so. All right. Move this aside. Okay, that's fine. Move this out. As well. I believe it should be almost done. You have to make sure you have to make sure you're selecting the right edge and not something else. So at some point I need to get a bit closer, just to be sure you're selecting your right edge for it. Okay? Am I select I select the right edge in there? Yes, I did. You also Yeah, well, I think we missed this part. Let's make sure we select that. Move around. I'm trying to make sure I do this a bit as accurately as I possibly can, so I won't need to start fixing them when I've done the Uvu wrapping. So you can see also that should be fine. Then we can do a cat. That's fine. So we're done with that. Let's go to the bottom parts. Let's go to the bottom parts and get this fixed. You have some space in here it's not going to be it's no major issue. But this part already is hidden. Let's start from the top first. T let's start from the top parts. Let's do the top. Let's do the top first. Okay. It's like the edge. Then we can move to the bottom part once we are done with this top part for the lower half. No, I did not do that correctly. Come in close here as well, here well, here, here, so, move on to the next parts. In the year or so so boring but important process. It's highly necessary we do this just right. So even though you want to dry and be fast, you still want to be careful you're doing this correctly. So still pay attention to making sure you're doing this correctly enough as you should. Okay. Move to the side. Move to the side. My best guess is that I think we are almost done with the top parts. We should be almost done with the top part, I believe. Maybe if I have to guess maybe like three or four more should be it. So let's maybe maybe I'm correct. So let's do this is the first one. Something fall down. So I'm guessing we have four more to go. This is two is three. This is four. I'm kind of second guessing myself right now, I think. I'm wrong. Maybe at most three more. At most three more or extra four. Let's do three more. So 104 more instead. So, one, two, three, Oh, I'm I'm completely wrong. Let me zoom it and see. Oh, okay, okay. Close. Close. Close? I was really close. I was really close. So just two more to go and then we are done. At least for the top part, though, is for the top parts. So now we go down to the lower parts. I think we still have one at the back also. We still have one at the back. I think the one at the back is quite small. But you guys get the general idea, so general idea is just to code this way, we need to code them, and then we are good. Hmm. Okay. Move out. Oh, do that. Wrong, please, do that again. All right. Nope, wrong, please. I think at this point, you can just do cat Let's do a cut. We have co cannot letter the lots. Let's do cuts so we don't lose all the effort we have taken to do the others. Okay. That is fine. Wrong place. Here should be fine here as well. Okay, move out out some more Zum a little bit more. All right. Based guy just repeating the same thing. Nothing new in here, repeating the same edge selection. Undo that. We do a lot of carefulness because I don't want to make mistakes in here. I just want to get this undo that. Get this done all at once. Miss these parts, get that selected. Okay. Let me do a guess again. Probably I would get it right this time. So my best guess is that we have seven more. So let's start our counts with this. I should be eight to one. Two, three. Oh, that's already the end. So let's do cut. So done the ones on the first half, so I'm going to select U the first half is the one in front. Let's just do let's do UV shell from here let all this UV shell. Pull that up and then let's done on food. So wing so should be fine. Yes, I think we have, this is actually fine, as we can work with. I think we selected something else. We may have selected something else. But it's actually fine. It's not really de breaker. I worked just fine. This will work just fine for what we need it for. So let's go let's select all of this first. Let's pull this out. We can select all of this. We can do orients layer. It doesn't really dicta because I'm going to be metal metal here for you. Not the mapping in. So we're not too specific about extremely red uvoids. So this is what we have though. We need to go in and then do some optimization in here for sure to use up more of the space, but let's not do that yet. Maybe we even should I think we should. Let's Let's get them vertical instead. Let's get most of the vertical. Let's get them vertical instead. So orient this out. We can select all of this down here. The select this, select most of the ones that are moving in more horizontal fashion. Let's select all of those. That in an horizontal fashion and then rotate them. So rotate. Now let's select all of this and let's do layout for it. So now we have something more or less like this. So if you check UV shell, we see we can at least see any distortion in there. So this is fine. So we just need to kind of do the same thing for the other piece. I'm just going to continue on this same lesson, but when I stop this, whichever piece we stop out, I can go off record and then finalize on that and then bring them back bring all of them into the zero to one space and do the same thing we did in here by orienting them properly. And then we should be good. So I think this is the front side. So we need to do this from the back instead let's do this from the back to get close. And then we'll continue on by just selecting all these edges get close, okay? Start selecting all these edges. It's got a lot of work to do in here, though. Still a boring and then very important process. Yeah, so let's continue on. Make sure I'm selecting that edge properly. So I just get to do this just once without having to repeat, don't do that, don't do that. Okay? That should be fine. Okay. Move on. Move on to the next piece. Yeah, that's good. Next piece. Get this undo that. Undo that. I think we missed the mark. Continue this down yet. I think that should be selected just fine now. Yes, it is. Okay. Oh, we forgot this edge. Make sure we get that edge in. Okay. All right. I as well. That's fine. Next side. Okay. Yeah, that should be fine. Oh, see I missed these parts. Let's get that selected also. Okay, that's fine. Let's go down. I think we can go down now. Well, let's first do a cut so we don't miss anything. Alright. Let's look for a good angle for this. Okay? That'll be fine. Move out. Alright. Nope, wrong, please. Move out this way. All right, move out this way. Select the edge in there, got the edge. Okay, here as well. Oh, I think I made a mistake here. But it's still not a deal breaker. We can just continue on the way we should get this to be. We should be fine. Okay, here as well. Here. Alright, that's fine. That's fine. Yeah, I swear, also. Okay? I think we still have a few more to go. Maybe eight more or most likely nine. Make sure you're selecting that 90 degree angle selection in there. That's fine. Moving on. Here, also, here, also. Let me get a better camera angle in there now so I can do this a bit more accurately. Okay? Right. Nope, Don't please. Get us fine. Get us the right one. Get in get in there. Right. Nope, wrong, please. Yeah, I think that's fine. Now let's do a cuts. That is fine. So now let's go to the lower half. Let's go to the left and just finalize on the lower half. Yeah, we're still on this. We're still on this. But don the top half, so just basically in the lower lower half. Okay. Move the side. Let's make sure we get this loop in place. Select that again. All right. I'm sure you guys already get the idea, so it just reptive process, and then we're pretty much just doing the same thing over and over and over again. I'm just going to go off recording and then just get all of the selected and get them cut out, get them cut out, and then we can move to another model in here. So we have the sheet model as the next one. So I'll see you guys in the next lesson by for now. Let me just do the cuts in here I mean driven up lift, okay. Still a lot more. I'll see you guys next lesson. Bye for now. 93. 92 Unwrapping Skirt And Spear In Maya: Welcome bad guys. So in the previous lesson, were kind of trying to create and cut off the edges of this metal waste band. So I've done the cut off already, so now I've just laid this out zero to one space. So we should check the UV distortion, we're all good in here. It is all good so we can work with this. If we do check up pattern in here, all good as well. And we have all of this aligned vertically across which is also fine. So we would use this. So moving on, let's look let's create something else in here. So I would go out of isolates. I would hide this. Hide that for now. Let's go over and then select the sheets. Isolate that let's creat TVs for this. Save this out. All right. Then I'll do let's do an angle for this camera bis. That's fine. So let's start with this piece. So the idea, like I said before will be to hide the same lines. So we need to hide the same lines for this. So I can just easily go in and use my edge and select this edge. That edge is fine. Cop in here, select this edge. Okay. That is also fine. Let's even check our reference to see if there's something. It is actually detailed on the edge that we can we can keep not really not really. But we can have greater control over this by doing something like selecting. Let's go in and select. Let's find that edge. I'll need to go out of the wire frame for now and just see where I need to place this edge. Okay? Yeah, we can use this edge. We can select this edge here as well. Come down, that's fine. And then we'll do a We do a cat for that edge. But let's go to the back as well. Select all of this. Select this, come in close. Let's see, that's the edge we need. So this is the edge we need. So I want to have some control over this when it comes to texturing needs. So let's do something like this. I'll continue this on, that's fine. Let's do for the opposite side. Select this edge, select this edge. Come in close, select this edge, go all the way down. Select this edge. All right. Here, swell. Seleg this edge, sees edge. Here, swell. Come on the way down. Here, that's the one. Then let's go to the backside. So kepeat the salt I have control when I'm texturing it. Go do that. Undo that. Yeah, this should be fine. It goes around this. He, that's fine. Okay, so we do a cuts Yes, this is fine. Okay, so let's go in and then select the entire UV shell, do it on fold. Let's orient, select let's lay this out vertically. Select this. Okay, then we rotate to the right hand side, select all of this. Let's do a layout, you get. All right. Yeah, this is properly laid out. We can work with this. If we go and check distortions, I know there will be a redness in here, so we can fix that we can easily fix. We can just go in and then select we can just select cuts. Select all the way, cuts. Okay, select this done on food. That will definitely ease of the tension in there. So you can see how we kind of ease of the tension. So let's do the same thing here also. It's just to ease up any tension we might have in this region. Okay? Let's go also around here. Opposite side. Okay? Do you have any do you see any other piece? I think we are missing. This one is actually missing. Let's do a cat first. Let me select this UV shell. Let's figure out where that is. Okay? Okay, we did not do for this part. I figured we're missing something. So let's just select this edge loop I do cat select it, drag it out. Done unfold. Get closes. Dot click on this. Double click on this. Records. Select unfold. Select everything again. Let's do unfold. Okay, orients o. You're awesome, so we should be fine with this. This will work just fine. Alright, I'll save this. So the rest of the mesh is or the rest of the models is not the rest of our assets. Whichever word you prefer to use is not Oh. This part is kind of touching them. Okay, to matter that mode because it's already buried inside. He's buried inside another separate mesh, so that's fine. Okay, so let me add this for now. So the rest of the asset is not going to be too difficult to unwrap. Select this, save. Let's isolate this to isolate this. Let's start by Let's start by doing a camera piece for this. All right. You should be fine. Then I think I can separate them by UVsalu out, pull this out pull this down, select this, pull this up, up as well. So we have then properly separated, so we can work on them as individual piece. Let's select this and let's don't isolate. Okay. The creativit for this is not complicated at all. We just need one loop line that goes across. So we go to edge mode. So go behind the fabric and we can select this edge, go all the way down, see where that ends. Okay, here, we need to do a little more work. Okay, we need to select all of these down and do that. Okay? We have that selection. Let's go to the opposite side and trace that all the way up, okay? Let's go in and find where it is here. So we know where it's supposed to be. Let's go up. Okay. Check this at a better angle. This is it. Let's see where it ends, and then we continue that off before separating it out. Okay, we have just one on one here. That's fine. Then we do cuts, select, it's not completely cut out yet. We have a missing edge. We have a missing edge. Found it. The missing edge is in here. Let's do cuts. Yes, we can separate this out now, select these two fold. Okay? Let's Orient, select this, rotate to the right hand side, 90 degree. That's fine. This will work just fine. So let's move on to the next piece. Let's work with these two piece at the top. I'm going to slow this out, get close. We're going to repeat the same thing now. So it should be this edge. This edge, last final edge loop, and then we should be good. Okay, that edge also as well. Then we'll do a cut. Awesome. That's fine. Then let's go over to this piece. Slow that out. This is the front side. Let's go to the back, we want to hide our same line. Edge mode. Okay. Come on. Let's zoom in getting close. All right. Undo that. I think I selected something else. Let's go back to edge mode. Let this edge loop. Selt this edge. We are good, then we'll do a cut. UV shell, let this two UV shells and off that. Let's do an Orient Okay. I'll select this rotate to the left hand side. Select this rotate to the right hand side, should be fine. Let's go to the next piece. Isolate that. So this is the back side. This is what we want. This is the front. This is the back. So we need to visualize this from the back instead. Let's actually see where that is. Okay? The the front side. So you need to be at the back side. So now we can select that edge. Come in close. That's way too much. This edge. I'm sure by this time, you already know you guys already get the idea. Just to select the edges. And then we just cut that apart and then we are good. Seamans should be properly hidden. It's not going to be visible on camera camera view. This is fine. Do we cut UVsal select this to UVsel unfold. There's one who reentera position this correctly. This is this. I think we need to rotate this let's find that. Let's use our edge mode, select all of this. Okay, at least now we know where that's supposed to be so now we can know how to rotate this noun. Let's rotate this to the left hand side. Put this back on top. Let's go to the next piece. Isolate. This is the front. Let's see where this is. Okay, this is the front. Go to the back. Then we select that edge also do that wrong edge. Move to the opposite side. Okay. Go into the opposite side, the lower parts, Se let. I think we are good. I think we have the entire look now selected. Then what do the coats. For the most part, garments are most like the mosast to unwrap. You just need to find a good seam edge and then where it's actually hidden from the camera and then you can just coat and then unfold, pretty much pretty much it. On fold orients. Okay? We have one piece not properly oriented. This is it. We do to your right hand side. Okay? This is fine. We can work with. We can definitely work with this. Let's go to the final piece. Okay? This is the back side. Let's go. So the front of the back, if that actually makes sense. Actually it does. You're looking at this now from the front and we need to put our saw it's not going to be visible. So select the edges. Whole, same whole repetitive process. Select the edges go all the way down. Let's find that edge. Seleg this edge. That is fine. I think we are good, we are good in her. Alright, then we would do a cut. Select the entire outing fold. Okay. Let's do one orients. I think this one is not properly positioned. Let's rotate its right hand side, so it should be fine. Select the entire piece. We do a layout. You should be good with the layout in here. Here, that's fine. Let's come in close. Let's check for distortions in there. Everything looks whitish, which is precisely what we want to. There isn't so much deformation in there. This we can definitely work with. Just to be on the safe side, I'm going to select everything in in and done on food, just to make sure everyone keep light Okay, that is fine. Go out of UV distortion. Let's check if you have any flips. If you have any flips UV. Yeah, all good. If you have any flip, you should be sharing, like, some kind of red, I believe. But so far, we are good in here. Let's go back to wireframe. Go out of isolates. We are completely fine here. Let's hide that, save our file. So the next bis to unwrapping in here is the spare. So let's go to the spare. Let's unwrap this. Center up a vote on this. Okay. Now, let's do a camera base to begin with. Camera basic scratchy hiding. Okay, that's fine. Let's go in and then let's do UVs, select. Let's start with the pull or the rod instead. Let's start with this. So I'm going to start by going over to edge. Here, I think we need to hide where our SEM should be. And the best way to hide our SIM would be at the back. So let's go to the back. Let's go completely to the back. Completely to the back side. Okay. Back side, solo undo that. Let's go to Object mode, solo this out. Completely on the back side now, select isolates. So we need to start by selecting this lower edge. Let's go up a little bit more. Do cuts select this edge. Can we get into the edge here? Let's see if we, we can. I'm not going to flow that same pattern double click. We do cuts. That's fine. Is to work just fine. Then we just do UV shell food. That should that should work perfectly. Without any issues. I to work just fine. Okay. Let's check for distortions. S we are good in your all whites. All whites, that's fine. Let's go out of that. Save this. Now, let's work on the spearhead. Let's let the spearhead. Vis let the spearhead gets close. Now, this one's not complicated either, so we just need to find the center edge for it. So let's just find a center edge. Let's do the center edge. Let's move this back some more around here, okay? That should be fine. Then we slice the apart. Those slide apart we do cuts full at the back, yes. Then we do cuts. Okay. Yeah, this should be fine. Then select these two down fold. Okay? Select this. Go to my rotation and rotate it this way, select these two, let's orient. That is fine. Select the entire piece. Let's layout. Yeah, this will work just fine. I should work just fine. If we want to kind of push this a little two step further unfold this again. Yes, that's fine. If you want to push a little step further, we can select this alliance. Okay? We can pull this a little further by selecting this and then just scaling it out a little bit more. But let's see the textile density that comes with this, so select it, select the pole gets. So we al textile density at three points. So I'm going to select let's do textile density for this. Let's do five. Then click concerts. That's way too big. Let's do four instead. Concerts. Then we can pull this out. So you should hold a little more resolution than the put the side than the pull the wood pull. It's not going to be too obvious, but it should see slightly more resolution there. So this is fine. Okay? That is fine. We hide, let's hide that, save this again, and then hide hide despair. Let's despair. So in the next lesson, I'm going to move going to move on to something else. Move on to something else. So move on to the cross chest strap. So we do that in next lesson. Bye for now. 94. 93 Unwrapping Chest Strap In Maya: Come back, guys. So in the previous lesson, we worked on creating UVs for the skate and the skate sheets and then the spare. So we're going to carry on from that and then continue working on creating UVs for the rest of the mesh. So let's do that. So the next piece we need to work on is the let's see, total pully count of 17 k. That's fine. What we need to work on now is the cross chess strap. So I'm going to isolate that. Okay, now let's start with the camera Bs Okay, that's fine. So I'm going to go to UVs, select move this to the side. So do one piece at a time, isolate that. So this one is not going to be difficult because we're we're going to be texturing this and then using this coin animal kind of texturing in here. We can't even use what is v in here. So let's carry on. I will just go in and then put it to the side. Let's go to edge mode. Our UVs needs to be buried. Buy our UVs in here. So let's go and then select. Let's find a good place to build the UVs around here should be fine. So that should go like an entire loop across this. Just precisely what we want. Do a cut. Select the entire out, do an unfold. That's fine. That will work just fine. Then go to the next UV shell. Isolate that. Okay. Let's see, yes. I'm just checking just to see, okay, we have the KSS, we are good in it. These two should work just fine without any issues. All right, so let's do that. So I'm going to go over, let's look for a good place to set UVC. We can set our UV seam around. Okay? That is fine. We'll do a cat. Okay. But then we need to add another cat also that goes vertically across this. So let's look for a good place to set this up. It's going to be covered. Good place to set this up, where it's covered would be around the shoulder. So around the shoulder, let's do somewhere around, should be fine. Around there should be fine. Okay, let's at the back a little bit more. Then we'll do a cut. Okay. Then I'll go in. I'll select the entire outin less done on fold. Okay, precisely This is precisely what we want. Do orients, select this one orients. Okay? Select select this. Let's rotate it this way, select the entire outin. Okay. Let's do a la. Alright, that is fine. But one thing I would like to do is that I'd like to give you some more resolution. You should have some more resolution because texturing is going to be texturing for this is going to be mostly black and white. We're going to be using that to generate a color map for eggs and hair. So I'd like to increase to increase the size a bit more. Copy some more pixel density for it. So I'm going to select this. Let's do it gets. So we have at 3.5. Select this. Let's do it gets. So this. It's almost roughly around the same 3.5. So I'm going to set this art five instead. But most of the texture is not going to be visible because we're going to be having eggs and hair completely Eggs and hair is going to be completely covering it for the most part, so we can decide to just give it more resolution in here so it occupies a bit more space. So let's say this to five, click on sets. Maybe even more. Scale this out some more. I think five is a good one. Put this aside. Okay, this should work just fine. This will work just fine without any issues in here. So that's fine. Okay. So let's go out of isolates. Save this. Select yes. We are good in here. This will work just fine. This will work just fine. Okay, we see Well, we need to push this down, obviously. So we do that inside of Zbrush. We do that instead of Zbrush. It's not really a big deal. Not so much of a big deal in there that we can quite easily fix. Okay? Getting close. All right, so I think we should do that instead of Zbrush first and then bring this back in. That will make better sense. Let's open up our Zbrush five for it. So back in here, let's go in and then fix that. Select this piece. Let's find where that actually is on. So Ship F. I believe we should be able to easily set this way found it found it get close. Let's use move brush, increase the move brush a little bit more. Okay, take down the size, get in there and then just pull that out some more. Yeah, that's pretty much it. Let's check around again. Let's see if we have this working correctly. Okay? I think we are good in here. So we need to export this out. Let's see which subdivision level, we put this in nine K. Okay? That is fine. So I'm noticing that I did not import or export my ring piece into Zebra, so I need to get that exported out. I did not export that out, so let's get this exported out. So I'll go to let's make sure that I know is on there. To the map, I know if it's on there. Export this at the lowest subdivision level. I export this out but. It exported into the wrong file. We got that into the wrong file. Let's get this into the correct file ornaments. That's fine. Let select we need to fix something first. Go to preferences, important exports one of these group turn on smooth. Let's export this out again. Still on the wrong still on the wrong file. Correct file. Okay. Se like this. Exports. Final five Z export as the right one. Okay? That is fine. We need to save this file as well, okay? And I'm going to close this. Let's leave it on for now. Just in case we need to go in and then make some modifications, we can do that. I'm going to delete this. Let's go over to Z exports. So let's start with the ornaments. Let's drag these ornaments, and the part chess strap, drag in here. Awesome. Yeah, we're good in there and let's go in and then delete weird naming at the end. Okay, that is fine. I'll drag that up. Let's Let's drag this up. Yes, should be fine. Okay, select this. We have done UVs for this already. Let me pull this up. Okay? I'll hide that. All right, save this. Now, let's create UVs for this little pad chess trap. So let's do camera bis first to begin with. Let me pin this back on. Let me check now if I've fixed that correctly. Yes, we have, so no issues there anymore. That's fine. Okay. Now, let's properly and wrap this. Let's select this we'd camera bit, which is fine. So let's isolate. Object mode, isolates. Okay? So it shouldn't be too much of an arsle to create UVs four because we can create a seam across. Let me put this aside. We can create a seam on this edge. Okay? So that seam goes across the entire outing. Which is fine, precisely what we want to do with coats. Okay. Do the same for this. I put this seam around here. Second seam around here. I believe that goes across also. That goes across the entire in. Yes, it does. SD cuts. Select the entire piece. Let's done unfold. Okay? We might need. Let's see. We'll see if there's any distortion in there, then we need to cut some things out most. Let's do an orient first, Selectoients on the right hand side or left hand side, rather, select the entire outin. I need to rotate this again. Okay. That should be fine. Most of this is going to be covered by four detail also, too, so move to the side, select the entire out in. Then we're going to check. I'm going to check four issues in here if there's any though. Okay? Let's see. Let's go to UV distorts. Let's see if there's any weird stretching across this, for the most part. For the most part should be just fine. Okay, we have most parties should be just fine. It's not too much of an issue around this. This is looking good for the most part. Okay, let's check this as well. I would like to flip this. Do that. Let's lip this on you. Leave this on you as well. Leave this on you as well. Select the entire outin. Okay. Now it's a bit more organized. We have more kind of occupying more of the zero to one space in here taking more pixel information to give it a better texture resolution. So that's fine. Coming close again, bit of redness there. On the front part a little bit of redness also. Just maybe, maybe. Let's see. Let's do cuts down the middle around there. The cuts, select unfold. Okay. Let's check if it up most of the tension in the redness in there. It does. Okay. That means we need to keep this as it is. I'm going to lays down orient. I'd like to get this way instead, select the entire out in. Let's do layout. Okay. Now, the only issue in here is that we now have lower texture resolution to paint sweets. We have lower texture resolution to paint sweet. I feel way before was better. So I'm going to undo that and make some modifications to it, undo that. Maybe the modification we can do for this to actually help out a bit more would be let's do something like edge mode. No click on this edge. Double click on this edge. Okay. I'm basically trying to reduce some of the tension in the cyberc this edge. Let's go out of distortion. You need to reduce more of re tension. Okay. Then we'll do something here. Let's see. Let's find where that is. We can reduce some of the tension in here by selecting do that holding ship selecting all the way here. Then we'll do a cut. So I have a cut on this region now, then we can unfold this Okay. Let's reente. This you reduce tension some more. So those going to rotate rotates this way. Let's check for distortion again. That basically trying to ease up some of the tension we have around this. Okay. Let's go over and turn this off. Oh, oh, I see where the issue is. So we need the cut across this as well. We need a cut across this. Like, so with the cuts. Let's make sure. Let me go back in the let me stitches back together. Let's stitches back together. Let's do it so select on fold. Right? I'm still going to leave this part where I cut out though. That should use up some more retention. But I would now go over to edge mode, select this edge. Records this will ease up retention a whole lot more. Less than fold. All right, orients. It's not properly oriented. Let's get this this way, select get this this way. There should ease a whole lot of detention in there. Let's do a layout. Okay. Let's see. So let's go in and check. We still have small tension, but it's kind of easing out detention some more, which is precisely what we want. We are easing out detention even more. I will still need to do a little bit more work. You can select all the way down here, the cats. Select all the way down here. I'm trying to get this as white as I possibly can. Do a cat. Select the two unfold. Okay? That should ease up a lot more re tension also in there. Okay. Let's see where we get. Let's see where that is. All right. Yeah, this will This will work just fine. Except for one issue, though, we're going to be a tail boo texture for this, so we don't want the tailbtexture I s to be cutting out on this part here, so I think I might need to at least for the front parts. For these front parts, I'll need to stitch this back together. But for the back part, I'm going to leave the back part it is just the use of retention. So let's select this on food. All right. Let it inside out. Let's do this. Okay? That is fine. Is there a way, let me see if I can select this and get this up here? Select the entire out scene, let's do that. Select this. Trying to see if I can manipulate how this is to be arranged. See if we can manipulate this a little bit more. I still going back to the original default, so that's fine. We can leave this as it is. It should be fine. All right. This is fine. I'll save this, and I'm going to hide it. Let's hide this. Let's move on. So now that is let's go to the ornaments, isolate this. I need to do a lot more work in here actually. But let's start by doing camera biz, okay? Save this camera Bs a good start. Then there's a lot of separation we need to do in a let's start by separating this separating this isolates. Okay? Come in close. Why do you know how this will pan out? So this cylinder shape, cylindrical shape, so we know how to get this right. Let me go in and see if there's something else inside of this, okay? Now, we need to kind of hide hide this. We need to hide where simulant should be so go all the way to the back, get this closed. Let's simulant at the back. The click on this, let the loop. Okay, come in close, a loop as well. We do a cut. This should work just fine. Go out of isolate. Let's do this from the UVIDT instead. So select UV, select, select this. This as well. Slow them out. All right. This we just need to this at the back also too. Okay? Get enclosed. Our SM line should be at the back. Maybe you can aid our SIM line underneath here. That should be fine. As well. That should be fine. Let's go to the other side. I think I moved out way too much. S on the back side. Come in close. Come do a simulin as well. Cuts. Okay. Then this's fair let's select this fair. Select this fair and then do some UV work in there as well. Slow that out. Okay? So this I'm going to hide this at the lower at the bottom part, Islegs at the bottom part. Is more like a police fair. Find out where that ends, as well. Move to the opposite side. Okay? Hope I did not deselect. I feel like I've deselected, bring it back. Okay? At the bottom part as well, come in close. As well, here, also, here, also. Okay. Yeah, as well. Yeah, that should work just fine. Then we'll do a coats. Yeah, pretty much that should be fine. Go out of isolates. Still some other piece to get working in, so you sell again, select you, select this, you can select those three actually. You can select this as well. Select this. Okay. Selecting an a piece that I don't need to be selected. But that's fine. Is it? Do you have any? Yes, yes, yes. I would like to deselect. Well, anyways, let's just go in. It's doing his best not to deselect that, so we can just do UVs for that since it's already in place. Okay. We can select. Let's do U Val instead. Why are you selecting this one as an additive piece? Okay. Anyway, t just carry on. Let's just carry on. So for this, we can do we can just select this. Let's just select this edge instead. Okay? Select this edge also. This is this is the back side here. We can do Loop boots here. Okay? Selects selects Loop across this. Look across this. Let's get close. Londo that, do that. Lo across this. Look across here also as well. Go to the opposite side. Loop Loop, get close. Look. Okay? For this, we can do we can just do something like so it should be fine. Little so it should be fine. Then we do a cut. Okay, that's fine. Let's do for this piece. We do cut across that should be fine. Then around there also do cat. So continue on the next lesson where we keep working on this. I'll see you guys in the next lesson. Bye for now. 95. 94 Unwrapping Ear Orna In Maya: Welcome back, guys, we're still on this previous lesson, we finalized on the chest strap, and then we started working on the ornament. So let's continue on with that. So we're done with this U visual, we can select Oh, We haven't actually been there. So I'm going to select all of this. Let's do all of this. For now, I'm going to select this Okay. Yeah, yeah, that's fine. That's fine. Move out. Do the same also across select select Okay. Then we go in and then isolate, so we can work on them as an individual piece. But still on the back side, which is where we need to be because we need to hide either UVCMs. Let's go in. Select the loop. We can pretty much add our same line in here. Then call this across, cut across across. Okay. So letting this loop vertically, that's fine. Let's do cuts. Okay. Let's move to the opposite side. Let's do the same for the opposite side. Make sure we're at the back side. We can select in this inner ring, okay? Here well this part is going to be d because it's buried in. Then let's add loop crot across this. Okay, here well. Here as well. You're also Okay, I think we have missing a few this seats, that's it. So the cuts it's fine. So in here, this one gets a little bit tricky, slightly tricky in here. So it make it work. Let's do Okay. So we're going to use metal material for it. So the metal material is going to be on tripna mapping, so we can just do something like the coats find where that is. We can select this find where that is, get close. The loop codes across that. That is fine. That would work just fine. Okay. Then I'll go in and then do a loop, let's select this edge. Let's see. Find where that edge is. It's kind of buried in between this, but you can clearly see so I'm going to do Double click conducts. We can select this all the way up to where the same line starts across that same line. Select this also. Put select this. Find where that is. Come close. We see it now. Double click conds. The codes. Okay? Yeah, that will work just fine. That will work just fine. We also need to kind of connect this a little bit more so we can do let's do. Okay. Let's see. Yeah, that should be fine. We need to continue this on all the way all the way across. Yeah, I think we can find this on the opposite side. We should be able to find the continuation on the opposite side. Let's do I believe it should be this one. Yeah, that's the one. Okay, then we can continue on with this. All right. Yeah, as well, as well. All the way, it should be fine. Then we do cats. Okay, I believe that should be fine. Yes, I think we did that properly. So let's go to the opposite side. Let's go to the opposite side and then repeat the same thing we just did in there. So I come in here, let's do a cut around here. Select this edge. Let's find where that is on the opposite side. This is the one codes we can select Double click. Double click on this cords. Same for the opposite side. Double click with the cuts. Okay. Now, let's find let's traz that all the way down. Get enclosed, get to a side view. I'll select this. Okay, select, select, select All right. I think I know where that is already then go to the opposite side. We will connect all get us fine. Okay? Connect this all close this in. Then we do a cut. Get us fine. That is fine, that will work just fine. Then this is an a piece we need to work. I think we need to actually isolate this. We need to isolate this so let me select centi out in first to begin with, the select this. Come on. Can't I just Let me just make things a bit more easier for me. So I'm going to select all of this. Keep moving keeps taking this piece alongside it. Not sure why though. The better way to do this would be to face move. It's completely combined as one single piece. Okay. Let's see. I'm thinking of separating them out completely. But at the same time, I don't completely separate them out and then cause issues for myself. So I'm just going to hide my same line somewhere, it's still going to be I believe it's still going to be a metal still a metal piece, sort of, so we can just quite so easily do something different in here. We'll just do. Oh, it's kind of measure one single piece, actually. Surprising. But anyways, let's add our cats, our similar in here. Let's add our in here, okay? He is fine. I'll do cats Okay. Now, get in close. Get close. Let's even do wireframe in here. So wireframe you can see this. I believe you can see this a lot properly. Yeah, it should be fine. As well as well as well. I believe that should be fine. Let's go back to wire fremon shaded. Let's go to shaded instead. Oh, I think I need to select this. We didn't select the right one, so we can just go in and select it in here instead. Okay? I think we need one also in here, high dt. Let's do cuts. That should be fine. Okay? That will work just fine. Let's do for the opposite side. Missing we're still missing this. I'm missing this so we want to circle back to that. Let's just continue on. Hold this all together as one single piece. We add a simlineUunderneath this double click on that, let the loop. Okay? Yeah, that's fine. I believe we can go in. Let's go wire frame. Let's look through this. Can do yeah, well, well. No, don't do that. Let's go to shaded mode. Unless we have a proper job in this, let's do cuts. That is fine. We've not even select it on the opposite side as well. So we need to select it now. Let's select, select, select. Opposite side, select, select, select, isolates. All right. So we can work on this now. Let's start with this instead. How do you cut in your across this also as well, as well. Then we go in. Select loops inside of this. Select horizontal loops inside of this. That should be fine. Am I missing anyone? I think this should be just fine. Cuts, let's go to the opposite side. Let's start loops in vertical loops across this way, way, this way as well. Then we can go in yeah. All right. Here well, ya well. Gets enclosed. Well. Okay, then we can do your cuts. That's fine. Doing this quite well. Everything's working just fine. Let's see. I think there are there more, more shapes to still unfolding here. So we have let's do UV shell. We have this, I believe this as well. I should be the final piece as well. I believe so isolate. Alright, so let's make sure we're on the backside. Let's start with this. I'm just going to let's go in and see, Is it hollow? Do we have something in there, we do? We have something down here as well. So what that's going to do is straight course across the entire actin. Straight course should be fine. Okay. This one is buried in, we can do a cat here. We can do a cat here as well. We can do a cat here, get in close. Catie, as well. All right. Move to the next parts. So the idea is to hide you already know is to hide out same lines. Dot here, as well. Okay? This should be fine. Get in close. Yeah. Locate, as well. Do. Look coti under vascar look cotier should be fine. Okay. Oh, do you have loop codes. I'm not supposed to add. The loop codes supposed to be instead not y, so let's remove that. Let's move that. I think we do the same thing in the inner part. We need to move that also. On control and the endoplcd that should remove it. Stay on the back side. The select the select, that's fine. Okay, I think what we needed to do was to do a out inside of this instead. That's what we should have done. So let's get close. Okay, as well. Do the same for the opposite side. Get in close. We just do this first. Then we can do this as well. That's fine. We do the cats. Okay? That's fine. I think we are pretty modern. Is there anything else we are missing here? We have sim codes across the entire out scene. I don't think we're missing anything else. So let's go to isolates. So on a two editor, are you adicto? Let's select the entire outset. Let's do fold Let's give you some moments. I don't take a little writes fold, and then we come back and then there's corrections to be made in there with us go in and do that. So it's done folding. So let's done orient let's do layouts, we can also check if it fits. And it's looking good. Okay, so this is This is where we get. Not sure where I know where these tiny pieces are coming from, though. Stiny piece, broken mesh. Let's see, mi some fixing in here to begin with. This needs fixing. This is fine. This needs fixing. This needs fixing as well. But a lot of broken up piece, and it's usually mostly comes from usually mostly comes from zebra. When you're spot from zebra, sometimes you tend to have some weird issues that comes with it, surprisingly, weird issues that comes with it. Okay. But let's start fixing. Let's start fixing some of this. I'm going to select this for one and then start fixing this up. So I'm going to do a coat around here instead to cut that a part. Okay? Select fold. All right. Select this. Let's figure out where that is. Okay? Et's do we don't have any quarter cut across that, so let's do quarter across this. Let's do cuts, okay? Sell legs on fold. I think Seleg on fold. Okay. So I want to do something instead. Let me select any me that has issues and put any UV has issues and put it to the side. So select this, select this, select the two. These as well. These are well. So I'm basically selecting UV issues in there I like to put them to the side. I pull them to the side and then work on them specifically. See check in, there's anywhere I can find some model issues in there. All these pieces are coming from not sure where these pieces are coming from. But we want to check. We check. Okay? All right. So let's put this aside. Let's check in again and see if there's any place we can find we can find additional issues that we can resolve. Okay. Let's see, okay. This is one. There's another one in there. Come in close. I'll move that out of the way. Then this polar one in here now, I would like to put broken piece in there. I'll select those. Select them, select, select, select, select also. Okay? I'd like to know where they are. I'd like to know where they are so I can actually isolate them. You how that one again, can we find in here? Let's do this three for now? I see one here also. So issues like this can occur most especially when it's putting out of Zbrush. I think they should be fine. Put this to the side for now. Okay? I. Let's see where those issues are coming from. So the problem from this. Okay, so I'll select them. Let's do camera biz. Okay, what just happened. Okay. Face mode, slid the entire face. The major issues actually from this to let me go out of isolate. Let's see where they are. Let's find out where they are. These two, for example, right. I think on the opposite side also as well. So I'm going to do face mode, Dub click on this pace, double click on this face. Slide this face also as well. Okay, let's do camera biz and then move that out of the way. Okay. Move that out of the way for now. Let's see. Let's get closed. Let's do edge. Slide this edge precisely, and then let's stitch together. It's not even stitching together because the mesh is completely broken. The mesh itself is completely broken when we export it out of Zbrush, Okay. Anyways, for this, we still broken. No matter however we try to fix this still completely broken. Still completely broken. Ever we try to fix this. So I don't undo. Now, if we're texturing this it's really not going to be a major issue, actually. For texturing this is not going to be a major issue. I just something that comes with Zbrush when you export. Let's go in and then fix this instead. Let's do something that goes across in the middle. The cuts, select unfold. Let's even find where that mesh is. Let's isolate it. This mesh we have in here, we need Let me select, you know, let's go in. The cuts. Select unfold. Still giving us issues. Locally con edge, the cuts select unfold. Okay? We're getting somewhere now. The cords select on fold. Get in a double click on this edge. Let's do this edge instead, the cords on food on food, Okay. Yeah, that pretty much fixed that. Pretty much fix that. Let's go to another piece. Okay? For this, we need we have a cut across, then what is the major issue in here? Let's do some loop cut around here to begin with. Sled the entire out unfold. Okay? That's fine. Select this unfold. Let's find where that piece is. Okay? Pull this out. I think there's more to this that were not seen properly. Let me do a quote also in here, no. Get in the Let's look quote across the records. Slide the entire out in D on food. Okay? T a selected one of fold, get in close. Maybe even move it out. We can just move it out instead. Scale this out some more because you seem to do something in there. I get close. Okay? Don't under loop quotes across the coats. Unfold. Select this unfold. All right. That is fine. Let's move on to another piece. The coats unfold this? The coats cut around the coat this apart, selects unfold. Okay. You need to do a coat in the center. Select, unfold. Okay? We need to do codes across here, like so codes. We need to do the same also for these top parts. Can I select this loop? Unfortunately, I can slide down. Let's look for something close to select codes. Slide the entire out, lets fold. Okay, so we're getting somewhere. So we're just going to continue on and then finalize this in the next lesson, right? 96. 95 Unwrapping Armour Horns In Maya: Oc but, guys, so we're still on this year on a men and still fixing the UVs. So let's carry on with that. Add the cotter coats. Select the fold. Okay? You need to add a cotter cots Unfold. Okay. And that is fine. Moving on. Let's do some slats edge, slats edge. That's fine. Okay. The cuts Select unfold. Okay? Moving on, let's start with this. Let's do this instead. The cuts unfold. Select, select this edge, select this edge coming close, select this edge. Let me select this. Let me select this edge instead. Okay. Let me do this same also around there. I think I want to select this edge. This edge, we would select this edge. The cuts, slide the entire UV shells, move them up, Dn unfold. Okay, move to the side. Alright, I think this should work just fine. Move this to the side. Select just one to the side. Let's our fold on this. Okay. Okay, that should be fine. Let's see if there's something else you need to correct or fix in here. So I'll go in and then check also if there's something in here we need to fix. Let's see. Okay. All right. Led the entire out in. Let's do orient. Let's do lay out here. Now, let's check for you vi distortion see if there is any coming close and just check across this. Okay. Yeah, that's fine. That's pretty much fine. Let's move on to something else. Go out of isolates. Okay. So like this, let's add UV on this. For the most part, we have UVs on all of this. Oh, I see an issue in here. I see an issue in the Okay. That's not going to be a major issue. We can quite easily fix that. I think we fix that and then export this out again. Let's see. I just basically need to just rotate this. Need to rotate this and then we should be good. Yes, Let me export this out. Let's export this out and replace. Export this out. Let's go in and export this out to the correct file. Copy these five parts. Ps that in a fps in OBJ OBGEpots. So this ornament. Let's go. Arrange alphabetical ornaments, exports. Okay. Now I'm going to just update this year ornaments and then make corrections and then bring this back out. So I'm going to select it. So we're on the lowest obligation level, which is fine. Okay? So I'm going to go and do an import. Is there imports testing for this Imports imports? Okay? I think this should be fine. We'll just go in and then imports and replace that. So es Z exports, ornaments. Okay, topology of the mesh has changed. Yes. Oh, this is going to be an issue. This is going to be an issue, why? Because if I should the issue was from the mesh that has broken up, this is in there. So there's an issue in there that we need to fix. So to fix that we just need to Let's use no. Let's see where that is. Okay. I still pretty much the same. Okay, I think the issue was the importation. So there's an issue. Kind of I notice the mesh completely disappeared, so we won't be able to import this in because it's going to be problematic. So I'm going to show you guys another different way to actually fix this. Let me just show you guys again. If I try to import this year ornaments, shows us this weird option in here which we don't actually need. Weekly C no even if it clic on, yes, it's still going to mess things up because it to begin to start stretching out mesh in a weird way and deformation cause deformations. So even if you use no, it completely remove it completely remove the mesh and send this down all the way down yes. Let me use get in, so it becomes quite small. And if noticing here, we're kind of lost our high resolution levels in here. So we don't want that, so I'm going to do that, get this back to the way it was before. So instead, what we're going to do is that we're going to bake the UVs inside of an external soft to kind of get our normal map out of it. So we need to import. So it's completely fine. It's completely fine. Usually, sometimes you encounter you encounter issues like this, which is completely fine. But there are always ways to actually fix that. So let me use the other option of let's import this in again. Use the other option of clicking on Yes instead. So let's give you some moments. There might be issues coming up with this. So let's just give you some moment to run through. So you can see how it's not even working. Zbrush actually crashed on that. So Zbrush actually crashed. So I think there's no way to kind of get right. We can only get that right by baking on an SNR software just to get extra to normal map for it. So that's one way to do it, click Okay. So we have opened up Zbrush opened up Zbrush. All our files are still in there. So when I go to cut anything India, I'm going to maintain trasmters possible to maintain the same shape because we're going to using this and then baking out normal maps out of it. So trasmters possible to maintain the shape. Then I'll go back to Maya and then let's work on a different model. Okay. Let's also go back in here. I'd like to check something in here just to see. I'll go to geometry. Let's check UVs UVsone. You know UVson there. Go back to geometry. Let's go over to modify topology. Do we need to fix mesh integrity? Check mesh integrity, contain edges are shared by two or more polygons. Before we make a duplicate of that before we do that, let's do a duplicate of this. Okay? Just work with a duplicate, hide this at the top. That it to make most difference, though. Don't really make much difference, but let's just go in and then do fix. March As Ashland comes too, okay? We can't fix that Ts layers in there. Let's go in and then I'm going to delete this let me delete this copy. I don't need that copy. So let's just work with the originalise there. Okay, that's fine. So back to Maya, hide this. What else are you working on? Let's low this out. Okay, this is what we're working on. Let's go to the front view. Okay, get in close. So this one shouldn't take too much time to do. We can just do camera Bs. Select it. D camera Come on. Object mode, camera Bs right. And let's get in there. So we need to create a UV inside of this. But I would like to hide. Let's get in the first UV shell, select this and isolate them. Okay. Now it is from this the front view. So I like to create si lines for this. So let's do one sim here. Es be at the back across around here as well. Let's go to the opposite side. Okay. Get close. Okay? Get close here as well, here also. Then we do cuts. That's fine. That work just fine. So let's go back to the editor UV, select this. Select this. Isolate again, get close. So our UVM should be let's do our UV SM down here instead. Let's do a sim around around there should be fine. Okay, this should be just fine. Then we'll do a loop coat in here. Okay. Let's do cats. Let's go to the opposite side. Get close the loop codes across this this way. The cuts. Let's do UVs, let the entire UV unfold. Okay. I'm supposed to reent this first. Supposed to reent this first. Let's do orientation. Rotates this way, selects selects orient this this way, slide the entire out piece. There's a lo. That should be fine. Okay. I think this will work just fine. So let's check for you with distortions in the G to isolate. Let's check for you with distortions. For the most let's clear this out, click out. For the most part, this is mostly whites and mostly whites. This we can work with without any issues. Move that. Okay, let's add. Now looking at this now, I don't know if I actually need this. No entirely sure if I need this anymore. I totally sure if I need this, but maybe just for the sake of having something in there. Let's even wrap this song. Let's start by doing a camera base. So this is going to be rather simple. Going to be rather simple method of even wrapping this song. We'll just go and select loop across this. Okay? It's pretty much the same as unwrapping a cylinder, it is like a cylinder, so I'm sure by now from the examples you have been working with before, it shouldn't be too difficult to do this and then do this right. Okay. Almost done with this the armor, the rings on the left hand side. Yeah, that's fine. That's fine. Then we can do a cuts. It seems like we're missing one. Feel like I missing you missing anyone in here? Let's go to UVchel select this. Okay, we have that accounted for. So let's go to the next piece. Okay. Pretty much the same thing. All right. The cut across. Let's do a bit more the cut across in the get in the Ar get in the Okay. In there, as well. Oh, that's way too much. Let's go up. Almost done. That's pretty much it. So do a cut. Then let's go into UV editor, select the entire out scene, done on fold. Okay. The orient, select this, select all of this. O down control shift, select down contra shifts add these to it. Then let's orient this this way. Orient Orient. What about lava? Do we even want this? I like these flats. I think I prefer them flat. I'll prefer them flat, more of an horizontal fashion. So let's select all of this and let's do layout. Right, awesome. So this will work just fine. Let's check for distortions. Yeah, this is fine. This is fine. Okay? Let's undo that. Delete hide this control edge to hide that. Let's go to the own. Let's get something for the. This one shouldn't be too difficult. Let's start with one side and then work our way to the opposite side. We can even split we can pretty much split this in the middle if you need to. Let's start with getting camera UVs in there. Okay, let's go to UV UV we go to UVdito select the UV shell. Let this UV shell, sled this UV shell, sled UV shell, isolates. Alright? Should be fine. Then let's go in edge coats down here as well. The coats. Okay? For this, I think I'll just go from the lower part. Let's do from here double click. Let's find that old way down here as well. Freeze that old way down here, freeze that old way down here as well. Here, here, also. Okay? Then we can do something like that. That goes all the way, here, like so. More like a T shaped edge loop across this. Then we do cuts. Okay? Let's do the same for the opposite side. I think I believe let's get in close around should be fine. Cuts, select this edge. I think if I'm doing this correctly, should be all the yeah Awesome. That's accurately here as well. Select Let me get in close. Undo that, select this instead. We can undo that, move to the side, or undo that undo that. Okay, that's fine. Do cats. All right. Go out of ice too late. Okay. Then we can select. I think we can use this as a layer piece. This can be a layer piece. I think this will work just fine as a leader piece. Solo this out. You go in. What do you cut in the center and then we should be good. Getting close. Okay. The cuts, let the entire out piece, do unfold. This will work just fine. There's bience Okay. This should be fine, yes, it should be fine. I think I would like to select these two. I would like to get them rotated this way. You can rotate this way, select the entire piece. Lo torsions if there's any. I believe there should be known. All right? Okay, we have this tension inside of this. Nicely figure that out. You can just get close. Let a loop inside of it. Selet a loop also. Then those the cuts, that should release the tension some more. Okay, we can select all of these three, put on fold. Okay, slate the entire piece. Whoa, it's a lot of it's actually a lot of redness at the top parts. Act lay a lot of redness at the top. I don't I don't want too much redness in there, so I think I can let's see what we can do in there to actually relieve some of this tension. But we can pretty much just re coat also in there. Let me go out of this. We can actually see we are adding those codes. We can do coat also around there codes. Let the entire out in. We can do unfold, select all of these out. Okay. Yeah, it should be fine. Let's check for any tension again. I'll kind of leave most of those tension in there, so this will work just fine. Alright, so I'll do a quick sieve. Okay. But trying to decide, though. It can be a meta piece. It can also be a piece. In here is actually a leather piece. I think I'm liking this, though. I think we can use the leather piece instead. For to be leather piece, we need to remove the same line we have in here. Even though the extension there, we can still do away with it. We can kind of still do away with it, so for it to be later if it wasn't metal now, then we can ignore that, but I need to stage this together. Nos I need to stitch together. We just ignore the tension increase in there because the tension is not there. It's not too strong mesh. It's not strong enough to ruin our mesh. If we go in there, so it's not I would say, not too strong to ruin our mesh. Okay. Except if you do something in hereby if that actually do anything though, we can just do a court in here. If we do a court in here, let's see if that releases detention some more. Now, let's think on the opposite side. No, it doesn't do much. I don't do that. Do that. Okay? All right. That's fine. Save this. So I would like to keep it as a later piece, so I'm going to live with our cities. It's not going to be a deal breaker. It's still copying a lot of texture resolution on there, so it's going to work just fine. Save this. So in the next lesson, we will do something else, move on to the next piece, okay? Let me hide this. So what we have is I won't do I don't want to do I want to do this last instead. I'll do this last instead. So I'll see you guys in the next lesson. Bye for now. 97. 96 Unwrapping Sandals And Hand Strap In Maya: Hello. Welcome back, guys. The previous lesson, we worked on on the add ons, and then in this lesson, let's work on the leather strap. Okay? So let's jump right in. So select this. Then we'll go over to camera Bz. Let's great basically V camera Bz. So let's select that. When we get in close, then we'll start working on them as an individual piece. So let's start let's start with this. So for this one, I'm going to much easier to create the UVs on the edge. We can do that without any issues in the box. Let's aided our UVsm like we always do. So try as much as possible to add our seam. So let's do our seem around here instead. I think that place is quite nice to hide that Semline so do we cut? I'll do the same for the other. For the other arm, let me select this framing to zoom out. Okay. Edge mode. Dot click on this edge, cut that apart. Let's go to the next piece. This should be let's get close. Let's see where we can hide this. Around there should be fine. Okay? That should work just fine. Yeah, that will work just fine. Let's see get in close, get into the edge. Let's see, and I think we can do this from this view instead would add another one around here as well. Okay, let's go to the opposite side and do the same. Alright. Get in close. Okay. Double click on this edge. Go in. Let's this edge as well with the codes. Okay. I'm going to leave this like that for now. Okay, we need to do another codes around something that goes across this way also. Yes, we we need that. The coats let's do the same for the opposite side. Get in close. Come on. Have to frame in. Okay, to do get close. Slide this edge loop, the cats. All right. Let's get into the next piece, select this edge. Need the coat there. We also need a cat Let's see. Yeah, that's where we need the coat to be. I think at this point, you might need to separate things apart just to see where things are so do cats there. Okay. Come on. Frame into it. Find this edge, the cut there as well. Now, let's trust separating things out a little bit more so. I'll separate. Let me separate this. Find a good angle for this. Let this entire out thin. Okay. Select this entire out in as well. Isolate. Let's see what we get from this. Okay. We have sline there, we have sim line there. Let's go the other parts. Get in here, this is fine. This is fine. Go out of five sold. Let's select the next piece. You shall select this shell. Okay? I think we can select it from the opposite side also as well this shell. Let's solo this out. Okay. So now we can go in and then make another cut around here. Do cats would need another coat around here swell Cats. Go to the opposite side. One year one year swell. No, that's wrong, please. Let's put this directly in the center. If we can. Do cuts that is fine zoom out. This is the next piece we need to work on. Still on Ed mode. We will do a cat. Let's find a good angle for this. Here, it should be fine. Then the second call will be at the lower part where is going to be them from a camera view? Do the cats. Let's go to the opposite side, get the same thing in there. Okay? Turn this to the back side. Se on edge mode. This edge let write one here, no. Okay, that's the right one. That's the right one. Underneath this, the cats let's go up to the next piece. So just repeat the same thing. Code, let's here. For this, we can select this. This part one goes across. The cats go to the opposite side. Something seems to be missing. Something seems to be missing. Okay. But that might actually make sense, though. Okay. For this, we only have one strap in here for the side, we don't really have any strap, so that's fine. Actually we can actually keep it like that just to make it feel slightly more interesting. So let's go back in here, Okay? This is what we need to select, figure out where that is, yes, in from this direction. Okay. Select this edge as well with the coats. That's fine. So now I think we'll have this all set up properly now, select all of this. Okay. I should be fine. Just for the sake of having variation in there it should be fine. Okay. Yeah, this will this will work just fine. So we can save this. Okay. So all we need to do now would be just to select the entire outing. Then we done on fold. Then we do orients, then we'll do as possible to arrange this based on the directionality of the models themselves. This, for example, would need to rotate like so. This is fine. This is fine. This, I think, I'll need to lay down. Let's rotate to the left hand side. Okay. This would rotate this way. I think I'll select this to rotate them this way. Select this, rotate this way, rotates this way as well. This way, select, rotates this way. Here, I think this is pretty much for and select all of this unless they give them for it to properly arrange itself necessary to one space. Then let's check for distortions in there. For the most part, we having this a white, so this is fine. This is white. This is fine. This we can work with, select, control H to hide it. Save. Now let's move to the Sanders. So let's go to Sanders, get in there. Let's do camera Bz. Now, this one has a lot of quite a lot, quite a number of not a lot, though, but quite a number of parts in here. So we're going to try as much as possible to separate them out so you can get better control it. So let's select this. Okay, I'll select this, slow them out. But creating the UVs for this UV wise is not going to be that difficult because we need to select the edge for it. So let's find a good edge. We can select. I believe this one should be fine. We'll continue this. Okay, let's see. Look for a very good judge that will not create stretching. I think this should be the best one. This is the best one, this one goes across. Let's find the same one here also. No, let's know the one. This is the one this goes across. Okay, let's select this. Some goes across quite nicely. This work just fine. We do cuts, bring everything back out. I think, let me start from a good hierarchy. Let's start from the top. Let's start from the top instead. Okay? Let's isolate this out. Get closed, look for a good region to add our same line. A seam would be underneath here. Then a more better place to hide this what a second seam would be. All the way to the back would not be good because in case we adding render, so let's hide this to the side. I think this side should be fine. Just somewhere around here instead. That should be fine. Let's corresponding parts here as well. Going this select. I will cut. That is fine. Go out of isolates. Let's select another let's select this instead. This as well. Here, I just to work just fine. Let's isolate this. Okay? Edge mode, find a very suitable edge for this. This should be fine. Go to the opposite side. They should also be fine. Awesome with the cuts. All right. Yeah, that's pretty much it. Ready have a cuts in there already. So moving on. UVsll. Let's do this instead. Yes, that's a good one. Let's look for the edge because we need to more or less like hide. I believe this edge should be fine. This one goes across. The other one goes across this. You need something that goes across and we found the right one. So let's look for another one. Check this goes around. Yeah, this goes around as well. That is fine. The cats. Okay, next piece. Let's do this instead. Let's do this trap for the hell. Okay. So shouldn't be too difficult. Around the should be fine. Around should be fine. The cats got of isolates. UV seal right, what are we missing? Okay, we have a few. We have to select this. Let's select this as well. So this isolates. Yeah, these two should be fine. Move to the backside edge. You select this edge. I'll work just fine. Select this edge. I'll work just fine as well. Okay, select this edge. This edge with the cuts, it's fine. We got to isolates. Then we have W one have you not done yet? Okay, we have done for this. We haven't done for Let's go. We share. We haven't done for this. I believe we have we have done for that already. What about this? I don't think we are so select it. Let's isolate. Okay? Same process around this also. Let's use this edge instead. That goes across perfectly. Do the same for the opposite side to see if I can find the rights. I believe that's the one. No, no, no, I don't think I want that one. This one going to create some stretching around you and I don't want that, so let's use this instead. Use this instead. This two also goes across, so that's going to avoid stretching close to the edge. This should be fine. Cuts. Okay. Go out of isolates. Okay, if we shall select selects now shouldn't be difficult. We will just grab this edge. This one goes across, just fine. Go to the opposite side. Select, this one goes across just fine also as well. Okay, with the cuts, save this. Let's bring everything back out. Oh, yeah, I mean one more, the soul. You need the soul, select select, okay? For this, should be fairly simple. We just need to read this look. Here with under opa. Now I need more control over this, so I'm going to create under opia under opa as well. So I'm going to do cuts. It's precisely what we want. So I have control to kind of let or give this mid range parts a completely different different layer material, most multi layer material, physically, so I think this should be just fine. Let's go to isolate. And now we can properly spread them apart now. Okay. So let's do UV shells, lay the entire shell. Let's do unfold. Okay, let's do Orient. Let's do layouts dm properly. Just in case we need to apply all types how far inside of so can spinter can quite easily do that. Okay, so let's start with this. Let's look for counter. Let's just rotate this way, rotate this way, select rotates this way, this way, same as this. All right. Let's find where this is. It's at the back. Need to rotate it this way. Select the other half. Then you rotate it properly. This is second piece, rotate it properly as well. This is the missing one. Rotate this. Let me make some adjustments to this by hand. All right. Rotate this way. Okay? Where is this supposed to be? All right. This one goes across. Let's find where it is to edge mode, select the entire edge. Let's find where that is. Okay? These are the top parts. That's the top parts. Select this. Let's see, I think we need to rotate it this way. So it's pretty much like so. This rotation should be just fine. Let's find where this is. Select its counterparts, rotate in that same direction. No no it's supposed to be this way instead. That way should be fine. Move this aside. Okay. Move this down, rotate some more. This way should be fine. Okay. Rotate this way. Move this out. Move this out this way. Okay. Here's the menu one. This is the last one. I will rotate rotates this way. Bring this out here. Select this piece. Okay. I think this is the opposite piece also as well. Okay, the orientation for this is quite where it's supposed to be. Okay, I think we need to rotate this way. Is the corresponding piece, rotates this way. Okay, rotate this way. That's oriens All right. Yeah, that should be fine. This, you need to rotate this way, rotate this way. Rotate this this way. Corresponding part rotates this way as well. Rotate this way. All right. These are the back. Me to set this flat this way. Select this, rotate this way, rotate this this way. Okay? This is fine. All right. Okay, select this. This this way. I think for the most part, the orientation for most of these are actually in place. This this is fine. This is fine corresponding piece. Let's find the corresponding piece for it. This is it. Do that. Let's rotate this way. Let's led the entire out in. Just the maintaining or sing this as much as possible to put in orientation we have for them. Okay. We'll take this way a bit more. Where is it supposed to be. Okay, the back side. Alright. I think we're in a good place to take this way some more. I think for the most part, this should be working just fine. I'm just checking just to be sure. I'm just trying to be sure, making sure all of this is in place. Okay. Select all of this again, do layout. No no no another layout now. So this is another layout. Let's check for distortions. For the most part, we have the whites, so this should work just fine. Pol rise should work just fine. Let's do check a pattern in there. Yeah, we did a pretty good job just to get the proper flow of pattern in here, which is just fine. Polrishuld work just fine. Alright, I'll save this. It's important to kind of try to arrange them in a way that becomes most easier for you to understand. Most especially when you want to maybe you want to have some kind of pattern across around this. So in Subtansprinter, we cannot go and then stamp this directly on it without any issues. That's why I'm trying to make sure my orientation are actually accurate enough for us to work with. So just to keep that in mind. So let me save this. So the next lesson, we'll just go in and then going and then we'll work on ID. So this is the final piece. This is what we're going to be working on you as our final apiece. So I'll see you guys in the next lesson, bye for now. 98. 97 Unwrapping Shoulder Beads In Maya: Welcome bad guys. So we are on the final model to UV and wrap, and then we'll start the baking process. So let's get right into it. So basically what I'm going to do what I'm going to be doing would be to okay, we have this front view already. Then we'll just go over and then do camera based. Oh, objects, camera based. Yes, that's fine. So now we just go underneath this and begin to create our UVs underneath all of this. To clear out edge mode, locally on this edge. Let me make sure I'm on the right list right list. Get closed right here as well. Move down to the next one. So we're pretty much just doing the same thing, adding this course precisely on this almost flat squary surface. So basically creating square UVs for this because we kind of smooth this out from a tube. I'm sure you guys get the idea already. So we've talked about that previously. So let's just carry on. So the best place to actually place this underneath do that as the wrong place to place this underneath the only these tiny bids, far car beds. This part is going to be tucked into the leopard skin strap. So we just need to put this where these UV sins can be properly eating for the most part. Which is the most smarter way to do it. Instead of putting it to where it's going to be too obvious to see. So, yes. So we're already getting to the form part. The form part is texturing. At least for me, the texturing aspect of the entire process is usually the form part for me. So I'm sure for most of it is actually the form parts. So we're almost at the form part because I sincerely just love when everything just begins to come to life when you begin to add color texture to it. But keep in mind that all the details all the details you added inside of Zbrush resorts, we kind of give you another trow. Another extra edge kind of push your texturing, the surface texturing and the general appeal of the texturing even further and do that, making it even more realistic believable. That's if you're going for a more realistic look to it. And for this story, we're going for a more realistic look to it. So it's important it's important that we kind of check all the boxes just to get the results we're going for. Okay. So moving on. Let's make sure we're still in the same place. Yes, we're still in the same place. We're not drilling off from where we need to be. I think from this angle, it's a lot much easier just to get the selection from this angle. All right. Move this along, well, also, okay. We should be done with this in no time. At least within the 25 minutes time frame, should I believe we should be done with it because basically just repeating the same thing. I'm not entirely sure how many. I think these balls are actually quite much. All these pairs are actually quite more. They should be up to, if not, up to 50 or so, or maybe more. But definitely not less. Okay, moving on. We still have the opposite side also to tackle. And I think we're not too far I think we're not too far off. From this role, we should be getting close to the end point of this role, I believe, zoom out. Let's see, I mean, whoa, sit quite more. I say, probably 15 or so, or maybe 20, probably. So just move this along quite faster so we can do something else. Yeah, I know, right? Like I said before. Doing this at some point, it feels like might feel like you want to slip off because you're basically just repeating the same thing over and over and over again. Most especially for models that are similar to themselves. And in this case, it is the phase actually similar to themselves. So basically repeating the same thing. But ve though you repeating the same thing, you want to be careful that you're doing this accurately. You don't want to do somewhere else and begin to repeat the entire process again. To me, I know definitely that my UVs are supposed to be in this place, so always a place that is kind of tucked into the mesh. So we just make sure we get all the UVs. All these parts select all these edges selected. So they are barely afterwards, don't texturing seam lines should be barely visible. But even if it's not barely visible, we still have control over it's based on using substance pens that kind of control where we want some of these piece to be and some of the textures to be so we can completely, if not absolutely undo that. If not, absolutely, avoid our seam lines being completely visible. Let's be cut. Okay, let's start from the opposite side. Let's start from the opposite side now. Let's continue on. All right. Next piece. On this side, also, I believe, also move down. That should be it. Great. So that's fine. Next piece. That's the one. That's the one we need. That's the one we need. We are by no means thrilling off. Believe we have this all locked in. I think at this point, I can actually close my eyes and do all of this I mean, what do you think? Definitely not. I think I need better I need visuals to actually know where to actually know where to set these edges. Because I'm just being poetic by saying I can do this with my eyes closed. You and I both know that I can definitely do this with my eyes closed. I cannot do this with my eyes closed because this is out, obviously. So as much as we try to be poetic about it, we cannot do this with our eyes closed wrong place. We need both our eyes and our mind locked in visually to know precisely where we need to add these same lines. If not, we need to go back down and start fixing it. But at least to some extent, Maya makes the process at least should you say a little easier? I mean, in terms of, let's say you select the wrong edge for just that piece, we can always select that edge inside of our two d Editor and then it's F to frame into it and then do the fix for it. So salon I'm using Maya also is because Maya is more robust that's more robust way of creating UVs unlike Zbrush. Cases some cases whereby maybe you're working on your own personal project, and then you're not too specific about how you want your UVs to be. You just want something something, something rough just to begin with. Then you can most certainly use the Zbrush UV master to just create basic UVs. Do you still have some level of control over though, like specifying or painting regions where you don't want your same lines to be. But the only downside to using UV and UV master and Zbrush to create your UV is that in cases whereby you need precise control over where exactly you want your UVS to be in terms of putting your UVs on a particular or specific edge, then there's a shortcoming there's a shortcoming for Zbrush using UV Master. But inside of Maya, there's no shortcoming in terms of that because as we are doing now, as we're doing now, we can specify distinctively where we want our same line to be. Which gives us a whole lot of control. And to also to actually fix issues we might encounter. Okay, I believe I think basically moving at the first pace. Let's make sure we're not subtracted. Yes, we're in the right place. Moving on. The camera angle guess a little bit tricky on this p so might need to take a view. Different camera angles so we can actually continue on with this. Yes, I believe this should be fine. All right. Let's do guessing again. Let's do guessing again for this. Let's see how many wavelets. Let me say we have up to, let's say 12. So let's start counting from this. So it should be one. Next piece. Okay. That's the end. It should be two. Next piece. It should be three. This should be four, okay? Almost. Okay, 45, six, five. Oh, I guess I was wrong. But it's a good thing I was wrong, actually, because come on, 12, that's a lot more. That's a lot to cover. But good to like on the final, so let's just wrap this up. So in general, it was like, I think, six or seven. I think I actually lost counts. So let's do cuts. Alright. So pretty much hidden. Then go and select the entire UV shell done on fold. Here just do basic orients and layout for this. Awesome. So we are done. And let's check just to see if we missed something. If there are any issues anywhere around here, so we can just fix that. For the most part, nothing. Let's check there are tensions around the bots. Nothing too, nothing too complicated, that would ruin our mesh. I think this should work pretty much just fine. If you apply, you check a part and in there. I think this should be just fine. This work just fine. All right, so I'll save this. Now, let's bring everything back out, so we can actually see the entire outin and see how well we did. So let's don all of this. Let all of this shift edge to bring everything back out. Also I think there's one you need to set up in the perspective camera perspective. Let's set this to focal length to 85. So we get something let me clean that. So we get something close to a realistic camera for this. So yeah, this is fine. This should work just fine for what we need it for. Okay? So we select the entire outin now, and then we do checkup pattern. We come close, we should be able to see all of these ing checker patterns in the Let me just get this squash this down some more. You can see how the checker parts of flow in neatly across this, which is precisely what we want. We want something that flows neatly. And for the most part, all of this flows neatly across. Awesome. Yeah, I think we did a pretty good job in here. All of this should be just fine. Yes, we can work with this. Okay? Yep. This is fine as well. All right, so we have this in place now, so I'm going to save this. So next we need to start there now, begin to export them individually back to the various Zbrush file. Apart from the body. Apart from the body and the eye and the minuscule, this ones already have UVs that are already in we separate file there already. But for the accessories, we're going to export everything back out except for this one that this year on Amanda art issues. So we'll leave that. We're going to bag that in a separate way, but we're also going to export back to Zbrush and make normal maps and displacement map inside of Zbrush. Okay? So I'll see you guys in the next lesson by for now. 99. 98 Baking Body Maps In Zbrush: Okay. Welcome, but guys. So in the previous lesson, we finalized on creating the UVs for the entire ten. So on this level, we're going to start exporting them out individually and then replacing them with the previous one we exported out of Zbrush. So they kind of take up the UVs we created for them. Let's jump right into it. But there are a few of these I won't need to export out again, this for example, I don't need to export this out because we already have we already have good enough topology in here to work with. And we don't necessarily need to unbik any other subdivision level or any any other maps for it. This also, for example, and then remember there will need to be externally. Okay? So if you zoom out now, you can see this weird black black shadedness in here. So to remove that I'll go to your perspective. We'll go to our Attribute Editor, and I believe it should be clip plans. Let's say this to one. So that will completely remove that. It's fine. So let's start exporting things out now. So I'm not going to export the minus because I'm not going to export the outer eye because already have those set out already. I'm not exporting the eye risk, okay? I'm not exporting the body. The body already has UVs, but I'll start from this tiger mat meta max. Let's export that out. Less than exportation. So exporting this to the final Z exports. So let's find the tiger LGBT tiger meta mats. Export, replace. Waste band. Export this as well. So waste band. You should be down as the last one. So you want to make sure you're exporting this on top of the original model. B plates. So b splits should be this exports. Okay? Cowry waste bid. Exports. Cowry waste bid, cowry waste bid, that's the one. Yes. Okay? Chain roup. Need to export that as well. Y chain Rop, y chain Rop. That's the one exports. All right, ring, rings, export this out as well. Rings. Okay. Edge center bid. Export selection. He edge center bid as the one, all right. You bids. Your beads, that's the one. All right. That will work just fine. Okay. Then we have the metal wastes band. Meta We band, is this? I just replace that metal with band, metal we band, that's the one. Okay? Shed exports selection, S, that's the one exports. Export skates spot selection skates. That's the one. Okay. Now, the spare spot selection spare that's the one Crosshesstrap. Okay. Cross Chess strap. That's the one exports. Yes. Liu Patchess strap, up Lupa chess strap. All right. Next one, E ornaments. So we won't be exported this year ornament because it thus issues when we exported this out of Zbrush. And importing this back is going to give us extra problem. So let's ignore that, so armor export selection, momo, that's the one. Yes. Rings. Export selection. Arm rings. That's the one exports. Head ons. Spot selection Ed owns. That's the one. Yes. And leather strap and leader strap. So H and leather strap. Sanders spot selection. That should be down Sanders. All right. Cross shoulder beds. A spot selection. C, cross shoulder beds. That's the one. Yes. All right. Awesome. So we have this in place now. So I would like to start my baking from our min mesh instead. So let's open up the Zbrush five for that. All right. So back to this Control N. Let's get this in frame. Okay? So we have this properly laid out now just the way we want. Then let's go in and then just increase our subdivision level to the highest again. Let's see all the details one more time, just to be sure everything is working correctly as it should. Click Okay. Okay, so this is the highest subdivision level for this. We have this good. Everything is working correctly as we need them too. Yes, everything is fine. This would work just fine. All right. So now let's go to the lowest subdivision level for this. Okay. So D, let's do Shift D and go to the lower subdivision level. Then we're going to be baking this from the lower subdivision level. So now, how do we bake out of this? I'm going to show you guys how to bake out of this. So to do that, we just need to so we are on the lower subdivision level, which is fine. We'll just go down to UV map, set this to four k resolution because we want to bag this at four K. Then go Let's start with the normal map. So let's start baking normal map. So turn down tangents, smooth UV, smooth normal, and then we should be good. So just click on, we have the body selected. Then just click on create normal map. Then give you a moment to kind of run and create a normal map for us. So we are done, so this is this here. So now we need to clone this, let's do clone normal map, go over to texture, flip V because ZebralVts upside down, so let's flip this vertically. Then exports. I'm going to export this to Z final. Let's create a new folder. Let's name this to Z. Let's do. So let's do Z maps. Open that up. Then I'm going to name this to Z normal. This is going to be our normal map. I want to save this E PNG file. I prefer to use PNG file, save this. Save Nonetheless go in and then check. Let's go in and then check because we always want to go in and then check for if there's any issues with the map. Let me zoom in. I'll zoom in. I'm going to check, most likely check on the face. Okay. For the most for the most part, I think this should be just fine. For the most part, this should work just fine. If there's any issue around this, we still need to kind of test this out. We need to test this out inside of Subtanpiny later on. And if there's any issue with this, then we'll find another way to make out the maps we need butting. For the most part, this should be just fine. This should be just fine, for the most part. Okay? Maybe we can do we can bake eat game map also for it. So let's go and then bike eat game map. Let's try baking. Let's try baking Et game map instead. Okay. So I'll go into texture maps, UV map. Let's back at eight k. I'm going to drag this all the way up. Let's normal map for eight k. Click on creates normal map. So now we have eight k map in here baked out. So Clone let's go over to texture, Fl V exports this out. I'm just going to put eight k at the end. I know what it is. Eight k. Save this. Yes, save now. Let's go in and then check. So I'll just open this up. We should be getting more resolution out of this. So I'm going to go into the pace and then check. Yeah, this is way, way better. I think baking is a eight architecture. Eight architecture map is the best option for this because now we can see more details, quite clearer. Details are way clearer now compared to, let's see, compared to the normal average four architecture. Okay, Let's zoom into the face. This is the four ki texture. The architecture is not properly capturing the details for the face, but the eight texture does a pretty good job catching all the interesting details of the face, which is what we want, so you can see more clear definition of the skip detail on the face. I'm going to be using the eight ki texture instead. So now we need to create a displacement map now. So I think we can try creating a displacement map. Let's start with four K to begin with. Then we compare that with eight K. Let's start with eight k, then compare that to four K. So displacement map. So Smooth UV, that's fine. Flip V, that's fine also. I think by default, the spots At system bit which is fine. But if you want to export tat bit that's also fine also. But I think let's create an Export map. So I'm going to click on that. Okay, actually knows where we need to want to export this too. So this should be displacement map. Do DIS PL. At the end, we just put 88k. Spots a T file, which is fine. Then click on save. Then just allow it to exist and then we'll come back when it is done. So it's actually as if we want to export our model, we just use no. Okay, so is there already let's go in and then check? Is there a displacement map, k. So I'll double click on this. You should open up in Windows photo viewer. Then we can go in. Okay. Let's go into the face. Because the face, we need to kind of visualize even more. I think this eight texture will work just fine. This will work just fine for what we need it for. The file size is 120 MB, which is fine. It's not too much actually. You can work with this. So yeah, this is what we basically need to do. For the I and the Iris, we already have displacement math for that and we already have normal math for that also, too, that we're going to just use up to speed up the process. So that's fine. So now we're going to need to open up the we need to open up our second accessories file. Open up our SSS. But before we open up our SSS f, there's something I need to do here. I need to optimize this file a little bit more. Let's optimize this file some more, so we need to go to our layers and then let's go to the IS subdivision level. So on the sub ditiyre going to merge some layers down. Need to merge some layers down just to optimize this file little bit more. So we already have a backup that we kept some variables, so we can do whatever we want with this actually, and then we should be good. Click Okay. I need to see all my layers in here, right? So let me scroll down. Let me scroll down. Let's see. So we ask us in the leap detail, nook wrinkle detail. Okay. Let's start by merging the asymmetry with facial asymmetry. We can start with that. So I'm going to select it. Sled layer in there. Okay. Is the layer selected. Let's see. Layer selected is the body primary forms. And the next one below is body asymmetry. Then we add Ed primary. Can I move layers? Let's see if we can move layers in between press sheet to page down. Okay. Let's send this primary up instead. So select it. Then let's shoot this up. This one only select this is just like a selector, just move in between. This is the one we need. This is the one we need prime, I'm going to move this up. That we moved up now. I'm going to merge this body primary with the Ed primary so. Let's do a merge down. So we have merge down. We have inverts. So let's do merge down. So I'm merging the body primary with the Ed primary merge down. Okay, that have been merged down as one entire layer, which is fine. Let's look for something we can merge down also let's merge down this noise surface with the noise pause, select that. Let's do merge down. Let's merge down. Okay? Imagine these two as one single layers that merge down now. Then we have the flip normal skin pause with the XYZ skin pose. So I would like to merge. Okay, we have the body asymmetry and the efficient asymmetry. Let's merge these two together. The body asymmetry and efficial asymmetry. So let's merge down for those. There are some layers I'm going to keep. I'm going to keep some layers. So let's see, we can merge this noise. No, we can merge this skin pose flipped Yes, let's merge this XYZ pause with let me get close actually on this because we've already established the skin poll detail we need for this already. We've already established that, so we don't need to make any correction in there. We don't need to make any correction in there, so this is as sharp as we want it to be. So I'm going to merge the let's see, let's see what we can do in here. What can we merge down? Okay? We have the wrinkle. I can merge the wrinkle details with the leap details. So those two, I can merge down. So let's merge that down. Okay? So we have this merge down now. We really optimizing this as much as we can. Let's see what else we can merge down again. That should work. Okay. So I would like to keep this flip noomal skim pose and the XYZ skim pose, I would like to keep them distinctive to themselves. But I think I can merge this. I believe I can merge this knocks wrinkle detail with scars. I think I can merge those two together. So let's do a merge down. Let's do a merge down for those. Okay, that's fine. So now let's save this file. Let's go to lower sorption level and then save our file. So save this file. This should drastically reduce S has 3.6 gig now, this should drastically reduce the entire file size, which is what we want. That has been saved and let's go in. So our file 3.6 before is not completely reducing. Let's go back in maybe to reduce by now, not completely yet. We just only had 400 MB reduced. 400 MB was reduced. Let's see what we can merge down again. Let's merge this skim pose Let's merge this skim pose with the No, let's merge the noise surface with the tecton XYZ skin pose instead. So let's do you need to go to the highest observation level to do that. I'm going to bring the OD our accessories file las Z in here. So we need to get this reduced at least to a few amount of file size. So surface. No, I think we can merge the body asymmetry. Let's merge the body asymmetry with the noise instead. That's a better way to go. Do they merge down. That is fine. That would work just fine. Okay? I think we need to collapse, one more also. Let's do I think at this point, we can just merge these two together. Let's merge these two together. Skin pause flip. We can merge this together. I still want to have this control over this X zipuse if I need to. I still want some little measure of control over it. I think I'm going to leave that. Yes, I can leave that, but I think I can merge the body primarily with the body asymmetry. So let's merge those down. So it's just be just one layer for those. And then let's save this again. We have a 3.2. Initially, it was 3.6, so 3.2, let's replace this again. So we have deceived out now. Let's go in and check our five size. Awesome. So you see we have reduced our five size all the way down to 2.5 gig, which is fine. So if we're merging the final accessories with this, we should be getting roughly a five size that is around I think that should be 5.2. So that should be 5.2 gig, roughly 5.2 gig. So we still need to go in and optimize a few of this year also bots. I think at this point, we have a good file size to work with if we bring back in or you bring in the accessories fires on top of this fire. Okay? So this is fine. So let's move on. So the next lesson, we're going to start baking our accessories fires. So we'll do that in the next lesson. Bye for now. 100. 99 Baking Head Accesssories Maps In Zbrush: B comber, guys, in the previous lesson, we created or backed out texture maps such as the normal map and displacement map for the body. So in this lesson, let's start baking for the accessories. To do that, let's open up our file and then we'll go to the d accessories and let's start with the ring, yes. So there are a few of this in here also. So we have the also let's start with the rings instead, I'm going to we're going to start work hierarchical in here instead. So let me solow this out. Okay. So we have this still spotted out from the subdivision level, we spotted out out from, which is fine. If we increase the subdivision level, I think we need to increase subdivision level a little bit more. You get something quite smooth out of this. I think this should be fine. It's coming close. This should be fine. Basically, we don't need to increase this that much because let's just subdivide one more instead. I think this should be fine. I think it's going to take this down eventually because the one we exported out, the base mesh we expted out is actually fine. We don't really necessarily need to make any normal map for it. But anyways, let's just go down to lower subdivision level and then reimport that in. So let's do imports. Okay. Then finalize the exports. So this is the arm ring. So select that. Put that back in, then immediately we'll go down to normal map, UV map face. Let's say this at folky resolution. The rest of the models are going to be exporting or baking our maps at FokiRsolution instead. So yes, so UV map for resolution. We have vis in there now, normal map. Okay, create normal map. This shouldn't take too long. Okay, that's done. Then do clone map. Go over to texture. Let's do flip Vo exports. Export these to Z maps, PNG, Okay, I can arm rings normal. Let's use all caps for this. Okay, normal. That should be fine. Save. Right, that's fine. Then I'll go back in there. I'm going to go to the Let's go all the way. Let's delete Aya instead, just to keep our file slightly optimized. Okay? Next piece. So if let's go in and check, let's go in and check our exported out map. Alright. If you zoom in, it's actually quite smooth because we don't have any part Lo specific detail on this, so it's quite smooth. So that should be fine. Let's go to the next piece, the tiger max. I'm going to let's go in here. Okay, so spot this out at subdivision level three, which is 52 k. So let's import that back in. So imports. Alright. The exports. So this is the tiger meta mats. Let's type in C in tiger meta marks as the one. Double click on that, replace it. Then we go down UV map, say this to folk resolution. Ready at folk resolution. Normal map. I think need to export displacement map for this also. Let's export out numer map. Let's concrete give this a moment. Want to export this or create your nomal map from the subdivision level, you export it out as a Bz mash. I think this is fine clone, texture, flip V exports, Z map. Okay. Put number at the end. That is fine. Save that. Let's go in and then check. All right. D click on this. Let us check. So we have this accurately exported out, which is fine, precisely what we want. I'll close this. I'm going to export a displacement for this also. So displacement map. Flip V creates Z maps. Let's do the IS PL. That is fine. Save this out. Spot out, give you a moments. No, we don't want to export the base mesh, so we are fine. So let's move on to the next sub two. Let's go to the spare, get into the spare. We sputtered this out at 81 k. Let's import that back in. E on the keyboard, spare, this is it. Select that that you input correctly. Let's go over to UV. For k resolution. Normal map. Well you need normal math for this? We don't need to export our displacement map creates. I shouldn't take too long. Should almost be done with seats. So it's done exporting now. So let's go and then do a clone normal map, over to texture Flav exports, ZMP, put normal at the end. Okay, you should probably won't copy this so we can just keep pasting sieve. Go in there and let's check. Zoom in. So this is here. This is what we have in here. So we have this exported out correctly. So this will work just fine. This is the wood. If you go in, you can see the wood textures in here, which is also oh, I think there's an issue. I believe there's an issue. There's a stretching in here. Consider this to very stretching. There's definitely an issue. Well, let's go in and confirm. Let's go in and confirm. Let's see how we have this UVs laid out here. Sometimes you might encounter issues like this. So you v ditto, that's why it's important you check the stretching is coming from this piece. This piece is quite stretch out. That piece is stretched out. So usually the way to fix it is to the way I usually fix it will be just to go back in the delete UV to start with delete UVs. Then import that in again. Import the spare in again, then just beak immediately. So spare. Then we just go in and beak immediately. So normal map, create normal map. If it doesn't work, then, the only option would be to beak Eternal software instead. It's not creating a map, let's do clone, texture fl v export this out again. Let me just export this out this way. Then we need to go in and then check again. So spare Oh, I exported out the wrong file, so it should be in here. This is this in here. Let's check that. Let's check for any weird stretching. This stretching is still in the we still have that issue in there. Sadly, just stretching this out way too much. Maybe we should Let's work on the UV. So issues this up sometimes unavoidable. Unavailable. You just have to go in there and do some more and do some more work in there. So I'm going to select this. Let's go over to our UV Dittal. Let's try to fix this. Oh. It's kind of extending out. I can see it extending outside of your zero to one space, so let's bring that back in. Let's just select it and then bring this back in unfold that again. Okay. Set this down here. Let's make sure I believe it's because it's crossing outside the line. That's why we are having issues for it for the beacon. So let's select it. Save. We need to export this out again. I need to turn off the checker pat and export this out again. Export selection. Spare spare spare. That's the one. Yes. Okay. Let's go out, delete this. Go over to Z map, delete this. No, we can just replace. We can easily replace. Let's go back to Zbrush. Start by going to UV map, delete UV Imports. Select the spare, go in the forking resolution. Normal map, create normal map. So exported out. Let's do clone. I strongly believe now that we should have this working correctly. So I want to export this to Z map. Let's just save it as spare. Let's check. Okay. Fixed. Awesome. So you see how that's kind of fixed it. So I was just something we just need to go back in and then check, and then that's actually fixed it. No more stretching in there. There's no more stretching in there, which is fine. So you can actually see the detail now in there. It's precisely what we want, so we are good. Let me just check this again. Though, to some extent, we are losing some amount of resolution in, but I think for the most part, this should be just fine. Don't want it to be too extreme. This will work just fine. So let me close this. That's fine that we can work with. So let's move on to the next piece. Sub to add on. Let's frame into it. All right, go into imports, so add on. Name is add on. Let's type in H on my keyboard, and then we should find that quite easily head ons. You want to make sure you're selecting the correct model. Very important. Go down let's go over to UV map, set this to four k resolution. Then normal map creates. Is done. Let's do clone, texture, five, exports, Z maps. All right. I should be fine. Then we'll go over to finalize Zima where that's fine. Add ons. Do you even need to add normal? Okay, let's just add normal at the end. All right, save. Then we need to go in and then confirm and see if we have this baked out correctly. So add ons. So we want to check and see if there's any stretching anywhere. For the most part, we don't have any stretching, that is fine. Awesome. This should work just fine. Okay. Moving on. Next piece, stop to we have the jaw bids. Okay, go in, let's see, geometry. Okay, we have this high enough. So jaw beds. Imports, the exports J Jo beds. That is the one. UV map, FokiRsolution, go over to normal map, create normal map. This shouldn't take too long. We should have something good. Clone, texture, Philip V exports, Z map. Let's add norm. Okay, we already have this copied out so can space this. All right, so we need to check. We always need to check, very important. We always need to check a jaw All right. This is fine. We don't see any stretching anywhere, so this is fine. Next piece. So we have the ye chin rope. Okay, we have subdivision level in there that should hold it. Yes, we do. So let's go and import this in Import. So the name is Ye chin Ye chin. Chin, bead rope. That's the one L click conducts. Scroll up would find UV map, folk resolution, Normal map, another similar repetitive process across the entire outing. So create noumer map, Clone texture, flip V exports, ZMP. Abnormal at the end. Pass this. All right go in and check Ye chin, bead rope. This will work just fine. I don't necessarily see any weird stretching around this so far. Close this. Next piece. So we have next piece is the d center bid frame into it. Let's check our geometry. Let's see if we have enough resolution to hold that. Let's go in and imports imports. So this is named center bid. Z exports, H center bid, this would be the one has the one imported correctly. All right. Then we'll go over to UV map for resolution. Normal map. We do it creates. All right. This should be fine. We clone, go over to texture, flip Exports. Let's export this to the correct folder. All right, no, with those pists that should be fine. Now let's go in and then check. All right, in there now eight center beads. Let's go in and then check. All of this is working just fine. Awesome. Yes, this is fine. Close this. Okay, let's move on to the next piece. So the next piece is the rings. That's the one. Framing suits, let's check. Okay, we have enough resolution here because we did some sculpted surface detail on it. So imports, rings, Z exports, rings, rings. This is the one selects, Imported without any issues. Awesome. Texture UV map, folk resolution. Normal map, creates normal map. Don't take too much time. Clone, texture, flip V exports. Export this to ZMap. Okay. Save this. Let's go in and then check. Go back, open that up again. Yes, it's Indian now, so rings. Rings, open this up. Let us check. Do we have something in there? Let me close this? For the most part, we were fine. Most of this is working correctly. Not so much stretching around this, which is fine. Close this. Let's do two more, and then we can end this tutorial here and then continue on the next tutorial. We can move down now. We ignored the egg ornament for now, ignore the e ornament for now. But one thing we like to do export it out. Export a higher resolution for it that we can now be the next soft twist. Let's just wrap this up by exporting a higher resolution. So the highest resolution for this is how many million polygons do we have in here? So subdividing. 50 million is actually fine. 50 million is actually fine. So let's export this out. Export. So I'm going to export this here. I'm going to No, this is the wrong file. Wrong file. I think we can export this outside. Let's export this outside here. Let us export this here instead. Let's do Let me name this to I Pul. I Pul Save. So this will take a while. This will take a while. So I'm not going to explore this out. So in the next lesson, we're going to be that external software. So I'll see you guys in the next lesson, bye for now. 101. 100 Baking Maps In Marmoset Toolbag: Welcome but guys. In previous lesson, we exported out and did you vis and exported out this IPOly version of the ornament. I'm going to make the normal maps inside of Momo set two back I should open up Mamo Set two back in here, let's import models. I'm going to be importing the low poly and the IPOly version. E on the keyboard, we should look for this. This is the ornament low poly. This is the I poly Let's import the low poly first. All right. So I'm going to put in front low ply. All right. So if you should go in here and just check this out, it looks. That's fine. It's no less hide this less imports in the high poly version. So this is ornaments high ply. Just one thing, though, I think we should be let's just import this in won't be too much of an issue. But what I wanted to mention was that when we're exporting this out from Zbrush, we did not set Smooth UV and when we did not set, just smooth we didn't set Smooth UV for it, so importing this in here would actually work, but it's become we sold out models that we don't actually. But it's still going to work. So let's just give this a moment to load up. So it's a fight that's up to 1.8 gigs, so it might take just a little moment to be brought into Marmoset Toolbag. So it put it in successfully. And this is where we get with all the details in there. Okay, that is fine. So probably say two bags to put all the broken up parts into a particular folder or more or less like it's going to kind of merge them into one particular mesh. So even though we have a group that shows all the poly groups in there, it's going to put that as one single piece, which is precisely what we need for the most part. So we're going to click on this bread icon, new Big projects. Then let's drag the low poly down to low. Then the I pull it down to I All right. Turn on the low poly, select the cage. So this cage now don't select the low actually to see the cage. So this cage, you need to make it a whole lot tighter than it is right now, so you need to push it closer to the mesh. I believe we can do this from this mat offsets Bike output doesn't exist. Choose parts. Yes. Since that's no kind of select a part you want to bake and mesh into. So we can do Let's do PNG instead. PNG, finalize Z map. So this should be ornaments instead. So yeah, spell out correctly, or mens, normal All right. That's fine. Slow it wants. Okay. It's kind of loading of taking time up. Okay, that's fine. So let's go back to the bike group. Select this Bk project now and then let's make some modifications to it. Alright really specify we want this to bit out in. Baking is a eight bits, pading none. We don't want any pading for this. The resolution we need for this, need four resolution. Fok resolution should work just fine. Okay. What else do we need in here to set up a smooth and put the smooth all the way to one. So this is for the smooth UV, so let's set the smooth all the way to one. One should be fine. All right, what else can we do in here? Just checking if everything's set up correctly. I believe it is. So I think we're pretty much set. We can bake this and see what we get out of this. Let me check this again just to be sure. Need to make sure it's quite close to it, so we can get proper bikes out of this. That's fine. Let's run our bake and then we're going to test this out. So I'm going to click on Bake. It shouldn't take too long, actually. It shouldn't take too long. Once we have our bike, we can preview it's done. Let's preview this, so let's go and click to preview this. Let's see. Okay. Now, you need to actually go around and then check if everything's working correctly. If you have the big working out correctly without any weird artifact issues around this. And for the most part, I think you are pretty much good in here. Let's check for the opposite side. Yes, we can definitely work with this. It around. Let's check this around, come in close. Okay. All right. This is fine. This will This will work just fine. So now we can go in on the New win check. Check the map itself. Let's check the map itself. So Z maps unless the name we gave it was ornament. No mark. I should be in here. Just one you should do. Mose tuba tends to compress your de texture files. Tends to compress the texture files. I don't want it to be too compressed. But the UV is actually fine. There's no weird issue around the set is actually fine. What now like to do would be to baker at a higher texture resolution file. So let's bake at eight k resolution. So crank this up to eight k, and I'll go in and I'll delete this delete it. Then let's bake this again. So the preview is actually applied in a preview is applied in as in here actually, initial. So we can remove that also, we can cancel that. Then let's bake again. So now we're baking at eight K resolution. I shouldn't take too long, so it shouldn't take too long. It should work just fine. Okay? Ignore the error message here because it's trying to find the file we just removed from this, which was already deleted. I think it's taking a little bit of time because we are baking this at eight k resolution. So it's taking a little time to actually calculate properly. Right, so it's done. So let's preview this. Okay, that's been applied to it already. Let's go and then check our texture file. So this is it 23 MB, which is fine. So those are better resolution baking in here, so this is fine. All of this will work just fine without any issues. All right, so we don't necessarily need to save this. We don't necessarily need to save this. So let's just close this No. All right. So we are done with that. The name in now we need to adjust a little let's delete this at the end. All right. This is fine. So I think we're done with this. So the next lesson, we will move to the next piece. The next piece would be recross shoulder beads. Okay, so continue on the next lesson. I'll see you guys in the next lesson, bye for now. 102. 101 Baking Body Assets Maps In Zbrush: Mcmbuys. So in the previous lesson, we kind of fixed some of the issue we're having with the ye ornaments mash and then baking that in Momosettb and getting clean biks out of MomosetTbg. So now in this lesson, we're going to continue on and then back our models inside of Zbrush. Let's carry on. So the next to back would be the cross shoulder bids. So we already know the methods already, so we're going to carry on with that. So final five Z expos, shoulder shoulder What is it called Shoki cross instead? Cross shoulder bed that's the one, select that. UV map, set this to fork a resolution, then go to normal map, tangent, smooth UV, smooth norms, then create. That is fine. Click on clone, texture flip export this to the correct file. I think we still have the previous past in the normal map, so save this. Then we need to go in and then check. So cross shoulder B is normal. Let's go in and check. Make sure there are no weird stretching in there. So the way stretching should come with some discoloration from a U value of dark blue to red to yellow. You won't see black though but within the RGB color spectrum. So for that, I didn't see anyone like that that's any issue, so we're just going to carry on. Next piece in here would be the low pad chess trap. Okay, low p chess trap. Let's go in parts. Lupa, it actually be held Lopat chess strap. That's the one. We go down UV map, set this to foggy resolution baking, normal map. And then we bake this Alright, so clone, normal map, texture, Philip V exports. We just do paste for the name. All right. Then we need to check it. Lo that should be this. Open that up. Let's go and check in. For the most part, no we're stretching, so we're good. Close that back to sub two. Let's go over to the cross chest strap. Okay? Scroll down in parts. Cross chest strap. It's on the keyboard. Cross chess strap. That's the one D click on that. UV map, say this to fork a resolution, normal map, B normal map. Okay, that should be fine. Clone normal map. Texture, flip V exports. All right. Let's just paste normal at the end. All right. Save this. Then we need to check so cross let's find this Cross Jess trap. We check this and let's see. Yeah, for the most part, everything seems to be working just fine. Yeah, this is working just fine for what we need it for. Close this. Alright, move to the next piece. To the next piece would be the letter strap. Let's get in there. Let's import's impose why current mesh is eating. Oh, we have an eating mesh. Bring everything back out. Now I see an issue. Now I see an issue. Remember, if you go back to mesh in here, the eating fire was not, let's go strap in here the ten strap was not visible because it was eaten before we exported it out, so that is an issue. But it's not going to be a major issue, because we can quite easily fix that. That we can quite easily fix. So basically, what we're going to do would be go and export that out again. So that was like my mistake. Did not realize that out already. Okay? I think we need to do a little fixing here as well. Okay, select this with the move brush. So like I said, it's a back and forth. It's something you need to go back and forth and kind of fix where we have issues in, push that in, and then we should be good. Okay? Let's push this back in in as well. That should be fine. All right. Clear this out. So we're going to export this out again. This is our front view. Let's export this out again. Let's do exports. Now, let's set this up first. Let's set this up first. So we go over to preferences. Important exports exports, ton off group, tunnel smooth normal, exports. So we're not going to replace what we had before though. Maybe we should export this outside instead. Let's export this outside instead. That's fine. Go in there's something we as do to fix that. Let's make sure we import this in first. I'm not going to drag and drop Okay, drag and drop this in here. Let's isolate that. So the only piece we need is this, so I'm not going to grab just this alone. Let's do a duplicate of this first. I'll grab. Instead of grabbing that, let's select this sheet rightly can hold. Let's do separate. Okay, select this Shift P, send it out of that group. I'm going to select this to hide them. Okay, bring everything back out. Select this, select the leader. Okay, so it should be fine. Then let's combine them. Recombine, select lead by type history. Then we need to unwrap this, double click on this. Let's do camera Bz, pull this out. All right. Then we just go to edge mode. Double click on this edge that goes across the cords, select them on fold. Select orients, select rotates the left hand side, rotates the right hand side. Okay, select the entire out sin. Then let's do a layout. I should pretty much fix everything we need to do in here. Once is going to rename I'm going to name it. Okay? So that's fine. So this is the mode here, so it should be renamed as What should you name? This alum just grab do a copy for the name. Okay, place that in there, drag this up. All right. So we should be good now. Save this. Saving. Let's check this. We have this correct where it needs to be. Then we need to export this out again. Let's just go to FPOts and etertrap I believe that's the one final phis Zpots has a please save this. Okay? So now we can quite easily import this in now without any issues. So let's import this again, right? So H and letter strap, click on that, there's an issue. There's definitely an issue now. Can do that. Okay, Imposing this back in actually created an issue for us. That actually created an issue. I think we might just have to do all of this from scratch again. We might just have to do all of this from scratch. Okay. Let's import again. Let's see. But my best guess is that probably input is probably the issues from in most likely. Most likely from in. But we'll definitely fix it just to figure out what we're missing. So I'm going to do an append first. Let's start with an append. I append is first, et that's fair, bring everything back out. This fa is down here. Let's do an import. Okay, don't import. Let's import this in. Let's see where it's been placed. We need to just see where it is being placed. I need to go down. Is actually placed in the right place. Yes, it's definitely placed in the right place. So now if you should hide this for now, go back into this and let us wrap. Let's de duplicate for it. Let's de duplicate. All right, we have a duplicate now. Let's hide the one on top. Let's work with the duplicates let's replace this imports. Let's replace this. Let's see if it is completely somewhere. Whoa, it's just it's completely down here. Which doesn't really make any sense, though. So I think we have two options bag this inside of MomoseT bag. That's one or export this out, export the model out again and create UVs for the entire piece again. And then we can successfully bring this back in and then do our big without any issue. Okay, so I have another option. I have another option. We can try too. I have another option we can try still we still have the other duplicates in here? I think most of this is not in place already. So let's see, I think with those bigs at of moment set two back instead. Don't need this. This is way too small and it's not in place. It's just going to be an ssle trying to get it in place. Okay. So, let's check. Let's see. Let's see. We have the highest sublution level for This is amniplycunts, 11 million polycunts let Moplyicons quite much. Let's get in there and let's see. Or we can just export this out again and then create our UVs. Okay. I'm going to record the US again. I'm going to recreate the UVs again, so let's go to the lowest oblivion level. So I'll do this off recording because we already know what to expect. It's pretty much a repetitive process across this. So let me just go off recording and then just do that real quick and then bring this back in. So let me hide this. Okay, well, come but guys. So I've exported out the new mesh, and then just quickly created UVs for it. Pretty much the same way we did for the previous one. Then I'm going to export it out. So let's do an export. Okay, let's replace this with what was in there. Now, let's just create Let's replace it with the one that was in there before, which is this. I exported this out. So export, let's replace that. Okay, that is fine. And I'll go in select this. Let's select the one that was there before. This is the one, delete that. Let's bring the new one in. I'm not going to drag that as a copy and drop this in there, it should be placed in this is it. Save this. Then let's go back to Zbrush and then I believe importing this in here now should don't be an issue. Import and leader strap. Perfect. So it works perfectly. So now we can quite easily just big now. So set this to folky resolution. Normal map, creates Okay, almost done. Shouldn't take too long. Awesome. Is there ow Let's do a clone Philip V exports. Let's export this way should be. Well, at least we know the options to use for baking in case you run into trouble. Normal select this. Copy, click Okay. Then let's go in and then check. A so this is it leather strap. Yeah, we'll look into it. We see all the details in the correct. I don't see any weird stretching anywhere, so we are good, so let's move on to the next piece. I think in this lesson, we should be done with the rest of it. Let's steam o here have one, two, three, four, five, six, seven, eight, nine. Okay, so let's move to the next one. Let me make sure I turn this back on armor. Okay, there shouldn't be too much of an issue in parts. Mo double cl conducts, you bring this in. Okay, let's go over to geometry. Do you have enough resolution to hold that I believe we do? UV map, fork resolution nomamp, create the map. So it's done, clone, texture map, flip V exports. We just paste normal at the end. Okay, save this. Let's go in and check normal. So it's quite smooth, so you can really see any major difference in there. So that's fine. Let's go to the next one. So the next one is the Sanders. Okay. Let's import them in. S on the keyboard, Sanders that's the one. Okay. Import t without any issue. UV map, fk your resolution, normal map creates. Let's give you a moment. We should get something interesting. All right. Clonormal texture, flip V exports. Okay, that should be fine. Let's go in and check. Send down no mouse. Yes, we are good. We have everything we need in here. It's working just fine, with no stretching west whatsoever in the clothes. Next piece. The skirts. Okay, let's import the skirts in. Skates. That's the one important without any issue also. Once you don't see anything happening in terms of scale or orientation or the image completely disappearing or no message has to transfer from low Polly to Poly, then you're good. So UV normal map, UV map rather Set fk resolution normal map creates Yeah, it's done. It's in there now. Clone, texture, flip V exports. Okay. He's Z maps. P normal at the end. Save this. Let us go and then cross check if it's in there correctly, skate skate normal. Okay. Nowhere stretching anywhere. This export is bit out perfectly, so close that. Move on to the next piece. Cowie waste bead. Come in close Imports. That should be C C Cowie waste bead. I believe that's the name. Okay. All good. UV map, fork a resolution, normal map, creates. This a little time. Okay, backed out accurately. Clonomal map, texture, flip V, exports. We're actually exporting a whole lot of textures in here. But it's necessary because we need to get this right. So phase this in, okay, save. Then we need to go back in and then check. This needs to disappear, okay? It's going now. So now we can check calorie waste, bead, normal. Okay. We are fine. I think this is fine. Okay? This should work perfectly fine. Yes, this should work just fine. So I'm going to close this. Let's move on to the next piece. So we have the waste band. Okay? In ports, Let's do this bun. I believe this is the one that is it. Okay, go to U Vnmal map. If you're kind of new to this and for the first time, at this point, the metal should kind of stick into your head because you're basically just repeating the same thing over and over and over again. So the metal should be fried into your head already. Which is a good thing naturally, so you actually know what to do. Flip Export texture Z map. Save. Then we go in and then check. Wait band, Waste band, this is it, open this up. Zoom in and let's check this out if everything's working correctly, which it is, which is fine. I think I need to delete this body noomal map. As the fourknma map, working with the eight Gnomal map instead. Okay, so now we have this one that I bit problematic. But before we work on this one I B problem that might give us issues. Let's work on something that won't give us any issues. So which is these sheets. So Imports S, that's the one UV map. Forky resolution normal map creates. This shouldn't be long. We have that in here now. Flip V exports. Okay. Save this, we need to check. This is it, open this up. Let's check this in. Let's see. Yes, we are good. No major issues in there so far. Alright, let's check this one. There might be an issue. I strongly feel there might be an issue for this. Let's start with this metal band. We have this in place? Okay, solo this out. All right. In ports. So the name is metal waste band. Metal Waste band. That's the one. Oh, awesome. It didn't give us any issues, so we can safely just do a big for this. Do you have geometry, you have subdiviution levels in there. Get close. Check this pretty much. Put the lower subdivision level. Let's subdivide this one more so we get the possible result out of this. UV map, fork a resolution, normal map, creates, normal map. All right clone, texture, flip V exports. Et's piece this normal at the end, save this. So we're good actually in no weird stretching around here at all. So this is fine. So let's do for the last piece. So the last piece will be this splits in pots. Okay. That should be up here. Whoa, issue in here, so we need to skip this, so I'm going to I'm going to cocel this actually. I'm going to leave this as it is. We're going to do the baking instead of substance painter instead. So we do the baking instead of substance painter instead. So we're going to leave this as it is because for the most part, inside of Maya, we have good resolution to work with for it. So we actually have good resolution in there, so this should be just fine. Okay? So see you guys in next lesson. Bye for now. 103. 102 Assigning Mats In Maya: What come about, guys. So in the previous lesson, we finalized on baking all the necessary maps needed for our body and for the entire asset. So in this lesson, we're going to start setting up our models and the asset files just to get this into Saptnspena and then begin the texturing process. So to do that, we need to give each individual models in a We need to give each individual model in a different a different material, just to kind of separate it out so that Stans painter can actually understand each one as a single or an individual texture set. So to do that, basically you just need to apply different shaders to each model with a distinctive name to it, so let's jump right in. I'm going to start hierarchically working from the top all the way down. So I'm going to work in descending order. So let's select the first one, the minuscus and then let's isolate this. So let's use the isolate from the top menu up here or you can just click on Control one, to isolate that. He to frame that in view, and then we would select it again. Move this okay. Let's see if you can move this so more space. Then I'm going to make sure I'm on object mode. So we li and od and then just go down to assign favorite material. I prefer to use the Lambat material instead. Let's use the Lambat material. I'm going to copy the name for this. Then apply that around. Let's do a paste. Let's do a paste in there. Surprisingly enough, it is not pasted in anything so let's copy that again, Control C. Go in and see if we can phase that in it's working now. That's fine. Precisely what we want. I'm going to give this a separate color. Let's start with red, then take down the diffuse. All right? That is fine. Take down diffuse a little bit more. Okay, that's fine. And I'm going to hide to Control H to hide dart. Let's go to the next mesh, which is the outer eye rightly can hold assign favorite material Lambert. Then I need to copy the name also in the Control C. Please that in contro V. Let's give it a separate color as well. So we're just going to be putting the same thing over the entire mesh because we need to get them separated by assigning different material to it. One other thing I would like to do also would be to select all of them and put them in a group. Put them in a group. Lets name this group to Ads Let's use all caps for this. Idris model. That should be fine. We can do a duplicate of this if we need to. Let's just do duplicate of this then hide that duplicate control H that duplicates and let's work with what we have at the top. Now let's go to the Iris Isolate that Lambert. Let's copy the name. Go to the Lambert and paste that same name in there. All right. Maybe actually want to add let's leave it as se Don't need to add down name at the end. We know what it is already, so select that and then we'll go in and then take down the diffuse. I think I'm going to leave this as the default instead, let me just increase the brightness a little bit more. Hide darts, move on to the next piece, which is the body, select it, assign lamb bats. So I'm just going to go and copy the name for it and paste the name also for the material for the shear and then select a different color for it as well. Let's use the green. Then we take down the diffuse. He that work just fine. We can go through H to hide the darts. Next piece, frame that in, assign fabrit material Lambert. Let's copy the name for it. Let's do this by type history so we can let every other attributes that we don't necessarily don't necessarily need in there. Let's just paste the name in, like, so that's fine. Let's assign a different material to it. Let's use this toquasbl instead. Take down the diffuse. We can hide that. Let me start by copying the name. Okay, frame into it. Assign favorite material Lambert. Paste the name in the All right. Let's use a more darker shade of, okay? Let's use blue. Blue's already in there, take down the diffuse. Hide this. Next piece. Okay. I remember the b does not have we didn't bake any UVs for that instead of zebra, so I'm going to baking the UVs directly instide of Scans pena. Just say basic UV should work just fine without any issues. So that's what we're going to do, select this, give assign a favorite material to it, Lambert as well, copy the name, really by type history in there Pase that in. Let's use a dark material for it instead. I think this should be fine. Let's like that. Next piece, assign favorite material. Lambert as well. Let's copy the name. But that three pays that also for this, let's use a different color for it. Let's use the I think that should be pink. No, this is more or less like purp Let's use purple color instead. Take down the diffuse, d d. Next piece, I think I will need to isolate this so I can properly select it and then assign favorite material to it as well, Lambert copy the name. Past the name in there assign a different material to this. We can use somewhere around let's use somewhere around pink instead. I think they should be fine. Select it, take down the diffuse. All right, hide that. Next piece, assign favorite material. Copy the name. All right. Place the name in there. Unless assign a different color to this. Let's go start with the red and we want to use a more darker reddish toon for it. It's a darker rediston for it. It should work just fine. We'll hide it. Next piece. Let's isolate this as well. Favorite material Lambert. Select. You can use this white, actually. This whi should work just fine. I'm going to copy the name. Paste that in the right, hide this country H to hide it. Get closes assign favorite material lambert as well. Little bitty history in there, if there's any ts we need to fix in there, it should be fine. Let's copy the name. Clear, select it again. Go back in, pase that in there. Let's do the yellow, but a more dark shed. More darker shade to it should be just fine. Hide that. I'll be a few more to go. Not too much anymore. I'll be a few more to go. This is selected, lead bat type ptry, assign favorite material Lambert. I think I'm most likely going to use a more darker shed for it. Let's select this, pace the name in. Use something quite dark. Let's use something like black. Oh, this is way too black. It's way let's add a little brightness to it. Then we can hide out next piece. So this out. He to frame this in select it, assign you material. Lambert, copy the name. Little type history on the piece the name in there, select a color. Let's go to the green. But more darker shade of green should work just fine. So let's darken this a bit more. Yeah, this should be fine. Control H to hide that. Let's go to the skirts. All right. Fabri material Lamberts. Led by type history on the selects the name in. No, that's the wrong one. So let me just type this in instead. So this will be the skirts. Select or assign a different material to this. This is a more darker shade for it. If you don't need diffuse, this would work. Oon through let's go to the spear. O assign favorite material Lamberts. Okay. Make sure I copy the name, paste that in. Okay, that should work just fine. Give a different color. Let's use the blue but let's use a more darker tone of blue. Take down diffuse as well. Hide darts. So this frame into it. Assign favorite material Lambert. Okay. This is fine. This is by type pastry. Let's copy the name. Paste the name in. I send different material to this. Let's use the purpu and then duck in this even more. Okay, we can leave with this, hide that next piece. Assign new material Lambert, little bit type pastry. Let's copy the name, paste the name in now for this, we need to select uncle, let's use something in between. In between somewhere around there should be fine. Can take down the diffuse a little bit more. All right. High that. Onands get up close, that type history on that. Assign favorite material Lambert. Let's make sure we copy the name. Yes. Okay. Go in paste the name. Assign a different material to this. Let's look for a different colour. Let's find a colour that should work. Let's use something towards orange. Yes, orange should be fine. Take down the diffuse a little bit more. Hide that undo that. Let's make sure the name for this is here isn't the correct name. Oh, Lambat. You need to delete this Lambert 20. Let's delete that. Yes. This is better. Let's hope we didn't do the same for the others. Okay, this. Then we hide it. Frame into it. Copy the name. Okay, assign a different material to it. By type t, paste the name in there, select it again, paste the name in. Let's select or give you a completely different color. Maybe somewhere. It's a more brighter tone of green instead. Take down the diffuse a little bit more. I think it should be just fine. We hide that. Next piece, Lamberts by type history. Let's copy the name. All right. Pase the name in Let's assign a different material. Let me go in between the green and blue. I find something interesting in there. Something like that should be fine. Down the diffuse. You can hide that. Head on favorite material Lambert. Delete by type three, copy the name. Past the name in. Select all of this he's the name. It's taking up the weird Lambert naming in there. So let's make sure we delete that. So clear that out. That's fine. I think we still have a number at the beginning part. Let's clear that also. Yeah, that's fine. Assign a separate material to it. I think you should look fine. Should be just fine. Take down the diffuse, and then would hide this as well. Two more to go and then we are done. Frame into the sound out, select Lambert. Select this. We would apply a different material to it. Lead by type pastry, let's copy the name. Right. Pase that name in Okay. Now co should be used for this. Let's fine. A mid range color also for this mid range color so should be fine. Take down the diffuse. All right, this is fine. Let's hide this. Final piece. Assign favorite material, Lambert, little bit type pastry, copy the name. Pass the name in. Then assign a different material. Let's see where we can set Let's do between the blue and then the pink. Darken this even more. Yeah, used to be just fine. So let's save this. We have assigned material to the entire thing. So let's make everything visible, and then we can now begin to specify or group them or export them out based on group actually for texture instead of subtanspnter. So in this part, I'm going to select the minuscule outer eye Iris body. So this part is what I'm going to texture instead of subtanpnter to begin with. I'm going to texture this part in subtanspnter to begin with. Then, I see an issue. I see an issue around here. This will need to fix instead of Zbrush. Do we have our Zbrush file opened up? Okay, we do not. That's fine. We want to fix that. It's just a minor fix we just need to do. Minor fix we need to do, but before we do that, let's make sure we let me select this all again. And then I'm going to export this out as a FBX file. So let's go over to Export Selection. So basically, I'm exporting out the minuscule outer Iris and ARs body. So I need to export this out as an VX file to FBX. So we can export that out to the outer file of the final files. Okay, so I'm just going to rename this to Idris body. Yeah, this should be just fine, and I'm going to save this. Okay. Then just to wrap, I'm going to open up my set five or Z brush and then just fix this issue we have around there. So basically, I need to just pull that out, and then we are done. So we're in we just need to get enclosed and select that piece. Get enclosed. We're going to be using the move brush and then we're just going to move that. I've done this off recording, but it's important it's important that I show you guys because sometimes you might run into an issue where exporting out of ZBrush might just mess up your UVs, so you really want to be careful about that. So let me just pull this up slightly so should be fine. Maybe a little bit more. All right. Somewhere around there should be fine. So, you know, remember where DV is on here. So if you go to UV Map, where DV is on there. So we just basically need to export this out on this subdivision level. Let's confirm the subdivision level. We need to export this out from. So select this. We have a 17 k. So to kind of see this adsorb display in case you're wondering now to see the Ez up display, go to display, adsorb display, and just turn on ply count, and then you should be good. Should find that in there. Letting it again, we at 17 K. If you go back to ZBrush, we at 17 k as well. So this is the butler subdivision level we need to export out from. So go to preferences, important exports, exports, ton of group, smooth normal exports. All right, so final phis. So I'm going to put two at the beginning. So I know it's like a corrected version of this. So exports. The name is Crosshess strap. I'll select this Zselected let's hide darts. And let's import the new one. Z exports. So two cross chess strap, drag and drop this in. So it's not to drag and drop this in. The first thing you need to do is to check the UVs for it. So it's important to check the UVs for it. So let's go over to UV editing. And then let's check if our UVs are in there without any issues. Yes, we have UVs in there without any weird stretching. There's an issue. There is definitely an issue in here now, so we can see did not come back in accurately enough. So if you compare that with the previous one that was there before. Let's compare to the previous one that was there before. See the previous one that was there before. A good. But the new one we brought in as an issue. You can see it have collapsed in. You can see under now you can see overlapping india precisely. So if we should check for overlapping UVs, you can see this chino red, giving us a clear indicator that we have an overlapping UV in here so this is something you kind of keep in mind why importing and exporting because Zbrush might just decide to mess up your decide to mess up your UVs for some reason. So we might need to create new UVs for this beak and then bring this back in and assign a material to it, unfortunately. So that is what we are going to do. Okay, so we're basically just going to create new UVs for newly imported mesh. So I'll see you guys in the next lesson will just do that and then something is in here. I thought we already have this fixed. Something is also missing in bids. The biding across this is actually missing, and we see also an issue in here. So most of this issue is something we can just easily fix. If you've been following this tutorial for a while, now, you should be sure on how to get most of this fixed and back in. Okay? So let me just bring back in. I think we did not do that. Let's do shoulder shoulder strap. If there is a name, if I'm using name correctly, Okay, cross shoulder beads. W you have this exported out. So let's just bring this in. And I'm going to assign a separate material to that also. So this one comes with the accurate UV which is fine. Lambat. Let's just give it a difference, I've already assign material, let's give it a different color and then we should be good. We just assign something blood to it, and then that's pretty much it. And then we'll give it a separate name. Let's give it a separate name. So we don't give us a separate name and then we should be good. So we'll fix this in the next lesson. Bye for now. 104. 103 Fixing Mesh In Maya And Zbrush: We come back, guys. So just something to keep in mind is that even though you're working on your models and you do everything right by you, and then you kind of starting your exports, issues might actually arise, so it has nothing to do with you doing. So it has nothing to do with you doing the wrong thing. You've done everything right. It's just issues that arise from box from the software when you try to import and export and whatnot. So something you need to keep in mind that you might need to be Mint fixing issues that actually arises. So just keep in mind, Dyna need to start fixing issues that arise from some of this so I saw another issue around here also, which I just corrected now, and then I exported that out. So let's import this back into to Maya and then see if let me hide this for now and see if that fixes the issue. So let's go to Z exports. So I name these two as well. So I'm going to drag and drop this in here. Then kind of check the UVs just to be sure it's working correctly. So UV editor, let's go and check the UVs. Se another issue in here. So you can do everything all good, and then Zbrush can just intentionally decide to just mess things up. So we need to fix that. So we have a few things we need to fix. We need to fix. We need to fix this. Is that, that's the one we need to fix the UVs for this and then bag that out again. So let's do that. So I'm going to select this, and I'm going to do it on food. Let's on food. Let's see what that gives us. I'm trying to see if you're still memorizing if you're still memorizing UVMs. Let's see if you're still memorizing our UVMs. So we try to do unfold for this and then it's completely messed up. So let's undo that. Let's actually start by isolating it so know how to fix this separately. So let's go to UVSel. So this butler UV shell has the issue in the so we need to start cutting things apart and then find a way to get this fixed. I'm just going to use camera base to begin with. And then we do the UVs. I think I would like to, maybe we can cut our UVs, no, no, let's cut UVs from the edge. I think we can do something different here come all the way down here instead. Okay let that loop. All right. And I'll do a coat. Then we can do a cat somewhere around de look for the best way to Oh, yes. Look for the best way just to get these to look right. Let's do another coat also around come in close. I think we need one around here as well. The coats select these two done fold. All right. Let's do orient and do that actually. Let's just rotate it this way. Then I'm going to select these two. I think we need to select the entire out and let's let the entire out and let's do layout. And we need to kind of check for distortions if there is any. So let's check for distortions. So UVs I think for the most part, this will work just fine. This will work just fine. This we can keep there's ton of UV distortion in there or save this save our file, and then we're going to let's go back. Let's fix the other issue we encountered, which is, we're done with this already, which is this piece. I believe. Let's see. Now, let's get the one we put it in. I believe this is the one we put it in. Let us know the one undo that. Okay? Let's find that I need to put this down. Let's put this down to begin with. This we are fixed already. This we have. Okay. Yeah, this is the one without issues, so this is what we need to fix. So I'll need to let me just make sure I ran this up properly so I don't get confused. This will just fixed. So I'm going to select this and drag this down. Drag this all the way down. Okay. I'll let that weird naming at the end, that Zbrush Pulemsh Okay. We have still have issues in there. I think I need to copy this name. Pase this in. Oh, we're having an issue. We're having an issue in here now, why? Because sometimes this actually happens. Let's go and fix that. Go over to believe name. Let's find this. So this is from around this. Let's go to General Editor, namespace editor. I think we should have it down, it should be this. Let's do delete merge with roots. That's fine. So now we should have it properly now. So let's close this. Yeah, the name should be in there now, so it's working properly now. So let's drag and drop this inside inside our main filing, put this all the way down around there should be fine. Let's select the next piece. One that has issues. Cross and bed let's get the cross bid into our file as well into our group as well. Okay? You want issues, click out, select this. This one is good. But we need to hide darts hide darts, drag this down. Drag this out of the group. Drag this out of the group. That should be fine. Yeah, then this is the one we need to fix. Let's drag this into the group. Let me make sure I delete any extra naming at the end. Did an extra name at the end, drag this into the group. All right, so this is properly set up now. So let me save this and we're going to fix the UVs for this, and then we should be good. So I'm going to select I believe that's the one let's isolate it. Let's see where this is coming from Thish is coming from this piece. Okay. Let's see how we can get this to work. Select this. Them out. Then I'll do a camera base. For this I might choose a different approach for the UV and wrapping for this. So I'm going to select a loop in the middle. Then look for an edge to add another loop. I'm going to kind of code this is not going to be too visible, so for the most part, I think we're going to be adding, let's see, I think, let's look at our main reference in here. So this is a cross chest strap. To do so for the most part, is going to be having a fabric, a fabric material. I'm going to add any fabric material to this, so I would like to hide my seam line somewhere, but it's not going to be too obvious to our camera view. So let's do somewhere around. I think the best part to hide this should be up here instead. Let's hide it up here instead, somewhere around. Yeah, should be fine. So I'm going to do a cuts around that part. Select it and let's do it on food. So let's give you a moment to unfold. Then we'll have this setup exported back into Zbrush and then properly baked. There seems to be an issue across this. Oh, I did not. I mistakenly did not do a quote for the inner parts. Let's let that again and let's do a at. Should work those fine notes. Let's select this on unfold. You're awesome. Then let's orient this orient this a bit more. Okay? That should be fine. Then I'm going to select this. Et's get the textile density for it. Get around five. Select this. Let's do a textile density of I believe the value was three point. The previous one was 3.5, I think. Let's do 3.5. Click on sets. Here, 3.5 would work just fine. Get this in, properly position this. So don't have any of the UV sal extending out of the zero to one space. It is fine. I work just fine. Let's save this again. So now we need to import this in again into Zbrush and then big this out again. So let's go out of isolates. I believe all of this is working just fine. Let's check for any distortions in there. This is fine. Go out of that. And then let's export this out now. Let's start by selecting this piece. Five exports. That's the lit part chess trap. Let's go over to finalize Z exports. Send this back to OBJ. UbGUBG UbGEpots Lupa upahessTrap, that is the one. Export Selection, replace select this, which is the Cross chest strap. Export Selection. Cross chest strap. Crossed chess. Yeah, that's the one. So let's export this out as well. Yes. Let's jump back into before we jump back into Zbrush, let's make sure we save this file also. Let's keep everything saved. Yeah, saved now. Then let's go back to Zbrush. But a Zbrush file, and then it might get a little trickier, but not too much though. Let's just go in. So let's start with the nut selected right now. So we have the low purchase trap selected right now. So we need to scroll down. Under UV map, you need to delete UV. Very important. Start by deleting the UVs in there. Then don't imports, let's imports that back in low parches strap. So let's just type in L on the keyboard. Low par chess strap, that's the one. So it's imported incorrectly, and then let's quickly do it big. So normal map, UV map first, fork resolution is fine. Normal map, let's create. Okay, Clone, normal map, texture, flip V exports, Z map. So we need to replace it to the one that was there before let's use PNG. So let's just replace. So this is the one, low patches trap, low purchase trap, Save, replace yes. Then we need to kind of check the UV for it. So we definitely need to check the normal map. I was baked out to see if we have everything working correctly without any issues. So so far, we don't have any issues in there. I biked out correctly. So one key point to take away from this is that you always need to check. Once you import export, you always need to check just to make sure the US are in place. Its highly important to actually check because that's the only way you can be sure that yes, everything's working correctly. Let's go now to the cross chess trap imports. Z exports Cross chest strap. So this is the one cross chest strap. We always want to double check to be sure you're selecting the right one. So click on open. Oh, made one mistake. We're supposed to delete any UVs we have in there. Let's do delete UV in there first and then import this again. So cross chest strap. Alright. Awesome. So, folky resolution, let's go to normal map. Create normal map. I shouldn't take too long. Yeah, it's done. Clone normal map. Let's go over to texture. Let's do flip V. Exports. Let's go in and replace that with what was there before. No, that did not replace it. That did not replace it. Let's go over export this again. Cross chest strap. It's supposed to see mess it popping up saying ten not to replace. So cross chest strap. Yes, replace. Okay. Then let's go back in and then check. This is the one cross chest strap. Double click on this. And then we can check to make sure everything's looking correctly, yes, it is all good in there as well. That's fine. So you need to save Zbrush five because we've updated this. This is already updated. So let's make sure we save so while this is saving, we can go back to Maya and then assign the correct material to them again, just to keep things safe. Let's go back in there. So it won't be too much of an issue, we can click, go to assign existing material. Then we find the cross chess strap, cross chest strap that is the one apply. Select the next one. This one is the low part chess strap. Assign existing material, look for low patches, strap, apply, that's pretty much it. I think I can delete this backup and created deletes, save this up again. Then we can make a duplicate of this particular one because we have man modifications to it, so we need to make a duplicate of this, and then we should be good. So we have all of this in here, let's duplicate. Control D to make a duplicate of this, Control H to hide that duplicates. Yes, this is fine. Yes, everything's working just fine. We can work with this. All right. Save this up again. All right. Awesome. Okay, so I'll see you guys in next lesson. We'll begin to import this into, we'll begin to import this into Sptanspenan and then begin our texturing phase. So I'll see you guys in the next lesson by for now. 105. 104 Baking In Substance Painter: Okay. Welcome back, guys. So in previous lesson, we kind of fixed a little issue in here. So in this lesson, we're going to start our texturing process for the entire body. So let's jump right in. So I'll open up Subtan spinter in here. Open up Subtan spenter then we need to import our model. But just before I import the model in, I'll show you guys the reference I'm going to use for the texturing process. Let me just expand this out a little bit more. Okay? So this is going to be our main reference for picking out the precise colors we need for the entire texturing process. There will still have some pre made materials also too that I'm still going to use just to speed up the process. I'm going to be providing those materials also as well. But majorly this our main reference for the texturing. So we're going to be working very, very closely with this india for getting the textures as accurate as we possibly can, okay? So let's jump right in. I put this around. Let me squahe this down some more. All right. This I'm just going to hide for now. We don't necessarily need this for now, so I'm just going to hide that at the top. All right, squage this down a little bit more, that should be fine. Now let's bring in a model. Remember we expected out the body and the eye. Let's cone, put this here. So go to Clicon Select, then I'll need to, I believe, Z finalize this body. I'm going to click on that. So also, we need to import the designated maps for it like a normal map and a few other maps I will need for the entire texturing process. So let's do that. So I'll go over to Import Bt maps, click on ARD then this is the wrong one. Okay, this is the right one. So ZMap let's look for I believe we named this Idris, Let's look for I. I think we named something oyen Z, normal Adris k. Open that up. Then there's still some other maps I need to import. So let's find this map clic on hard. So we need some textures for it. Let's import those eye textures for the iris and for the scaler I have some textures that should work just fine for what we need it for. So I'm just going to go over there and grab that. So let's just let me go to the food. I'm going to be providing this. I will definitely provide this texture file for you guys to actually use. I'm going to copy this Copy the five parts. Base the five parts in here. So what we need is the Iris normal. Can you use iris normal or iris normal Opung Anyone will work just fine. Then Iris Base color, Iris Iris roughness, outer eye Base out eye normal, outie opacity out eye roughness. This is mostly what we need. Ignore the displacement for now, sus lon open. All right, then we click Okay. I think we have everything the way it should be now. Resolution two k, that's fine. Pung, that's fine. We're now using UDMs, so we're going to ignore text, use UV Ty workflow. I already have UVs for this, so I'm not doing any auto unwrapping for this as well, also. So let's click Okay. Then give you a moment to actually drop in our scene, then we start working on it. So it's already in our scene now. So the first thing I would like to do would be to adjust the camera in here. The camera is not accurate enough. So let's go over to, I believe, display settings. Scroll down, focal lens should be on 85 millimeter length. Let's do 85. So now we should have something really close to what we have inside of Zbrush and what we have inside of Maya instead of Maya. Okay, so we are good. So let's start the baking process now let's go to our texture set. So on the texture set, we have the Idris body. Let me delete that three as at the end. Okay? That's fine. After I delete that two at the end, means deleting num brings at the end, that's fine. I'll save my file, save my file in the final files. Let me name this two p for Substance Painter, pidris Body. Okay? That should be fine. I'll save that. Saving down take too long because we don't have anything going on in here for now, that's fine. Save correctly. So now let's go to the dues body. Let's go to texture sets. Go to dies body texture sets. Then we'll go down to select normal. So we have the normal line, this should be Z, normal ds body k, select that. Come in close, so we have this IN now precisely what we want. Now we need to kind of check for any issue around this. Now, we need to also upscale review certain NNA. So let's update this to Fok resolution. So FokiRsolution, now we get something really clean. Yeah, this will work just fine. It's capturing most of the detail as much as it can. We might still need to bring the same Z normal also on our layer stack on our layer stack in here, just to accentuate it a bit small and then have some more control over it. But for the most part, I think this should be fine. At least to bake with, this will work just fine. So I'm just checking around. Okay. Awesome. We are really good details in here that we can definitely work with. Okay? Same good details for the fit as well. That is fine. That's one thing you need to do. Always check. You need to check. You always need to check. If there's something you need to fix, then you can go back and then get it fixed. But for the most part, this should work just fine. Thi should work just fine, for the most part. Awesome. Let's go over to you don't need this layer in here. Let's do that. So let's go back to the textual set list. Go to Iris, scroll down to normal Iris normal will select that. If we should isolate this, let's go on isolate get enclosed, you should see the normal being affected in there. This normal we have. This number we're going to use. This is fine. Okay. Let's bring everything back out. Let me turn off the outer eye. Let's see what we have in there. Yeah, the size of this will work just fine. The size of the iris will work just fine for this, all right. I work just fine. Moving on. So let's select the miniscus doesn't need any normal map because just a normal weight or glass material should be just fine. Everyone wants a material, we just fine. So let's go to the outer eye. The outer eyes isolate this. The outer eye needs some normal. So you're going to select I, select that. You come close. I should see some details in here now. Okay? This should be fine. Th should work just fine for needed for. Okay. So if you go back in and bring everything back out, right, it should be fine. Though there seems to be a weird issue around here. We can fix that actually that we can fix. But I'm going to show a pretty neat way to actually fix that without having to destroy anything in here. But first of all, we need to be. We need to big. So let's go and big additional maps needed for Substance Painter to work a bit more accurately with some model. For it to work accurately in terms of using on smart materials and marks and all procedural texture needed to work accurately when you have the necessary marks but inside of Septan spenter. So let's bug that in. So I'll go over to texture set settings. Man selected. Anyway, calculate any new one actually. Anyone will be fine. Just go and click on big mesh maps. So you should open up at let me crease some space in here. So you should open up BC in layout in here. There are a few things we need to keep in mind. We can make this a two Q resolution. To Q relation should be fine for now. Now we need to select the models that is on externalnomal map to big with fast two. Is body as is on exnonomal map, Iris is on exnonomal map, a for the miniscus let's hide that. You can hide that in your turn it off. Then this body selected, turn off the normal, where do you have normal for this. Turn off normal also, outer eye, turn off normal as well. Okay? That is fine. This we can definitely work within here. Let's get close. Let's see what we have. Let's see if there's any major issue in there for the most part, there's known. Okay. Then go back to Di's body. Now, let's select go to Embent seclusion. So let's see for the self seclusion, I prefer to use Ole mesh name instead. That seems to give me better result, at least for the imbent seclusion. So I'm going to repeat the same scene also. Yeah. Okay, I already there already? Is there already? Then we'll go to the core virtual. For the core virtual, I want to generate our co virtual from the normal map instead. SletIs also generate for number map. It is body generate for normal map. Awesome. This is precisely what we want. So now what we need to do is to come in here. Okay? Is there ready? We will now do big selected texturing. So let's just click on big selected textures in here. Then give the same moment to actually run through and break out all the necessary mops we need for accurate texturing inside of Subtanspinter. So he's doing his teenagers give the same moments. Shouldn't take too long to get this to work accurately enough. Looking at this knife like we can even be a fkyRsolution. Maybe just to get the highest possible quality out of this. But even at that, baking a toy resolution is also good enough to work with. Okay? So this is fine. This will work just fine. We can definitely work with this. Okay? So now we need to bake. Let's bake for the minuscule because minuscule doesn't have any normal in here. Let's turn that on. Turn on normal folk. Not on for that already. Ovature, we need to generate this from the mesh itself because we don't have any normal map to generate cvture from. So that's fine. Then let's just click on, that's the l one selected. Let's just open the store, let's just do bike minuscs alone. That's the little we need to bake in here, so it shouldn't take too long. Alright, awesome. So that's done. So let's return to pins mode. Turn to pince mode. So we have everything baked out correctly now. Except for the minor issue we would have on the outer eye, which is the scalara. So let's go in and fix that. So to fix that, I would just let me just let me isolate it first so we can actually see what's going on in there. So this is the issue we are having in Okay, so to fix that, let's go back to texture set setting. Move the normal map in there, go to layers. I'm going to delete this with a new field layer. And I'm going to drop let's come in here and select textures for this. So I'm going to type in outer eye in here. I will drag the normal map. No, we only need turn this off. We don't need normal channel turned on. I'll drag this in there. Okay, this seems to be this seems to be inverted. This look seems to be inverted. So this is actually inverted, which is not precisely what we want. But I think let's check the normal map. Let's the normal map for this. So let's just scroll in and see the normal map for this. Okay. Oh, I see where dish is from now. So we can see all these speckles of should we call it to quas blue detail in here that we don't necessarily need. So this we can easily fix instead Photoshop. So let's fix that and then bring that back in and then we can bake again, then everything should be all good. So let me close. It's Less Runs Photoshop for this. This is actually a good example to actually show you guys how to fix minor issues that might arise. So let me just open up Photoshop in here and then we get that fixed. So let's just drag and drop this in. Then we can fix that. Unlock this. Let's come close. Let's find where those issues are recided. Okay, we have one at the top, one at the bottom also too. Get close some more closer. All right. So we can quite easily just use the spot limb brush just fix this. Let's find that should be in a spot healing brush. T of my cubs. Spot healing. Yes, that's the one, take down a brush size. I'll just drag this around. All right. That is fine. Get close. Raise this, get close. Okay. I think I need to increase my brows size by lots, tap in to fix, fix that her as well. Then let's keep moving this along. Okay. That's fine. Fix this. Then we can permanently save this so we can just keep reusing this side we want. I think this issue came from the most likely exportation. But like I said before, sometimes you can do everything right, but the software just decide to Nah I'd like to make your life a little bit difficult. So in usual cases, it's not entirely your doing just the software acting like a software, obviously probably some bugs. So I think we are cleaning here. I think the top part is clean. Let's go to lower parts, increase the brush size. Let's just brush stroke around this, do that. That brotro around this as well. Let's see. I think we are good in let's fix around here. Let's come in close. Okay. That is fine. Due the bro size. We can just tap in for some of this. Okay? That is fine. Draw a line across this. That's fine. Yeah, swell, well, clean this up. Clean, clean, clean. We might also need to actually bag this again. I just need to be this again because we have made modifications on the normal map. So we just need to beg for the outer eye again. And then we should be good. Let's fix this as well. Here also fixed very well. Let's zoom out. Let's see if there's somewhere else we missed. Okay, I think we are pretty good. We have this around here, increase the broad size or more. Okay. That should be fine. Check anywhere else. Can't see anywhere else. Let's go upward. Let's see if we find anyone else at the for the most part, I think this is good. Now, let's save this. Let's save this. I'm just going to replace what was there before. Yes, we replace that. Click Okay. I believe we should be able to update this now instead of Subtan spinter. Let's go to Subtan Spinter, right click on this, reload. All right. Let's come over here, drag and drop this in. Let's save that issue, stereo cause. Okay. Oh, we still have one on this side. Completely Oh, it's tissue in India. I think I did not update accurately enough. That's probably Oh, let's oh, yes, it's from the ambient seclusion. I figured that's where we needed to kind of big this out again. So let's go back to big maps. So this time around, we're only baking for the outer eye. So this is fine curvature generate from normal map. So only baking the outer eye, so let's bake out I in here. So once we're done with this, I think you should fix all those issues we had in her before. Previous issue in n should be gone. Okay, we turn back to the pencil mode. Right. Awesome. I think she still in the should guess my best guess is that the issue is coming from it's coming from the embient seclusion. I feel good. It's coming from the ambient seclusion. Even though we kind of fix the issue in the normal map, sometimes the ambient seclusion can really be a pain. But let's just bring it back. It's not going to be a major issue why because we are not going to let's try something else instead. Let's go to the embent seclusion. Let's be just the ebent seclusion alone. Okay. Let's do should say always. Let's see if any of these actually fix it in here. Let's bag this again. We're really baking the ambient seclusion. The issue still resides. That's fine. I don't know if they we're not going to be exporting now the ambient seclusion, but we need to actually get this to simulate properly. So this is fine. We can work with this. This we can work with. Let's say we bring in the dragon drop normal map in there just to intensify some more. Okay. At the end of day, we're not going to spot out the normal map. We're only going to export out I mean, we're not going to spot out the meticulon map. So we are good. We cannot leave this off just for preview purposes. So in next lesson, we're going to start and then go in and then start our lecturing process for the character. So I'll see you guys in the next lesson. Bye for now. Sure to save leg very important.