HYPER REALISTIC AFRICAN MALE WARRIOR PART 02

1. SKILLSHARE AFRICAN WARRIOR PROMO VID: Ever wondered how realistic VFS 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 Mayer, Maxon Zebrh, Marvelos designer, homosetTubag, Adobe sbtanpinter, NexGen hair, and also rendering in Arnaud 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 zebush, making maps in zebush, garment creation in Marvelo designer, texturing skin, fabric, metal, and leather, realistic air creation in gen formya and look development in Arnaud 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 Mayer, 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. 105 Dark Skin Base In Substance Painter: I Acumb guys. So in the previous lesson, we kind of finalized and made some modifications to the normal maps, and then we big them out. So in this lesson, we're going to now fully go into the complete texturing process. Okay? So let's jump right in. First off, I'm going to just scale zoom this out some more. Put some space in here so you can see everything working correctly. I'll go over to Idri's body. I'm going to solo this out. Let's keep it isolate. Let's turn on Bow. We can leave it like this because the other maps texturing in here, the other textures set in here are not ideally blocking our view, so slightly this body, go to layers, and then let's make sure we have the set to fog your resolution. That's fine. Create a new few layer. So this few layer, let's turn on normal loon, ton of color. So let me just type in Z. Normal drag in. Because I want an intense version of this. But at the same time, not too intense, not too intense. You see wants this to be slightly controlled. So to do that, let's just go over and set this to normal channel, then we can take it down. It shouldn't be too intense, but just enough to create a detailed looking skin texture in so something pretty mot like this should be just fine. This should be fine for what we need it for. So I'll leave this it is. I'm going to rename this to normal. Let's use all caps for this. Normal, that is fine. So the next thing I would like to do in here would be to bring in a pre made dark skin, smart material in here. So my own dark skin, smart material. So let's just type in dark in here. I'm going to be providing this also too. It's called KC B's dark skin, so I'm just going to drag and drop this on the body. So right off the battle, you get something like so, which is actually a good base to begin with. I'm going to open up that smart material now in there and then break it down. So you guys can actually see what is actually going on in there. You should to see what's going on in there. Let's do that. I'm going to open up the file. I scroll down. I'm going to hide everything. You can actually do a little bit of discourse as to what is going on inside the smart material. You have a good understanding as to what is going on. The base layer in here just starts with the normal field layer. That's a normal field layer. Turn that on just a normal regular. Let's go back to base color, just a normal regular field layer with a low intensity. So if I increase all the way up, you should be getting something like this. While duck. Let's say this back to the way it was before 73. Okay. So not so much going on in there. We have a color for it in an unpicked color for it, then we took down the metalness. We don't necessarily need metalness for it actually. Then we have the roughness around 0.3. We should be fine. Then on top of that, we have the skin, KC red skin based on. I see an amount of redness underneath all of that. So if you ton this off, that's the difference in there. So if you open up this red skin, there's a little more going on in there. Let's hide everything. So we can dissect and I can better explain what's going on in there. So if you have a normal bis more or less like a caucasian skin biscloton. Just have a biscloton in there. Not too much going on in there. So if I select this, I see the X code in there, you can use that also if you want to but I'm going to providing the smart materials for you guys to actually use. Then roughness, have some roughness in there as well. No metallic property in there because it's time to simulate the skin, so isn't supposed to be there isn't supposed to be any metallic property to it. And on top of that, this is where things start getting a little bit more interesting. Select that. On top of that, we have this redness and a few layer, which are some redness to it until little roughness. There's code for it. You can use that also as well. Then now I created the smart max for it, and I'm using the BW spot for it. So this BW spot actually controls where we want this red ness to be on. So we can also use the same setting if we want to. So we have this atrapena mapping projection, so we don't have to shouldn't be should kind of ignore the UV SMs we have in there and then create something interesting. Then we have the bit set to 0.4. The rest is just basically the same. The rest is basically the same, tile in just one. We have tile in just one. Then I just duplicated this same field layer. If I go back and select it, it set to 100 because it wants to be visible in here. So this kind of creates some I think I have a reference that I should actually better explain I have a reference. I should explain what is going on in there. So yes, we're on the same page. So this is basically it. We look at the skin. So I think this is viewed under maybe probably a UVlet or something. But I can see how broken up redness, broken up. Let's use see main reference in here. I can't really see the undertone redness in there very much. Today, use this kind heavy lighting in here. That kind of exposes that redness underneath the skin. So I'm basically trying to create the ness of this using procedural textures inside of using procedural textures inside of softanpnter. So that's pretty much what I'm trying to recreate in here. So that's found that reference in here. So I'm also using this. I'm also using this also to for vents, which will get in a bit. But the idea is just to create this breakup underneath the skin tone. So after that, we have a dark red, then we have a bright red on top of that. This bright red is kind of let me turn this off. It's more like a sort of blow out version of it. If I should go in, I'm using the same BW spots. But this is kind of blot out a little bit more. Why? Because the intensity of the base color is not completely visible. So if I increase this nom, you can see it's quite visible. But I took this down because I was trying to get a blend in the I was trying to get a blend in there. I add this up together, this is what we get. Now I get some red flooding or light red flooding across the entire outin. Then the next one was to add a marble vein, which is what I was trying to recreate in here because we have this vein structure just underneath the skin tone. It's a bit more obvious in your caucasian skin, but not too obvious in the blood skin, but it was still important to have this layer of undertone in here just to give it a bit more richness to the skin. So, yes, that's set to 53 is not too obvious to see. Marble. Let's go to the marbling. For this, I also use the marble veins. Or marble wire. So we have a push draft texture called marble wit. If you come in here and then we search for it, I believe it should be under procedural procedural texturing, I believe, if you type in marble in a marble white. So this is marble white. So if you come in a marble whe, that same procedural texture I use for it. Okay? The same procedure texture I use for it. So if I should add everything no, so just just so we can visualize that. So it looks pretty much like so. And I said the intensity, the polo intensity down to 52, so it's not too obvious. I also duplicated this. Let's add this. I use the more broader in you say marble vein, I believe. I say marble vein. So this is marble vein. This is marble white actually different. So this is the marble vein I used in there. So this is more wide spectrum of this. So the tylen I believe the tylen I used that a little bit more, okay? So that's for that. Then also, you can see we have green veins, we have blue veins also in here. So this was for the green veins. So it's for the red greens rather. Then for the green veins, let me tone this up so we can see open that up. I use the marble veins also kind of shrink that down a little bit more to simulate greenish undertone veins in here. I can make this bright I need day if I need to, though. If I can increase the brightest if I need to. Let's say I want it to be more greenish, but there's no need for this. Let me do that. This one is not as bright green as it should be because I tuned this down here. So if I increase this, you can see it a bit more obvious now. So let me undo that. Then we have these purple veins. So instead of using the blue veins in here, I kind of use the purple colour for it. We're still using the same marble veins also. So if we have all of these now brought in together the mixture of all of this, we have a very rich tone underneath the entire out sin. So you can actually use this very much with white skin tone instead. So all you need to do is just to paint. You just kind of pick a white tone and then paint over and then you should be having an interesting corporation skin tone in there. But in this instance, we are kind of using kind of working with dark skin, so everything will be completely different in here. So after that, I kind of added a dark tone, dark base tone. So if I actually open out just a normal fe layer, it a dark tone, a more darker tone for it. And I took down the base color intensity. So we get this kind of blend down. Then added another brown tone instead. I uncovers a whole lot of place in here. But I'm not completely floating this because I'm using this cloud material to actually a cloud texturing material to actually break this apart. So let me show you guys the difference in here if you hit C on the keyboard. I seeing this nuts they just pure a beauty without any contrasting shadows in the only light information. It is just a plain texture. It's plain texture without, without any light information. So if I turn this off and on, you be able to see the difference in there. It's not completely flooding the entire see see gaps in between. If I should see again, let's go to the max instead. The is the marks for it. So the regions are actually what we where is being affected, so we can turn this off here instead. So we can see the difference in here now. We aim to go back to material let's go back to the Budo which is the base colinear. Then on top that we another light brown tone. Okay? This one has a blow to it. I'm still using the same cloud material. So if I turn this on, this one kind of fills the entire in even more. But we can see some difference in there. It's not completely filling. You see you have some gaps in between. Let me show you guys the max. Let's go to the max. This is the max. This one is kind of blowed out also creates a more flooded feeling to it. Okay, so everything turned on now. So when you kind of come in close quite close, using the albedo, using the base color channel, you can at least see some difference in there. We can also decide to let's say we tune this down. Let's tune this down. So if we tune this down, we able to see more of those details, speaking through this. But it's not going to simulate a realistic dusk kin to duskint duskintn we don't necessarily see those red veins or blue been popping out that much. Most especially on closer, but at least for me, distance you can actually see that, so that is why it's important we increase the flooding for it a little bit more. Increase the flooding a little bit more. So we don't completely see it in there. Maybe we can do a value of 80 instead. So close up, you can see it, but from a distance, it's not too obvious. But from a distance, you still see some breakup in there, which kind of gives it a believable result because the idea is to create breakups that creates some believability to it. Which is what we're trying to create in here. So that's why it's important to have your tones or cool tones in there kind of reach, adding different layers of d just to give it a more interesting look to it. Most especially when you add subsurface scattering to it, you kind of get a lot more interesting results to it. I'm going to be providing this base skin tones for you guys to actually use just to get the best result out of this. That out of the way, I think we can now begin to do some because even though we have this in here, which actually looks good, it actually looks good for the most part. For a few persons, they might decide, Okay, let's just use this instead, but we want to push this even more to give you that realistic look to it. So we're going for more realistic look to it. So that's why we also need to do. It's highly important we do some and painting in there just to make it pop a little bit more and make it a lot more realistic than it actually is right now. So that is pretty much what we're going to do next. So I'll see you guys in the next lesson where we start some unpainted detail indie. So by for now. 3. 106 Dark Paint Layer In Substance Painter: Welcome, B, guys. So in the previous lesson, we kind of talked about the breakdown of what comprises this entire or comprises the textures or materials that comprises this KC Bas skintonKCBs dark skin tone, smart material in here, so. Now in this tutorial, we're going to start by going into unpainted details. And to do that, there's something to keep in mind. Very important is that we want to paint from a darker tone to a much lighter tone. So anywhere we can find a darker tone on our reference, we're going to use that to start building up a layer texture on the s character in here. Keeping that in mind, let's start or rather, let's dive in. So I'm going to create a new fill layer. So another interesting thing to do would be to create variations in your roughness in the roughness of each particular field layer. So you have a bit more interesting roughness material or roughness texture that comes with it. Though I actually going to specifically and indeed to work on creating roughness or specular map for this, but for the most part, roughness of your roughness comes from each individual layer of unpainted details you have on your model. So with that in mind, we create a new few layer. I'm going to name the two. Let's give this let's give it dark. Let me name this to dark paints. That should be fine. Now, let's specify the color of need for this. So for that, we need to pick that dc tone in here from my reference, but I'd like to pick that dc tone from the Albedo texture instead because dbdo texture gives us a lot more information when it comes to not having lights or roughness or secular information on the texture, so this will work just fine. Let me go in and then use the colo pica let's see, I think this is a darker tone. Let's pick that tone precisely what we want. I work just fine. So now the next we need to do would be to add a black mat. And then for this instance, I don't need to use I don't need to use symmetry, at least for now, because most of the things we have in here not entirely symmetrical, for the most part, not entirely symmetrical. I'm going to keep that in mind and then work asymmetrically in here for the most part. So now the brush to use for this, there are various brushes to use for this bots. One thing you need to keep in mind is that for me this time, it looks like we're kind of float filling this we just want default brush, but it's not a default brush actually. If you zoom in, you can see the darkness or the blackness of this colo tone we just selected now is dispersed more or less like a broken, shattered glass format, kind of kind of broken up like a shattered glass format. So with that in mind, we need to use a bro that kind of give us that similar effects in there. So if you go in and select brushes, let's type in let's type in deaths. So now this dead brush, we have we have dots, and then we have this go we have the dust dirt erased. So one of these two text would actually give us a unique a more unique result for it. So let's you let's use one of these. Let's use these dots instead. We also have these death spots. This one can actually work also as well. Then we have the good old d three. This d three will also work as well. So let's start with this die three because I like how broken up the texture in itself is, let's select that. So we need to make some correction adjustment to this. Let me start by taking down the flow, take down the stroke opacity. Okay? Then we take down our bro size. Let's go into our main reference. Let's see where this needs to be. It's a good it's a good one. Can see on the shoulder. Let's start from the torso region instead to begin with. So obviously underneath the P should have that. So we'll start adding this breakup in there. Let's see basically on the keyboard. So we can at least see the RB doing a bit more. So this should break this up. So more take down the broad s a bit more. Okay? So it M on the keyboard move our light in there. But one of the things that is also important that I should have done before now is our light setup. Our light setup greatly, greatly influence how we select the colors and use for this song. Let's use a more neutral lighting for this just to make sure we paint this a bit more correctly. So we go down to display settings, scroll up, change our environment map to Marco studio. We have Tomaco Studio, Tomaco Studio. Yes, studio Tomaco. This is the one. But a Marty but Lao, this particular two light setter can give us a more neutral light for us to at least see properly what we are doing in here. I'm going to use the name increase stroke capacity a bit more. I'll go, this is fine. This is fine. So we can paint a bit more intense in here now. We still blend this down later on. Let's just keep painting across this increase this or more. Go in. Let's use this instead. I think this one gives us a more accurate view for where we need to paint. These are dark textures. So let's continue painting across this. Let's see our roughness map. We need roughness map for this. It's too shiny. Let's know. I think somewhere around J should be fine. Somewhere around where it was before was actually fine, so we can continue working with this. But I'm going to create a base, drag this down, a base roughness for the entire outing. Let's turn on the roughness channel. Let's make this quite rough. Somewhere around J should be fine. So you can actually see the texture is a bit more and appreciate more what it looks like. So this should be fine. So we can continue and go back to our dark paints. I need to make this even rougher than it is right now. Make this quite rough. Last should be fine. Then continue painting on top of this. Okay? No, the bro side is way too big. We need to use a smaller brow size. A smaller brow size, we do a better job in there because we're actually going to blow this out a bit more. Let's just carry on with a smaller brow size, with some darkness underneath here as well. Okay? Let's use something else. Yes, This one shoes way better. We need to kind of darken out. So I'm going to darken in between the ribs, between the rib cage. You as well. Right? That's fine. Moving on, we can dark in the center of the bs. Okay, right this part also as well. Also as well. Bring this out all the way down here. Darken Okay. That is fine. L in here as well. Let's move to this side. I think for this part, you can turn on symmetry for this because this part is mostly covered by garments texturing. So let's turn on symmetry for this. So this should help us move a whole lot faster in here. As you can see, we're already getting rich textures out of this already. This is precisely what we're going for. Let me increase the blow size so more so we can move a whole lot faster in here. Okay? Move our lights break this up some more. Okay. Yeah. Interesting. All right. The new we need to darken by a lot. This should be darkened by a lot, so we're going to do a whole lot more in there. Let's move our light more here as well. All right, then we'll move down. Put some variations in there. Create some dark breakup variation across this. Alright. Interesting. Move down the lower part, you need to darken a whole lot more. Okay. Most especially on the knuckles, knuckles needs to be quite dark. To reduce the brood size, let's make sure we get into the knuckles and darken the knuckles quite well in here. This knuckles needs to have that darkness in there. You also swell. You swell. Okay. Yeah, also. Let's not negltO forget this part also. All right, so we zoom out, you can see some interesting looking textual detail in there. It looks a whole lot realistic. Increase the brows as a little bit more. Continue on adding some darkness around here on the edge as well, here also. Coming close. Yes, this part needs to be way darker. Let's darken that up some more. Okay? Here, also rotate our camera, add some darkness on the other parts. Okay. Get that in, rotate our light around here as well. Close. So let's reduce let's take down the spacing. So they should be quite closer to themselves. So this should be closer to themselves. Yeah, this is fine. So just fine. Move to the back, rotate our light source. Okay? That's fine. Do we have a back view for this? Daily back view we have is on this, yes, we have a view that can actually help. So break up darkness variation in here as well. Okay. That should be fine. Coming up here, you need a bit more around here, here as well. Let's not neglt these parts, that's fine. Awesome. So the top part is quite right a way darker so. Let increase our broad size and then dark in this more. We're also in to darken the bots by a whole lot. The boat needs to be darkened. Even the back side actually has a lot of darkness in there. It's quite black, so let's break this apart. Okay. You should work, move up. Okay. You see how dark they should be. This part is not completely covered, so we need to turn off symmetry for this because this part is going to be visible. So we need to do this by hand without symmetry turned on. Come in close. So we're doing this with directionality in mind where it needs to be. We're not just painting all over the place. We are painting this where it needs to be. That's a general idea for this painting it where it needs to be. Okay? I think it should be fine. Move our light source around. All right. We'll do it to the back also. Okay, move up. You need a few around there. Alright, that's fine. He also. Okay. Move to the opposite side, repeat the same scene, add some darkness in the mood light around. So I'm sure at this point, you guys are already like, Wow, it's already looking more like a dark sin. Yes. If you put in the right amount of work with some good amount of precision, you should get good result out of this less darkness on the pit parts. Okay? Dark in some more here as well. I need to dark in all this part of the head. The I will need to darken. I might even change the brooch for this later roomba just get something in there, something dark for now and there. Alright? We can do this systeme turn on, so we can be a lot faster in here. It is fine. All right. Let's move on to the arm. The arm is going to be visible, so we need to do this with some intentionality in mind. The elbows need to be darkened. I'm just symmetry turned on. Symmetric turned on right now, this is fine. Was it going to break symmetry in a bit? Now let's break symmetry now. All right. We need I need to darken this part under and pit part also a bit more. Darkening some more. Okay. Let's come to the front parts. Get some detail for the front. Well, let's do side first. Let's just for the side first. Okay. Let's introduce some shades of darkness across this randomly. I'm going to introduce this randomly. But for the arm, we need a lot of darkness, lot of dark out in there. I think, let's find. Yes, it's a good one. But the arm actually quite dark. So let's add some darkness in here to begin with. Okay. Interesting. Come down, reduce the brush size. You can come down out some darkness darken the need to ze lot more. Make sure the noculs are darker than it is right now. You can turn on symmetry for this as well. Add some dark tone in there, dark tone in here as well. Okay. That in this a whole lot more. Alright. Then we just do some light ones in between. Duck in some more usually for me usually when I kind of started trying to figure out this dark skin tone, it was at some point kind of confusing to figure these tones out, but as soon as you get the general idea, it becomes a whole lot easier just to texture of the dark skin tone. I'm sure, at this point now, you guys already getting the ang of it because with this explanation, you should be able to tackle any type of dark skin tone. Let's just lighten it out some more. All right? That should be fine here as well. So the upper kind of lower arm is a bit darker than the upper arm. So it's more or less like we're trying to create a fair defect where you kind of wear why? Because this lower arm let's just assume this guy is always wearing short sleeves. So the lower part of the arm, based on the sun radiation, it's kind of dark in the lower part of the arm compared to the upper part of the arm. So there should be some more darkness on the lower part of the arm. So let's see on the keyboard. Let's paint this in. I'll turn up symmetry now and pint this. Let's introduce some dark sheet. Use the broad sides coming close. Some darker sheet like so should be fine. Let's go to the other side. Introduce that also. All right, come in close, reduce the bro size also. So we have some tiny variations across this. Alright. So I'm doing this loose ended. It's not important you do this like strict endlinea so you can just be a bit loose. So you do this a bit loose ended, you should be fine. All right. Let's add a few. We need to darken the api lot a whole lot more. This amputation needs to be quite darkened out. All right. Let's come to the front side, increase the broad side a little bit more. I've now done for these bits. So let's float fill out with some dark shade. It M on the keyboard, visualize this. Alright. You go in, that can do some more right underneath here as well. Also, that in the center parts. So we need to add some light dark tone in the chest region around this pars. Try to be a bit loose ended in here. Like quite loose end. Just do some light spray around there should be fine. Let's go up above for the shoulders. We need some dark shed on the clavicle. You need some dark shed, just on top of the clavical bone. You need some dark sheds in there, very important to get some dark sheds in there. Okay here well. Add some dark sheds here. You can turn on symmetry for this. You see on the keyboard, a some dark shedesPy brush size. Do some more duct across here. Okay, Tn of symmetry. Add some dark sheds around here as well. The neck definitely needs some dark shed, so I'm going to take down my bros size. I'm just going to spread this across doing this asymmetrically. Right, here as well. This should work just fine, then be a bit loose ended around here. Come into the face. For the face, I'm going to take down this root capacity, do something light handed. Let's come in close and see some more detail in here. So I'm just going to add breakup darkness around the face around the jaw line, add some darkness around here as well. You also break break this apart. All right. This should be fine. Introduce that darkness also underneath the eye. On around the eye for the most part. So let's introduce this on the eye here as well, introduce this around here as well. Okay. I should actually help Air on your keyboard so you can see this a whole lot more properly in here. Okay. That is fine. We have a few also around here. Alright. You should give it a bit more interesting shadows. If you get somewhere interesting shadows out of this. Alright. Awesome. Add that dark sheet also around as well. You see on the keyboard. Add that dark sheet where the moustache should be around there. So you need to add SM also too on the lip. So this is going to be like a base pass. Let me increase the opacity a bit more. So on symmetry for this. So we start the base dark pass for it. This base dark part is actually important, so let's just start with that base dark pass. Alright. Zoom out? Yeah, that should be fine. That should be fine. We continue that dark shed around here, as well underneath this. Okay. I mean to add that also inside of the noseres instead of the nostre like soap, swell. You need to add that also around here. This needs to be a bit darker. All right. Interesting. Do the same also on the forehead. Let's tone of the symmetry for this. Add some brick on the forehead. He also as well. Look for the opposite side. Okay. Let's do for the eyebrows. Yeah, so, yo. Okay, this is fine. So the next lesson, what I was going to carry on and then continue the Southey guys in the next lesson. Bye for now. 4. 107 Light Paint Layer In Substance Painter: Welcome, bad guys. So in the previous lesson, we started the procedural texturing of this character in here. So we're going to continue on that because we still have a lot of hand painting to do in here. So we're still need dark texture or dark layer, so let's continue with that. So I'm going to increase my browsers a little bit more. I would like to add a bit more dark shade on the herbs. Let's add a bit more dark dark shed on the herbs or even more on the front up part of the toes so let's introduce some more darkness in there. I think this should be fine. So the Nippo used to actually look quite dark because Nippo should be dark. Just like when this female reference in here, the Nip is also dark so. Let's go in and then paint a bit more some dark shed in there. You can turn on symmetry for this as well. I will increase the opacity some more. Extend this out some more. Okay? A can turn to off symmetry now come in close, dark in this even more. Use the brightness, dark in this even some more. Okay? That is fine. This would work just fine. Maybe a bit more around there as well. A, awesome. So yes, this is looking good. This is looking good. This we can definitely work with. Increase the bro size a little bit more. I'd like to introduce some more darker shead across this. Move to the opposite side. Okay? Introduce some more darker shed. Silver can go a bit light handed, that's fine. This we can work within here. So I'm not really going for character has a lighter skin to it. I'm not going for a lighter skin. I want something quite dark. Tal symmetry for this, increase the darkness for this some more right, a bit more around here. Awesome, I think we a good place, yes, but I would like to this undertone we have in here, I like to darken it a little bit more. Let's go over to dark skin. So this in her let's use a more darker skin tone. So let's just duplicate this, add the lower one. Then darken this more. I'll just pull this down a little bit more just to give him a more darker contrast, that kind of blends with the dark he added previously. Yes, this is fine. I think, let me zoom out. Let's see. The idea would be to zoom out and see if this is fine or not. Then also change our light setup just to be sure it's working well on another light setup. Let's use an outdoor light setup. Let's try this. Now, not this small. Let's use something brighter. Let's use this panorama instead. They are interesting with the panorama, we kind of see how dark this is, which is what we want. We want this guy to be quite dark. Not to dark dark enough. So you should work just fine for a good bid stone. So let's go back to Marco studio. Alright. Awesome. This is fine. So now, one thing we need to do now would be let's go back to these dark paints. I'm going to duplicate this duplicate the dark paints. Why it's taking so much time to duplicate. Et, we duplicate now. You can see how dark this is. This is way too dark, looks old, so I'm hiding the topon for now. Let's work with one underneath. Let's turn off symmetry for now. Then in here, I would like to add a filter. I'll add a blow filter for this blow Okay. So blow out those dark sheet. Make the edges a lot more blended in. So give us a more blended in edge. But the blow intense is way too much. Let's take down the intense. This is at zero. Let's come close. I think on the closer, we can properly get this right the way we want. Okay, way too much. Take this down some more. I don't know if you guys can actually see this though. I believe should this should be just fine. But I think it does crack at the edge. Let me take this down a little bit more. No, that's down way too much. This is fine. So I'm going to turn on the one at the top. One at the top stairs that broken up look we, so I'm not going to reduce the intensity for it. Use intensity for it, it just blend quite nicely. Turn that off and on, let's see the difference in there. Okay? Go down to the dark pins and then take down the visibility for it. Maybe we don't want it too intense. Let's just get a good blend in there. But at this point, this is where we need to start blending things in some more just to see how well they stand out. Let's check our Abido. Abidos not doing justice to this. Let's continue viewing this on the material view. So we need a good balance for this to work just fine. Let me turn this back on. Increase some more increase all the way up, let's see what it gets too dark, take this down. Yes, I think it's a good amount. This value should work just fine for what we need it for. So now the next thing we need to do now is to paint in this bright tone. It's more bright tone to it. Now paint this brighter tone, so let's just duplicate this layer at the top. Let me just name this Dup, so I know what it is. Dup. Okay. That is fine. I'm going to duplicate this layer. Then I'm going to change the name. I change the name and also change the collaton for it. Let that off. Okay. Let's change the name, Let's rename this to something else. Let's name this to light brown. Light brown paints, go in, add the black marks. Add the black marks to this. Then I will just go in and then pick this coloton. So let's go, we need to pick the colotonseF the Albedo texture instead. So let's come in close to the Albedo texture in here Alright, then let's pick the colo tone. So let's go in and then pick Colo pia. Let's pick this lighter shade that is fine. Alright, this should work just fine. This we can definitely use. Let me check the Let me check this. Let's see. Okay, we still need to pin dara ches in there. So we'll circle back to that Nibts. Circle back to that nibt. But for now, let's just get a more lighter tone. All right, so I'm going to increase the brightness for this. Okay. So what I'm going to do here would be to add a curvature map to this. Let's do generator. Let's no generator instead. Let's add a few layer instead, a few. This field, I'm going to type in curvature. Let's delete all of this. Let's type in curvature. So we do curvature for the body, we build that curvature for the body, so I'm going to select that this is what we have. We'll see you to make some modifications to this. But let me just see if this new work just fine for what we need it for. Then we can make modifications to it as we please. Let's see. Let me do an inverse. Let's do invert inverts. Supposed to be like invert max. Okay? This is where we get. But we don't have those individual control over it. That's not the issue here, so I'm going to close all this. Let's use something that has more control over it. Go to Generator. Let's use the C votual. So this curvature layer has more control. Open up the curvature. Let's use cavity instead. No, that's way too much. Let's just do way too much. Let's do edges first. Invert, adjust this balance. Take down the balance instead. Not really give me the desired result I want. I might need to use something else. Okay. Then we'll do an inverse of this. Yes, something similar to this is what I'm going for. Then let's blow, let's blow some more. Lo, some more. Okay. You need some contrasting here now, really. We can make modifications to some of this also. All right, take this down. Okay. Then I'm going to increase, you know, undo that. Let's add, let's take this down. Take this down a bit more. It's not going to be obvious in there should just be faint. In the quantified quite faint it should be fine. The quite faint to begin with should be just fine. Oh, I think I completely removed that. If you take this so the way up, it gets too bright. So something light like soap. Why do I keep setting this down to zero? I don't want to be too obvious in there, but it should still be in there. I think I'll need to blow this out some more. Let's add a filter blow instead. Let's see if this blow give us a different result to it. Yes. We have a different result to it. So it should be a bit more spread out, so we turn this off and on. Coming close. So yes, this should be fine. This will just add a little bit of interest to it. Okay, yes, it worked just fine. So now that we have this now, we can now go in. I'm going to duplicate this, duplicate this and now we can do some unpainted version in here, increase all the way up. So for this, I'm going to be using I'm going to be using the death brush instead for this. So the death brush will do a better job in here. So let's see how we need to get this to work. Go back in here so we can visualize this from the front view or take down the brush size, then take down the flow, take down the stroke capacity. Then we can start painting take down the bros size. All right. So we just need to paint some bright region across this. Yeah, well, I'm just tapping across this. Is anywhere else? Yes. We can do on this part of the arm as well. That should work. As well. That should work. Then we come into the face. For the face, I'm going to take down the flow, take down the stroke capacity, also as well, take down the brood size. Then I'll come in and print some more bright ton around here. As well, as well. Rotate this les where it gets. Okay. Do on the top surface of the nose. Awesome. This should be fine. Here are as well. We can add a few there. If you are well. Okay. Let's look for other regions pin get this painted in also. Increase your blood size, paints in a little bit more around here. Okay, pints around here as well. Alright. We can do some paint also here as well, increase the blood intensity, pints in here, pins here as well. Break this up. All right. Add a here as well. Okay. It should be fine. I think we can paint these underneath defeats easy on the keyboard. Let's paint these underneath defeats to create that discoloration in there, write discoloration in there. Okay. Do the same for the opposite side. All right, come in close. All right. Yeah, this should be fine. Yes, this can spread out quite fine, just the way we want it to be. That is fine. Let's see what we can do for the back side also. Coming close to the backside. Okay? Aim on the keyboard. Let's rotate our light to the back side. Introduce a little more around there. You want to blow this out actually because it's not supposed to be as broken up as that. So we're going to lighten it up some more. Okay. Yeah, well. We need to do this for the pame see on the keyboard. We need a bit more do that. Let's just to symmetry turned on so we can be a bit faster. Okay. Get in the pens as well. Yes, this should be fine. I work just fine. So you should be able to see see them picking through on the edge. Let's do a little bit more. A little bit more should be fine. All right. Awesome. Little keyboard, let's rotate this les where we get. All right. I think this work. So now we just need to go in and then add a filter a blow filter. I'll blow this out some more. I don't need to be too ash in there, so we're going to blow this out a little bit more. I also need to take down the opacity for it. I just need to take down the opacity for this is not too obvious. Okay? Let's take down the visibility down some more. I think I went down way too much. Somewhere around there should be just fine. Okay? Let's see for the arm rotates. Okay, this should be fine. But other paintover on the arm though. We do another paintover for the arm or for the arm udder, but this should be just fine the way it is. If I need to increase or paint over this, I can just go in and then just paint again. I'll turn off symmetry for this.'s turn off symmetry for this. Let's say I painting some more lighter shade on the face. All right, that is fine. This we can certainly work with. Yeah, this should be fine. I should be fine. I think I'll go back to the dark paints. I would like to use the 5. 108 Hand Paint Layer In Substance Painter: And to paint some more darkness around here. Think asun this off. Some more darker shade. Am I paint this correctly? Increase this. Make sure I'm painting this correctly in here. I got to see anything happening in there, though. Let's come in as there. Let's paint this. Okay. Bring this back in, turn this back on. This part is actually covering it, so we can eat eggs on the keyboard, go to a dark sheet. Let's remove a few of that around here. You can leave on the opposite side. Clean a little bit more in there. Do some cleanup here and there and it should be fine. Some clean up. Introduce some of that darkness back in. Yeah, I think this is fine. This is fine. Let's introduce I think I would like to duplicate this dark shade. I'll bring it all the way up. I'll add the black marks. Add the black marks in there. I will increase this and then let's go in and then introduce some more darker sheade. Controduce some more darker shehade in between just to make it a little bit darker on those regions. I think this is fine. I'd like to use this dark sheet also too on the eye, increase the dark shed some more. Let's make the eye more darker, this going to paint over on the eye. Okay. This needs to be a bit darker. Okay, let's zoom out. Yeah, well, well. Okay? Pain some dark shed that goes down here. This is fine. T can way too much, undo that. Let's do on the key, but to go to the invert of that. Let's undo this, clean this out some more, out some more. Okay? This is fine. Alright, I think I need to darken the nipples even more. Let's create some darker nipples to him. That can even more, increase the flow. Okay. Okay, that should be fine. Awesome. I think this we can work with. Get in c let's see how broken up this is. Come back to this blow, take down the blow some more. Shouldn't, I think the way it was before was actually fine. Let's leave this like so. Okay. This see on the keyboard. Sees a lot of breakup in there, which is fine, precisely what we want. I think we're pretty much almost done. So let's add some brightness for I think we have. I remember now this dark sheet, we need to use this for less tonal symmetry for this. Yes. I the lines needs to be dark. Also, too, I think the normal map we use for this is way too intense. Let's go back to normal. We can take this down a little bit more. Maybe back to the way it was around there should be fine. But once we are soft scattering to it's going to soften off going to soften off these edges some more. Let's go back to the duct and let's darken these edges. Let's dark let's reduce the bros size. I believe the symmetry is done on. On do that, we use the bro size a bit more. So we just need to darken these lines. Just get those lines darkened out. All right. I think that should be fine. That work just fine. That will work just fine. That we need to darken cars. I think we should have a better way to darken these cars that should work just fine. But let's check around. Let's see, the novel, we need to darken this novel. Darken this Scre somewhat darker sheet in there actually quite dark. Let's increase all the way up. Darken this even more, paint some good dark shades in there. Okay? That should be fine. You can turn off symmetry. All right, this is fine. What else can we do to make this pop? For now, let's focus on the arm now. Let's get good details for the arm. So I'm going to duplicate this layer. Let's rename this to wash. Let me give you some moment to save. Okay. Let me name this two. Let just to add lights, paint. I'm going to change the colo tone. Let's use see if we can find we can use the colours that comes with this. Yes, we can use this color in here. Let's unpick this color tone. Get that's fine. That should work just fine. Close this are the black marks. Okay. I think for that, I need to go back to this dark sheet and then turn on symmetry because the lines in see the lines in between each finger food is actually dark. So let's make sure we have this dark also. It's seen on the keyboard. There's dark inds as well. Okay? Yeah, that is fine. What is the symmetry don't zoom out. Come on. Up. We use the blouse size. Let's use the blow size a lot. Go in and then paints that dark sheet in. Something feels off. Something's off in here, let me zoom out. Et's get back in there. Okay. I think we can paint this Nishu is working now. All right. Yeah, that is fine. Let's not neglate this part also as well. Okay. I think you're working on your side also. I think Tom Tom, let's make sure we have something for the tomb, as well. Okay, that is fine. Alright, let's go up to this and light pints, increase the bros size some more. But we need to drop this down just below the dark pint. Move this around. Crazy bro size and less paints over this. Less paints over Okay. Then we're going to blow it out. Let's just get pints in there to begin with. Let's see. Come around, we just move in some things should be fine. Okay, it should be fine. Yeah, it to work just fine. Then we can go in and then add a blow filter blow filter. But it seems like it's way too bright. Let's just take it down some more. I shouldn't be too bright. Somewhere around there should be fine. Maybe way too bright. Take it down some more. Let's compare this off and on. Brighten it up a little bit more. Yeah, that's fine. That will work just fine. Okay, another thing we need to work on will be the fingernails. Let's paint for the fingernails. Let's get the fingernails painted properly. So can we find the right coloton in her? I think we can. Let's just get closed, rotate. I think we can let's duplicate this, pull this up, add the black marks to it, and let's pick the coloton for it. If we can just pick this brighter tone, yes, that's the one, brighten it up a little bit more. Then go in, increase this all the way up. Is a smaller bros size, come in close. Symmetries to tone down precisely what we want. Then we undo that, reduce the bros size some more, then we can paint this a bit more accurately. Okay? I just pin this on the fingernails. All right. Came around, we just moving out way too more too fast. Come in close. All right. I think this should work. If we blow this out, that would make it that would make better sense, actually. So don't need to completely flood this. We can do what we are doing right now, and then we should be fine. Okay. Yeah, this is fine. Oh, I think I went too far. Let's clean this up. Let's add the blow and then see if there's any modification we need to make in the blow filter. It's way too intense right now. So take it down. Shouldn't be spread out too much. I think this should be fine. Body colo, we need to change. We need to change. But let's just tone this down some more. I think we tone this down so more, we should be fine. Not entirely the color we need for this. We need to change the color some more, let's pinch this up a bit more down here. Yeah, this should be fine, but we need to reduce the intensity a bit more. So it's not too sharp, not too bright rather. I think somewhere around there seems like a good fit. Let's not glt the lower part also too. Let's make sure we get something painted in here also. Let's turn off the blow filter. Undo that. Increase the blow size. Increase br size rather. Paint in. Okay? Paint in as well. Paint undo that. That was way too much coming close. That should be fine. That should be fine. Fine, as well. Turn on the blow filter. Okay? It but I think we still going to break this up a little bit more. We might still need to break this up a little bit more. By introducing something a bit brighter and more brighter tones. Let me duplicate this layer at a black mark, and then I'm just going to brighten up the tone some more. That should be fine. Close that get in this is fine. Symmetry to on, I'm just going to paint a brighter, I think this brighter tone should be on the lower parts. Undo that, reduce the brows as a little bit more. Around here should be fine. Around here also should be fine. Here, as well. Here as well. Okay. Move this along here, also, as well. Alright. Let's go. The make better sense now. That one make better sense. Coming to the toes. Good angle to this around there should be fine here as well. Undo undo that. Like so so around there all sotany drop around there. Then I'm going to blow this out. Let's go in. At the filter blow filter. Way too intense, take this down. You just fd out this way. Let's see. I think we need to do some cleanup in here as well. Clean this edge some more. Do I need to blow this out a little bit more? That's way too much. Some around there seems fine. Except we need to take down the visibility. Let's take this down a little bit more, let's zo out. Let's do it from a distance. Let's see how much of this. I need to clean this on the edge. But I don't want this to bleed out, let's clean that on the edge. Also, I think this is fine. This will work just fine for what we need it for. This one is building out to the edge. So let's clean up some more. Clean up some more. I don't want it bleeding out to the edge, clean out some more. Let's see if we add some bleed oututs in here as well. That's fine. Alright, awesome. This should work just fine for what we need it for. So I think the next lesson, we can now focus a bit closely on the face and then get some more interesting looking details on the face. Most especially broken up. I can see some blemish and then some perfections on the face. So we need to introduce that just to give it a lot more believable results to it. Okay? So we'll do that in the next lesson. Bye for now. 6. 109 Skin Blemish Layer In Substance Painter: Welcome about guys. In the previous lesson, we painted on the skin. I was painting on the skin also, too, where we kind of work a little bit more on the fingernails. So in this lesson, we're going to work on kind of specifically on the face right now. So let's do a bit specific on the face. So we have a reference in here that would actually help help us do a better job for creating those imperfections around the face. Alright, so let's jump right in. I'll put this around there should be fine. All right. Then I'll need to I think I will need to start by creating some spots around the face. So we have a brush for that, but I'm going to use a dark spot instead. So let's I think I can duplicate this. Let's duplicate this. All right, then I would add the black marks to this, increase the opacity. Then I'm going to change the colo unless it's something dark and I think somewhere around there should be fine. All right. Then I'm going to use dot brush that has a rounded surface to it. I believe this one let me move this aside. I believe this one should be fine. Let's say the PV this work just fine. But we need to make some adjustments to it. Let's select the max. We need to do this asymmetrical ton that off. Come close, increase our brush size, increase the spacing. Okay. You don't see much happening in there, though. Let me come down to our broad settings in here and then make some more modifications to it. I will increase the space in some more. So, I'm not using the Brush not yet selected. Let me make sure I select it selected now. Take down your bros size. Okay, increase the pace in some more. Then let's start applying this on the face. You can see that in here now. Let me E on the keyboard so we can see this a bit properly in here. Okay? So I'm just going to the brows size even more. Let me start with creating some tiny piece first. Let's create some more tiny piece around the face first to begin with. Okay? Just to break up the surface a little bit more. All right. I think that should be fine here as well. Okay? Come in close around here as well. So we are by no means creating fracs for this. We're not creating fracle we're trying to create blemishes around the face. Create the brush a little bit more. Okay. All right, we can do a few ones around there as well, increase the brow size. Let's put some bigger ones. So you're basically just playing with the size variation for this reduce the brow size. Okay. Check the reference on this side as well. All right. Here, as well. Down here as well. We definitely need the fiel underneath the neck as well. Yeah, that should be fine. Okay? It's M on the keyboard. Let's see what we get out of this. I think the colon for this is not exactly there yet, so we need to take this down some more. So it's not two of you, so it blends well with the skin. Let's make sure this blends well with the skin. Something like this should be fine. If we go off and no now, you should see some difference in there and I'll increase the bro size by a lot. You see on the keyboard. Let's print a few more. But let's print a few more. Let's paint some larger ones. All right. Bigger ones should work just fine. Okay. Yeah, it should be fine. Yeah, as well, around the nose also. Let's go underneath this on the neck as well. So you should just kind of fill up some spots for bigger blemishes, which is like precisely what we want. Okay. Then on the keyboard. Let's see what we get. Yeah, they're actually in there. Maybe we just add a tiny bit of surface detail to it by going back to the going back to the field layer instead of adding ides. Pung this up a little bit more. This is obviously too extreme, so we need a very tiny amount to work just fine. I think something even lower than this. We need something even lower than this. So let's let's go in and then impute some values. Should definitely lead you one there, put zero in there instead. Okay? So we turn that off and on. Let's see. Okay, I think this should be fine. Is to work just fine. This will work just fine. I think we might need to add maybe blow filter to it. Let me kind of increase this first so we can see what is in there. I'll go in. I'll add a filter. No les filter instead. Add a filter. Let's use the warp filter instead, Warp. So you're just going to warp the edges a little bit more. This is way too intense. So she creates something a bit more interesting in there. So you shouldn't be giving us a uniform rounded surface. It should be warped a little bit more. I think this value should be just fine. This value will work just fine, and I'm going to take down the 1060 says not too visible. But still in there. Still too visible. Let's take it down some more. I should come faintly in there. All right. Yeah, that should be fine. So now we can now go in and then paint do some unpainting in there. Let's go to I use a default brush for this instead, let's use default brush for this. Basic art brush would be fine. You'd use the brush size. So I would need to duplicate. I need to duplicate this few layer, add the black marks to it, add a black marks, increased intensity. So I want to be a bit more intentional on those spots we create the inside of Zbrush by painting over it. So I need to paint over them. All right? There are quite a lot going on in here, though, we need to pints on top of them. A few of them, at least, even though not everything, but at least a few of them should be fine. Okay? Just will create another additional level of detailing for us to work with. All right. There's quite a lot, a whole host of them around here. But we need to we're not supposed to neglect them. We're supposed to add something to them, also. That would also give us an interesting look to it. Alright. We're going to leave some unpainted because we don't want them to look like they're not fresh pimples or fresh blemish. So a few of them will just live the way they are. Yeah, this should be fine. It should be fine. Then let's do work. Add a filter. Let's do a wa filter as well. Too much intensity. Let's do something quite low, so it should be fine. Then we take it down. I also need to add a filter blow. Add a blow filter to this. Blend tens is way too high, take it down some more Okay, this should be fine. We still need to take down the opacity some more. Yeah, this should be fine. This will work just fine. I think I might need to erase a few. So at X on the keyboard. I'll need to erase this. That one was looking a bit cold. Yeah, this is fine. This will work just fine. Let's see if there's something else we need to do in here. I think for the most part, we are good. Okay. Okay, yeah. Some of these pamps needs to look a bit fresh, like adding some white yellow with brighter tone to it, actually. So we can do that by just I think we can do this on top of this. Will it? Let's see if there's some we can add. Et's's on the keyboard to move out to a brighter tone. Yeah, that will definitely work. So we can just tap in It's too bo. Let's take down the flow, take down the opacity. We don't want it to be too obvious in there. Slightly in there should be fine. Okay? Like, so it's not going to be that obvious to see, but it still be in there. All those brightening up some of this painful detail. Alright. Yeah, I think this should be fine. I should work just fine. I would like to isolate this. I need to paint some redness for this eye detail in there. I need some redness going on in there, so we need to paint some redness also. Oh, there's O spot settings in here as well. Interesting. All right, so I'll need to paint some redness. I need to do duplicate this, add the black marks. Change this to a more reddish tone. Since somewhere around should be fine. Yes, this should be fine. Increase the brightness. Okay? The I'll need to use a death brush for this. Let's use a death brush for this. We can use this. Take down the brush size, get in close. Undo that. Undo that. Let's take down the stroke opacity and the flow. We don't want something that's too sharp or too obvious and there's something like that should be fine. This as well. That will work just fine. I just right amount, then we can blow this down, take down the opacity says not too sharp. I think this value should work just fine. This work just fine. All right. This we can live with, let's here something else we can do in here. So we can also introduce this redness on. I think I need to rename I need to rename this rename these two spots face spots. Okay. Face pimp spots. That's fine. Bom gonna get proper name in there, so we know what there. I think we're in a good place now. For this, we can name this to Let's just use lip. Let just name this to lip redness. Because sequence you use this to paint for the lip also as well. We can do symmetry for this, increase the brush size, get close. Yes, yes. I think I need to create a new layer instead. Then just a miss to eye redness. Because I would need to have more control over the redness of the lips, so that's why I need to separate them out into different field layers. All right. That's fine. We up here at the black marks. Add the black marks instead, black marks, increase the opacity all the way up. Then we get clues. Let's add some redness to this. Okay? So this is like some blush redness. Let's zoom out. Let's see what we're getting out of this. Here, this is fine. This will definitely work just fine. Okay. This should work just fine as well. But then we need to add a blow filter to it. Blow, reduce the blow intensity. Let's add a little bit. This is fine. A little amount of blow around the value of 0.23 should work just fine. So this is fine, then we need to create a new duplicate that, add a black marks. I'm going to name this to lip blush. So this will be more like a light pink tone now. So we're going to pick a light pink tone for this. We cannot pick the color from the reference instead. Yeah, this should be fine. Go back there and then we'll reduce the blush size. Now for this, I'm going to turn off symmetry because I don't want this to be symmetrical. Increase the bros size. This should reduce the bros size. So this should just be at the edge. We should be at the edge like so. Then we can vary this also this way. All right? That is fine. But intensity is way too much. We need to take this down less lighting this down some more. No, I is way too much so we need to take down the redness down a bit more also. Okay, that's fine. I'll need to add a filter to this, add a blow filter to this as well. But I don't need to be too sharp. Yeah, I think that's fine. This should be fine. I think I need to let's turn this off. Let's see. Take this down some Okay, no, I don't take that down with too much. This should be fine. Probably darken the redness a bit more. Darken it some more. I think that's way too dark. Because I think the previous color was actually fine. Let's go back to the previous column. I think I might need to blow it out even more. There's more brighter spectrum of blow default so turn this off for now. Okay? That's fine. I think this is one we need to take down a bit more. Yeah, this is fine. Tho work just fine. I should work just fine. Let's see if there's something else we need to do in here as well. I think for the most part, this should work just fine. Okay, I need to add some brighter spots in there. So now I'm going to create a normal regular layer now. Then it's p on the keyboard, the blo size. It's p on the keyboard to sample a color from this. Let's sample this color. Then I'm just going to undo that. Brushing tens is way too high, take down the floor, take down your pasity, and I'm just going to paint over this part just to break that up some more. So right now I'm just doing some surface breakup. Just to create some irregularities to it, make it look a lot more unique and not asymmetrical. That's basically what I'm doing now. So I'm just picking colors from mod regions and then do some paint over. That's fine. We definitely need to paint some redness around this wrinkle. I think let's see if we can use the co virtual map to kind of do that properly. I'll just duplicate this layer at a black mat, increase intensity opacity all the way up. Let's use a dark tone for its right. Then I'm going to add a generator. Let's use the co virtual generator for this. Okay. But I want something that should be affecting the wrinkles around the neck, so let's see what we can do in here to increase the balance. Let's change this to cavities. So we need to make some adjustments to this just to get the desired result we're going for. Let's just do instead inverts. He's now doing a really good job. He asked me. Inverts. No, it's not capturing the ring lona the neck. No capturing darring clona the neck, so we might need to refine this a little bit more perhaps, and do that. It's just a matter of going back and forth and then trying to figure out what would work. This is not even doing much. But as far as the lips go, as far as the lip goes, I think this will work well for the lip This work well for you because you need to do some breakup on the lip. I need to I think that was what was missing. Some break off for the lip. So this cavature map is not really working. It's not really working. Let's try something different. Let's try some marks in here, some smart smart marks. Let's use that cavity, less drag and drop this. Oh, come on. Decide, cancel this. Let's dragon drop this on that layer. Not really. Let's do roast. Let's try roast in here. Maybe we can actually do something here that might work. Blue the pints. Max's Builder, let's see what we can do in here. Not much happening in there. Not much happening in here as well. It's not really giving me the desired results. So let's try something else. Let's try edge rust. Drop some edge rust in there. Let's see what this gives us. Coming to the lips. This is actually interesting for one. This is actually interesting. This will break up the lip even more. This is what I need. This is what I need, then we can make some adjustments to this. Let's see if this affects the neck. It doesn't really affect the neck. See we can make modifications to this. I'd like to do something subtle in there subtle should be fine. Then I would put this in a group, ContG put this group, name this group to leap dark. Okay. Then I'm going to add a black marks in there. Then I can paint over where I need this to be. Is this a motion? Oh, I know why it's motion. I think we need to it's actually working, do need to increase the flow and opacity for it. And then if you turn that off and no, we need to see some difference in there. So only on the affecting the lip. Okay. Then we need to take down the opacity. It shouldn't be too obvious, but still not too obvious, but in the screas a bit more. Yeah, that should be fine. So the next lesson, we're going we're going to work on something else. We'll do some extra work on somewhere else, and then we'll see how this goes. I'll see you guys in the next lesson. Bye for now. Mm hmm. 7. 110 Scars Layer In Substance Painter: Okay. Welcome bad guys, in the previous lesson, we worked on the libs and then added some blemish detail also as well. So in this lesson, we're going to start painting on the scars in here. Also, too, I would like to get some dark wrinkles the neck. So we're going to try and do that. So let's duplicate let's go in and duplicate this layer, drag this out of the mix. I'm going to name these two. Let's use dark scars instead, dark scars. I'm going to add the black marks in there. All right. I think I'll need to let's try using the bitmap marks. Then Cvture Let's use the Cvture instead. Let's see if that actually posed to anything. Then go over to layers or rather levels. See what we can work within the inverts squash this down. It's not really doing what I needed to do. It's don't really know what I needed to do. By this time, I think I'd also have to paint this by hand. But that's fine. Let's just do some hand painting in here, let's go over to brushes. We can use the dirt brush. Okay, reduce the brush size by a lot. Then come underneath the neck and find wrinkles that we can paint over. Do that. You need to do this as accurately as we possibly can. All right? We don't need to be extremely accurate, though. Need to get something in there. Use the brows size even more. We're going to randomly paint across this. All right. Yeah, that should be fine. Then I'm going to take down the visibility for it. It shouldn't be too obvious that somewhere around there should be fine. Maybe increase the darkness some more. Yeah, that's fine. This we can work with in there. But we need to add a blow filter to it. Let's add a blow filter. Intensity with two more, take down the intensity. Yeah, that should be fine. That will work just fine. Okay. Then I'm going to duplicate this again. Let me name this to dark neck wrinkles instead. Wrinkles. All right. Get in closes. I'm trying to see if I need to pins on the wrinkles on the eye as well. Let me use the bros size. Let's see if we can use the bros that's a value of 0.05 instead. I need something quite small. Lamin ton of this blow. Is he painting anything? I don't think he's painting much, though. I'm not even sure if he's even painting anything. Anyways, I doubt if we have anything painted in there, though. All right, that's fine. Then let's go back to this dark scar, increase the brightness, increase the opacity rather then let's do a black mat. Yeah, this should be fine. Then we need to paint on the entire scar in here. So let's increase the brush size. The scars needs to be a bit darker. Okay. Depent on the scar. There comes in too many redness underneath the skin. So let's go down all the way down. So our base layer, this redness in here. If you completely hide that let's let's say you completely hide there to see that completely disappear. But I need a few of that in there actually, so I'll just take it down a little bit more. Yeah, this value should be fine. That value should be fine. Maybe that's way too low. Let's increase a little bit more. Let's do somewhere around 50 ish. Yeah, that's fine. So let's go all the way back up and continue painting on these cars instead. All right. They need to be dark. Bros size a little bit more because we are still going to blow this out. All right. That is fine. Okay. We need to paint across the entire time because they need to be way darker than the rest of the body. So bit darker than the rest of the body. So let's paint over. Alright, little bit more. Swell, well. Okay. So we're just following the pattern of what we already have in here already. I'm going to test things out, so I'm going to add a blow filter just to be sure if I blow this out, we get the desired results. Let's see. I still need to go over it. I will still need to go over and pain. Again, increase the blood size this time around. Okay. So I'm using a slightly bigger bro size now. But the cars needs to be a bit more obvious, so painting over the entire. Make sure it's getting some more bold paint over on this Because once I blow this out, you kind of fed out yet, but I don't want it to completely make my mesh, kind of paint over completely disappear. So that's why I need to do some boulder paint over across this. So more I's a bit more obvious to see. Alright? We have a long way to go because it's quite a lot of the But we're basically just repeating the same thing, so it shouldn't be too much of an issue completing this within the 25 minutes time frame. Okay? So I might still need to I might still need to adjust the colours for this actually. I feel it's actually way too dad, but at the same time, when we blow this out and then we take down the opacity, it should kind of you kind of blending with the skin a little bit more. So we still have that advantage, too. Well, let's just make sure we have some bold paints in a cross on top of it so that it kind of stands out. If it doesn't stand out, then it won't give us that I won't look that realistic. We also need to kind of increase the roughness for it make it slightly more shiny because we're having some kind of stretching on the skin, so that part you feel a little bit shiny compared to the rest of the body. I'll show you we have referenced already that kind of illustrate that. But if you kind of use your body, that's an example to explain that. You know when you have an injury and then the injury begins to when the injury begins to heal, that part tends to be a bit more smoother. You have a smooth you have a smooth surface around that. Open up painting with symmetry on asymmetry is off. So you basically have a smooth surface on that injury as soon as it starts getting to heal. And that smooth out surface creates some more shininess to it because smooth surface tends to shine more than rough surfaces. Is like the general idea. Using the more realistic reward approach, reward understanding to it. So we're going to create a similar effect also in by the fault when we kind of extruding or pulling this out. It's already stretching out the skin, so it's giving us a smooth surface already but. As much as we have that detail in from the sculpting, we still need to add that kind of push this also a bit extra on the texturing also, just to make sure everything is working as accurate as it needs to as it needs to be Okay. Once we're done with this partner, we'll move on to the opposite side and continue on. For this one, we don't necessarily need to add any information in here, gain any texture because we already have that It information already on the actual cops. Okay. Are we almost done, I guess not. Still quite a good number to go. Make sure we have our light source in air. All right. But as far as this goes, I think we are doing a pretty good job. Because we're already tack wood pins in the skin already, so we're just kind of refining or adding that extra level of push detail to make it look a lot more realistic. And in this case, we are doing rather working on the scars instead now. But as far as the skin texture goes, I think we are done with that except where we might need to go back and make some modifications if necessary, if necessary, but. For the most part, right now, I think we're in a good place almost done with this side. Just run through these downwards. All right. Last one. Then we move to the opposite side. This is looking interesting already. This might actually need to work. So we don't need to do too much of blurring for that. Let's continue on with this as well. All right? Let's cover a good distance for that, then move on to the next center rule. Okay. This is fine. He should be fine. Okay. Make sure this is working just fine. Let's move our lights so we can properly see what's going on in there. We also have that advantage of creating this scar detail free. So each scar detail is not looking the same in terms of height and shape, which will also give it a more believable result also. And that's definitely what we're going for. It can be as accurate as it should be if it's done by hand, because as humans, we can't have imperfection. So adding that imperfection on your sculpting fees and also on your texturing fees gives your character a more realistic believable results. Okay? So let's just pin this over. Alright that is fine. Not too long now we should be done with this. Okay. Over this as well over as well down this also a little bit more as well, or, or, year or. Okay. Okay, we're almost done. Let's make sure we adjust our light to fits. All right. That's fine. Move down down as well. Okay. I think after we're done with this, we can move to the setting up the eye. Then after we set up the eye, we can then work on some specularity and roughness detailing on the body. This is fine. I think this is fine. For the most part, this will work just fine. Now let's just turn on our blow. Let's turn on our blow. Let's see what that gives us. Let's say we blow this a little bit more, increase intense that's way too intense. I think around there should be fine. Then we go into the material itself. Let's increase rough. Let's make this slightly shin. Let's come in close, actually. It's obviously way too shiny. Let's take down. I think it's still too shiny. I think around the nature of this should be fine. Yeah, this should be fine. This should work just fine. I want to break uniformity of this roughness, so I'm going to add let's see how we can make this work. Let me clear this out. Better still, we're going to do like an ankle. Let's convert this into an ankle. So let's do something a little bit more interesting here. Let's convert this into an ankle points. So add ankle points to this. And I'm going to create a new layer. For this layer, I need to work on just the roughness alone. You just need to use the roughness channel instead. So I'm going to create a new fill layer. And then for this filler, lesson on colo and roughness. That's fine. Then I'm going to add the black marks to this. Then on the black mark, let's add a few layer on the few layer grey scale, let's go to ankle points, select the ankle point. Then you need to say this to keep extracts. Keep out for rad keep out for Rader, then what we're going to do next would be to just adjust this. You can see how we're having variations in here, and we also getting breakup also around that. Like precisely what we want. Let's squash this, make some adjustment to this as well. So it should be fine. All right. Then I'll go over and then turn off the color. So we really need to see the roughness only for this. So if you turn this off and on, I can see some shininess peaking through this. Which is precisely what we want. So we just need to kind of get some variations on the shininess of that. Then we should be good. We can go in and then introduce some more shine, but that's way too shiny. I think around there should be fine. We can also go back to the ankle points or add to the few and then make some maybe spread this out a little bit more if we need to. A little adjustment should be fine. Maybe back to where it was before. Somewhere around there should be fine. The shininess we need to reduce. We need to reduce a bit more. Yeah, this is fine. So this will work just fine. This we can definitely work with. Make sure there's some int of shine in there. All right? Let me just name this to scar roughness. That's fine. This will work just fine. I'll save this. Alright, awesome. So in the next lesson, we can I think we can do DI now. It shouldn't take too long. I shouldn't take too long to do DI or let's just end this instead so we keep everything short and easy to assimilate for everyone. So let's end this. So in the next lesson, we're going to work on something else. Okay, for the most part, this should be fine. Before we go, let's just test different light setup for this. Just for the fun of it. Let's test different lights set up. Let's try this studio white umbrella. Let's not forget to add shadow to this also. New shadows to make this look a lot more interesting. Let's go back to Tamaco studio with shadow in the right. This is fine. We're having good result out of this. Let's try this what it called Berner field streets. The sun is directly on top. We don't want that's directly on top. Let's Let's try this. Okay, we have any shadows on top, which is also interesting, but I kind of test out the skin to see if you're having realistic skin, and we're having realistic skin out of this, which is fine. This is just to test our skin. Let's use the mandurinT so now is a really weird shader sweets. Let's try Ponoma. Panoma is an interesting one an outdoor light setup for it. Awesome. This is fine. Let's try something else. Let's try this one, no, definitely not. This completely hides the skin. Let's try this way too red. Try this. Not good enough. Let's try this studio setup. Okay. Let's try this Is an interesting result to it. I just want to check my skin tone if in each different light set top, we're getting something good enough to work with. And for the most part, let's try this studio back soft. So now some really harsh shadows to it. Let's take down the harsh shadowing for it. Okay? This is fine. We have this also. This is fine. I think for the most part, Tomaco Studio seems to be doing a really good job in there. I think we have really weird shadowing in here, no doubt. We have some really weird shadows going on in when we kind of do some proper light instead of non, we should see we should get better result out of this, but for the most part, Tomaco studio seems to be working extremely fine for it, right? That's fine. So we'll continue on the next lesson we'll do some other work on this. Bye for now. 8. 111 Eye Texturing In Substance Painter: Welcome about, guys. In the previous lesson, we worked on the scars for this character in here. So in this lesson, we will work on the eye and get the eye set up in properly. So let's jump right in. Let me start by turning off this shadow in there, the shadows. And then let's go let's start with the eye ris to begin with. I don't want to sold this out. I still want this to be visible. So let's just hide the minuscs and the outer eye. So let's get in. Radio primate textures for this. So what's going to drag and drop this in. Let's put a new fill layer. Turn on roughness. I think, let's do on num map. Maybe we can. Let's just add additional level of numer mapping there. Cans select the base color, let's type in Iris. Okay, so the Iris base color. Okay. Let's go to roughness. S selected Iris it is roughness. But we need to make this quite rough. So I can de that and then just make this completely rough. We don't even need any specular contribution to it. It should be completely rough. So it should be fine. And I think it's in the right spot. Yeah, I think this will work just fine. Yes, it will work just fine. So what else? You normal Let's just add normal to it. Is normal. Just make the normal a little bit more intense, for the most part, this will work just fine. The one thing I need to do would be to go and turn on the outer eye, turn on the outer eye. Let's go to this texture set since, it should be on display. Okay, yes, it's on shared a setting insto. On the shared a setting, we need to change this AS to PBL metal roof, not Alpha test. We don't want fat test. Alpha blending, so PBL metal roof with alpha blending sets. Or do we have another one that has Alpha blending sweets? Roughness. I'm not sure this one has opacity to it. Let's do a test. Let's see if it has opacity to it. Let's go back to textual set setting, and then we'll add a new channel to this. So we need to add opacity. Okay. Adding opacity to this now. This is a few layer, a few layer. Let's create a new few layer. Turn on colour, turn on opacity. Now, opacity is now apply to this, so we need to change this need to change this shader out to pbar metal roof with alpha blending. So once you select that down, the opacity should be working just fine now. The pass is working now, then we need to go and turn on metal. I'm just trying to simulate something that looks like glass in here. I would by no means I would by no means use this in use this in node for rendering. I can of simulate something that looks like metal. That's basically it. So increase metallic, to on roughness, make this quite shiny. Make this quite shiny, add a little blow to it. Okay, we're not done yet. We're not done yet, so I would just to simulate something in there. So we see kind of do some modi modifications to this, so let's go in and type in out our eye for the base color. Let's use a premade textures for this eye color. But it's not working well because we have the opacity in there. Let's use also have an Alpha for the opacity. Let's select that. Okay, it doesn't seem to be working either. Something seems oddly wrong with this. Let me delete this. Something's oddly wrong. Add a new filer to this, add the color. Okay? That is fine. This is what we need. Adding roughness as well. O T is the roughness should be shiny. Okay? This is fine. Okay, I think I know why the mistake I was made. I was supposed to add that opacity of using the max instead. So it should work way better with max I need to have two separate few layers to do that accurately. So let's do outer eye instead. Et's name out tie. Since that's the name we give it. I wanted to use Cala instead, but tie should be fine. Let's create a new few layer. For this few layer, we only need the glass material in there. Turn on metallic and roughness, increase, make the shiny. Alright. That is fine. Then add a black mask to it. Let's just name this to glass. Add the black mask to it. But the black mask, add a few layer not spint layer, wrong one, add a few layer instead. Then for this, let's use the outer eye opacity. But this was not working is because we need to invert this. This needs to be inverted. Let's do Can we do an invert invert inverts? Should be an invert, some invert max? Yeah, awesome. Once we do this now, we should be fine. We should only have the glass material directly. The glass material should be directly on the iris, thenar part should be quite visible the way it is right now. So this is how you kind of simulate at least a texturing in here. If we should rotate this, we should get something like so. So should work just fine for what we need it for. Okay? This is just fine. I think it's directly where it needs to be. Okay, directly where it needs to be. A good, all good in here. He's pretty much it. That's pretty much it. We would get good results out of this All right, so save this. Let's see if there's something else we need to introduce in here if necessary. Okay? We can see the eye is a bit darker. There is a bit darker. The lower. Okay, this is good. So what do you see this now seeing the reference now under lights, so we can actually see more of the details in here now. So we need to make some modifications to it. Let's go our texture sets. Diminish open that up and those are a glass material in here as well. We need to add each channel you pass ea channel in the face or pasityo? Tunnel metal and roughness, take this down, increase this, increase the roughness some more, and then we should be good. Oh, it's looking metallic. Look, we need to adjust this yes. This is what we need to adjust so make this transparent. Yeah, I think it should be fine. All right? Moving on. Let's go back to our body so control and all turns rightly to select the body texture sets. And then the the blemish we have this ble have pimples on the face. You need to make this visible. I should be quite at least more visible in there. But the big ones, actually we need to adjust the big ones on the keyboard and then clean the big ones out a bit a little bit more. I think they are way too big, way too big. Okay? Increase the brightness a bit more make them a bit more obvious, but not obvious to throw the entire design off. It bit more. I guess in CST it should be fine. Okay? This we can increase, make it slightly more obvious. Let's see. Yes, I think this should be fine. Then the darkness around the e, I think we need to make the darkness around the eye a bit more obvious. Let's see what we can use to do that. Let's see which layer we can use can steal this layer instead and use it to do that. Oh, turn on. Add some more darkness underneath the eye. Okay? Is this even pincin? I'm not sure. Is this pins in? You kids, it is let's go clean and add some more darkness around the eye. It's because the layer is quite sticking down. It's low. That's why it's as if it's not that obvious. We think let's do that with the layer we create this layer we created, so we can just it be on the keyboard, sample a dark tone. Okay, then paint a darker tone in the like so. All right. This should work just fine. Use the browse size, with a bit more arm here. A bit more around here as well. All right. We need to make some modifications to the lips. Let's just make sure we capture the darkness around the eye a bit more. A bit more should be fine. That's fine. We can introduce some more darkness for the lip. Let's go in and find the lip I think we're lost at this point. Okay? Yeah, we need to increase some darkness for the lip so. I think we can still do this on the layer also. Let's sample something quite dark. Let's sample something quite dark. No, not dark enough. Um, that's not dark. Let's sample something dark. Is something quite dark. Maybe we should go to the bod. I think we should find something dark around it. Okay, we can use Let's do around the nipple instead. B is darker now. Then we just do pints over on the lip. Get this darker. Get this darker as well, reduce the bros size. Okay, zoom out. Let's see. Yeah, awesome. This will work just fine. I think I would like to darken some regions of the as well. Didn't really do too much on the e, let's just get some dark sheds on the air. Right? That is fine. I think this should be fine. Let's see there's some thin or somewhere else you need to introduce any darkness. Dark shed, yes well. All right. So this partler layer just kind of blends tins together. In this layer just to blend things together. A lot more. Okay? That's fine. Right? Awesome. To darken some tins the next now we need to do would be to add a filter to this filter. Let's do a sharpening filter. Let's do sharpen filter. Let's do sharpen. They will do a pass through. If you increase this all the way up, let's see if there's any major yes, there's a difference. It's written some weirdness around the same line, so we don't want that Alright. Let's sharpen the texture a little bit more. It's creating too sharp creating too much sharpness for these painful details. And I don't really want that. So let's see, I think we can darks card, I think we can drag, we leave this here actually. But let me move the sharpen on the instead. Let's go sports spot sports sports spot wrinkles. Okay, this is the sports I think this fish spotting, you can drag them on top instead. Let's drag them all the way up. We can drag them. Before we drag them all. Onto that drag the mod way up let's bring back the sharpness. Then I'm not going to drag them on top of our layer. All right, so if we turn on the sharpness now, so sharpness shouldn't affect it anymore, affect this spot anymore. So this is precisely what I want. This is fine. Take out the sharpness. So it affecting everything down instead, which is fine. So let me see this. I think we're basically officially done with this. Next lesson we can we can work on, okay? Yes, next lesson, we can work on something else. We can work on the accessories instead. Select this layer, paint some more dark shade just to get proper blend in the Okay, that is fine. This we can definitely work with let's the quick sieve. Right, so next lesson, we're just going to export this out and then arrange accessories and then start the texturing process for that as well. So I'll see you guys in the next lesson. Bye for now. 9. 112 Skin Roughnesss In Substance Painter: Welcome back, guys. So previous I said I want to export things out, but I think there's one final thing to do, and that would be to create some roughness and specular map for a character. Okay? So let's jump right in and then do that. So to do that, looking at the head right now, I feel like I should paint some textures for the head, some dark textures for the head. But let's also turn off the shadowing for this. So I'll go to display set turn off shadow. All right. Then we have this dark. Let me move up. Okay. Then I'm going to create a dark tone. Maybe I can just duplicate this dark sky instead. Add the black marks to it, and I'll drag it on top. Okay, increase the brush size. So this time around, I'm going to use symmetry to on, take down the stroke opacity and take down the flow. Let's move back, take down the flow. All right. So I'm basically trying to create where the airline should be. It's create kind of paint over where the airline should be. Something like so should be fine. Are we painting anything else that we don't need? Take out the ights and continue painting on this. Yes, something like this should be fine. So let's just keep pincing. Alright. So we just need to be I think my need to darken this a little bit more, increase the brush size, move to the back. Okay? I think something like so should be fine. Undo that that's way too big. Like so, then I'm going to add a blow to this filter type in blow filter in there. You see pre don't do that. Something pretty much like this should be fine. I don't need to use something extremely dark, though. I think this should be just fine for what we need it for. Yeah, this should be fine. So just give us an idea of where the A Line A should be. Okay. I think we can continue on by just reduce the brush size, paint something around here. All right, that's fine. This we can definitely work with. Yeah, that's fine. Sn roughness map for this. The paint our roughness map will go all the way up, create a new few layer. This few layer, I want to use just roughness alone. This obviously looks too shiny. Let's make this quite rough. I think somewhere around there should be fine. This would be a good base. This would be a good base to work with. Even now that we turn this off, we still have the undertone for this. Let's just turn this on. Okay. I think I would also need to go to roughness channel. Let's see if we can blend this down the previous one that's underneath it. Let's just do a blend in between those two. Yeah, I think if you do a blend, something somewhat like so should be fine. Maybe increase a little bit small, it should be fine. Let's just name this to Bs roughness. Let's do all caps in here instead. Base roughness. Okay. But I think there's a few things I need to do also in here before, before I blend everything down. Let me increase this all the way up. Okay? Make it quite rough. Go in at a black mask. For this black mask, I'm going to add a few layer. And I would like to use I think sports, I believe, sports. I need to use a sports material procedural texture for this. Yeah, this is the one spot two. I think Goshen spot two. Okay, this should only be affecting the This should be affecting the roughness. So let's see on the keyable. Let's go to the max. Let's go to the max channel in here so you can see how the mark has been affected in here. Going to change this projection from V projection to try pen out projection. Then increase the tilling. Make this quite small. I think so should be fine. It's M on the keyboard let's see what we get out of this. So if it's coming close now, turn this off and on. We can't really see much of what's happening in here though. Let's go in and then let's invert the max. Okay, you can see a little difference in here now. Let's increase the contrast for this. If we increase the contrast, you see on the keyboar, let's see the max. Okay, I think let's increase this a bit more. Make it a bit more obvious. Its M on the keyboard. Turn this off and on. We don't really see much happening in here though. Let's go back to the roughness and Let's increase a little bit more. Let's at least see this. Then we can tune this down the way we want. Go and add a bit more ten to this. Let's do a ten of 17. Okay. Then I would just gently increase this onside. I found you find the right amount for it. Yes, this should be fine. This will work just fine. We can see some variation of roughness in there. But we need to blow this a little bit more. It doesn't feel sharp on the edge because the edge feels sharp. Let's see if there's any blow filter for this. There's no blow filter here. Let's go in and add a filter, add a blow filter to this. I see on the key, but let's see the max. Way too intense. Okay, I think blowed out like so should be fine. So if you turn this spot off and on, you can see a little difference in there. This is perfect. You can work with this. So I just need to figure out if this is too wet or this is dry enough the way it should be. I think this should be just fine. My best guess is that this should be fine for the most part. But to take this out, just use eyelight. Reflective eyelight actually see something like this. On the edge, look at how bright roughness each on the edge with these light odd spots in here. So you can actually tell how rough that is, if this is a good amount, so way too reflective. I think for the most part, we compare to this actly roughly where we need it to be. I'm going to leave this as it is. So now we need to now create some unpainted roughness map now. So I'm going to duplicate this let's rename these two paints roughness instead so and paints roughness, that should be fine. What are the black marks. And for this, I'm going to make this more a bit more reflective. Then going to the marks, the kind of paints where I want a roughness to be on. So I have an example we can actually use in here. I have an example. This is an example. I just like the tea son of the face. So it kind of Is the parts that are a bit more reflective than the other parts of the face. So I want to be using this as a reference kind of paint my roughness map. So let me just put this here. So on the forehead, we have some roughness on the forehead, so let's bring some oiliness on the forehead. All the way it should be fine. It's on the keyboard. I see the max, okay? It's M on the keyboard. On the nose, should be some wetness on the nose as well. Okay? Alright, I'm going to take down the opacity. N some roughness around here as well. And the lips needs to be quite wet. Oh, since dark shade on the lips, I think I need to reduce that. I believe that the one? Is that the one ton that off les. Okay, that's the one. Why do we have it so intense? Okay, down. This doesn't seem to do much either. That doesn't seem to do much either. Increase increase, let's come down. I believe this should be the one that should take it down, that's the one that should take it down. I think 27 should be fine. So let's go back and then carry on on the unpainted roughness. The lip needs to be quite rough. So we're going to go over that a few times just to make it a lot wetter than it is right now. It's on the keyboard. Let's see how marks for it. Coming close, do a bit more around the. Alright, that should be fine. Interesting. That should be fine. Increase bro size. Add a film around there around the cheeks as well. Rotate our light, so you can see this one better angle. Okay. We need to do for the eye as well coming close to the eye on these parts. Depends on the part, some wetness here, wetness here as well. Okay, I would like to introduce a little bit more around these parts. Some wetness on this part should be fine. I think we need to calm down some more. Wetness around here as well should be fine. Okay. Then the neck needs to have some wetness because it gets at least for me though, the neck actually gets sweaty, so let's add some wetness around there. There should be fine. It's just regional. I'm going to create like a tea zone wetness around this as well. So let's say somewhere around this part, like so. Similarly also to on the herbs, Okay. On the arm, usually the wetness on the arm is usually around these parts. This part as well. But not too, not too sharp. They don't want it to be too sharp. Something light should be just fine. Something like that should be fine. And on the shoulder on this part of the shoulder there should be wetness also around the wetness around the e. Definitely some wetness on the back on the center part of the back. That should be fine. Maybe a little bit more around there also. Yeah, that will work just fine. Okay. I think this is coming along quite fine. I need to darken the need to dark in the Nil some more. Let's see, I think looking for one of these dark materials. Okay, let's see if we can find a good one around here. Lip redness, dark duplicate. Let's open this up something in there, nothing is in there. So I'm going and then darken this some more, increase all the way up, increase some more. I can't really see much happening India, though. Don't see much happening india at all. Okay. This is red. I think we might just have to create a new layer instead. So let's just duplicate this at a black max. Is it pins pencil do that come down. Darken need some more. She use more more darker tone for this. So I'm pushing this down. It's more darker tone. It seems to be slowing down a little bit. Let me give you a moment. This seems to be too dark. I'm going to add a black mark to begin with. Take down the stroke or pass it to take down the flow, then paint over paint over it. Okay? Take down the visibility of it. So it's not too sharp in there. Not sure. Something seems oddly wrong. Oh, I know, oh, my bad. So I'm doing this all wrong, go the why because I'm supposed to be on the base color. No wonder some things we're not working accurately enough, especially the detail on the leaps in here. But I think we have that where we need it to be. Maybe let's go back in there because now we can adjust this de we want. To undo that. If we take this back up, everything becomes visible, then we can go on the group itself to reduce the sever we want. Something like that should be fine. Okay. Now let's come down, close this, select this. If we turn this off, that might just be the wrong one, yet this is the one we need. So we can take this down. I don't want it to be two of you. Something like that should be just fine. Yeah, that should be fine. Then let's go back to our unpainted roughness. We can paint some roughness here on the thigh. Do you need some roughness on the feet, maybe just a little should be fine. To the back, maybe a little around there also. Yeah, this should this should work just fine for what you need it for. This should be just fine. Okay. Rotate this. Then we can adjust before we adjust how intense it should be let's calme down and then add a filter. This is add a blow filter. It's on the keyboard. Blow this out some more. Okay. Let's work with this instead. I think this wetness should be just fine. A should be just fine. So one other thing we need to do is to create a new roughness. But this roughness is not going to be for the fingernails, let's add a black mask to this. I'm just going to rename this actually so finger nails. But the fingernails needs to be more reflective or the black marks. Make this a bit more reflective. Go to the marks. Symmetry th on. This is that's what we need. Take down the brush size. I think we can use the default brush instead for this. Let's use the default at brush. Come in close. Come in even closer, reduce the brush size. Get in close. Then we're just going to paint the reflection in. Yeah, something like so should be fine. Let's add equal to, so we can act least see where we're actually painting on. Let's do red. Let's do red for this instead. Okay. So this now, we have control over where we need this to be. It's electronic keyboard, clean this up some more. Clean this up some more. It's really br size, paints in some more around the. Okay, next piece. Let's start painting the edges first. You might need to do some cleanup for this but. Let's just pin the edges first increase the bros size and then pints in. Like so reduce the bros size. X on the keyboard rotate this do that pens in. X on the keyboard, let's clean this up. Okay, that is fine. I'm just going to blow the edge out a little bit more though. I think that should be fine for now. X on the keyboard, let's pins on this. Okay, so it should be fine. Get in a closed disc increase. All right, this should be fine. Yeah, that's fine. We need to do some cleanup. It's on the keyboard. Do some cleanup in there. We still have two more to go. All right. Ex, let's do some clean up. Okay, that is fine. The fine up is. This is quite odd. We have this old ship on old **** on this part, so we need to fix that. That we definitely need to fix. Let's make sure we pin this in. Okay. Like, so should be fine. I'm entirely sure why we're having this weird or sharp edge in a wall. She look quite off. We need to fix that. But let's go in and then turn off the color. So we should have that reflective now, which is fine. Maybe n too reflective Take down the reflection some more. I think that should be fine. Then let's fix this issue. We having a et's go and to this off. No, as ask for the finger nails. No, that's not the one. He's and paints. That's definitely the one. But not sure why we're getting this. T this off also. Okay, this is from this piece. We need to definitely fix. Let's go in. Increase the brush size. Let's use a dead brush for this. Okay, that's brush, take down the brush size. And basically, erase this basically erase this because it looks quite weird. It looks really weird. Okay? And we have symmetry toned on for that, so we can just really clean all of this up. Okay. Rotate our lights. Clean this up also on this side, rotate the lights. See what news you cement we turned on, which is precisely what we need. Now, let's turn on this then paints with the the and paint with it should be just fine for this. As an paints is just fine. Probably just erase a few of these. Okay. Yes, I think it should be fine. I think we need to blow this even more. Okay, let's make it a bit more visible. Okay, take it down, take it down some more. We still have this issue here. Not entirely sure why we are still getting this issue back in. I just completely erased that and then still the We still kind of clean some things off. Seems to clean some things off. We just kind of my best guess is that it's from the it's from Sottwnspinter, because it's not supposed to act that way. It's not supposed to act that way. Okay, we'll fix that in the next lesson. I'll see you guys in the next lesson. Bye for now. 10. 113 Exporting Textures In Substance Painter: Comb, guys, so in the previous lesson, we painted roughness for our skin. So in this lesson, let's kind of fix some issue we're encountering in here. So taking off the blow, let me add this. Okay, we still have threes of this. Let me scroll down. Okay. Coming pains of fear of this line. Fear of this line. Something's oddly wrong. My best guess is that this is a bug. Turn this off. Okay. You just go to show us our same lines. You're not supposed to show us the same line. This, for example, if I turn on blow now, you can second your credits weird edging, which is not looking good. Credits weird edging in there. If you paint this off, it's not even painting it off completely. So this is definitely a bug. Let's say I remove that completely. Let's say I remove that completely instead. And I add a new let's add a new blow fitter. Probably that should fix it. You see giving the same. The more I increase more I increase the blow, the more that edge becomes a bit sharper, which is weird. If I completely remove the blow, we don't really see it in there that much. But the blow actually brings it in. So maybe we can swap this and take this down instead and then begin to erase a few of this do that. I even raising a few let me turn this off. Raise this spread out we have in there. I is spread out. The issue is actually from Sobtnspnter. It's definitely bold because you can't expect me to just blow, and then the blow is kind of affecting that seam lines. That was a bit old. That was a bit old. It's like the first time I'm expressing this kind of issue, painting of sotanspinter, so definitely bo to increase this, increasing this actually brings that weird agent. Let's say we turn this on without actually help. It's not even help you turn that off. Maybe we'll use a very small blower amount instead. A very small blow amount should help. That should help. Ton on blow for this. I actually helps a little bit more also. For the most part from distance, it's not too obvious. It's not too obvious. I think we can work with this. So yes, this is fine. So I'm going to save this now and then let's export out our texture. So I'm looking at this oil paint this oil paint instead, roughness for the oily roughness map we painted. I feel like it's too oily. So let me go back in and then add some roughness to it, roughness to it. So it's not too oily. It should just be the right amount of oiliness in there. But definitely not too oily. I think something like so should be fine. Should be fine. Let me save this again. So now let's export our textures. So I'll go over to F export texture. Before we export texture, let's do some settings in here. Let's say this to fork a resolution. Let's specify where we need to export this out too. We can go to final five. Let's do XpP body. All right, open that up, select the folder. If we use body, we need the base color, we need metallic, definitely not. We don't have any metallic property for texturing in the body. We need roughness, not justnmal. We need normal open GL. We don't need this eye. We're going to use displacement mapped out of Zbrush, and we don't need AU. The iris, we need the base color. We don't need metallic. We need roughness. We don't need this. We don't need this. We need to open GL, don't need this. Mincus' going to ignore that. But the outer eye, we need the base color. We don't need metallic. We need roughness. We need not this normal, not the eyes, Opacity, yes, normal open G, yes, then turn off AU. I think it should be fine for what we need it for. I'll do no padding pass through instead. Yeah, this should be fine. I think it should work just fine. Now, let's done export for this. So we're exporting a fork, so it shouldn't take too long actually to do our exports. Then we're going to go in and then check exported, it's done exporting. Let's open directory. Okay. Let's see. I think this should be fine. This will work just fine. Okay. Is fine. For the most part, all of what we have done in here should work just fine for what we need it for. I'm going to close this, and I'm going to save this again. Save this again. Then let's go in and then test some light setup in here and let's see what we get. I'm also going to render this outdate test render so you can see how this look with some test rendering in there tunnel shadowing. Alright. Like so let's try some of this in here. I'm not going to be trying them one by one just to see how they look on different lighting setup. This one, the light comes from the top, so it's going to creating some dark shader on the neck, which I don't necessarily want. Boss garage. Boss garage is actually a good one. Let's put the shadow to the opposite side. It is actually an interesting one also. I still keeps the integrity of it being a dark skin material, which is precisely what we want and precisely what we are going for. Let's see. Okay, there's a garage. Cave environment is actually way too dark. C is actually a good one. So Cosas that Corsica Beach. Corsica Beach is actually a good one. This is actually this is definitely a very really good one. This is a really good one. Let's do some test render, so let's go and eat Iray. Let's do some IR render for this. Let's see what we get with some Iray render. Let's go into the display instead, increase the value to as. Let's go display set in. Let's see yellow instead. Good. Zoom this out. We see good shader. Let's see we get close. Okay, all around. Is just like a preview render just to test how things are working here for the most part as well. Zag. This we can definitely keep and work with C needs to let's do people's garage. Yes. Awesome. As to. You guys can take age more if you need to. C by trying different light setup in your This is also an interesting one. Nice. Let's do some judio set up. Let's start with Let me try this villa. Let's see. Wow. This actually gives a more dramatic look in terms of deep shadows. We have some deep shadows around this now. You can see more state of the structures of the moto. This is a more neutral light setup which is also cool. Light setup also. We can just rotate this just to see. Alright, Let's Let's do the tomaco studio. Let's do tomaco studio instead. This. Interesting. Let's do one more. I like this studio wide, even more. But let's do one more. Let's use the one beside it. Let's use the studio black soap and those row towels. I think for my final render, I think I'm going to using this studio save because I like how we get overtones of overtones are just final more making height of some of this a bit more interesting. Give me some contrasting shadow details in there. So if you rotate this also, let's rotate. Let's get our shadow on the right hand side. Let's get that shader. Move this this way, move a little bit more towards the left. Okay. Yeah, something more or less so. So, this is fine. Interesting enough. This is good enough for us to work with. Yeah, so this is what we're going to work. At least. This is what I'm using. That's my final rendering Asia right. This is actually looking good. So I'll see you guys in Let me go, Vincent. Okay. Bye for now. 11. 114 Baking Accessories In Substance Painter: Welcome, B, guys. So in the previous lesson, we finalized on the body, and then we exported out our textures. So in this lesson, we're going to export out the accesses and then do some baking instead of Substance Painter and work our way up from there. Alright, so let's get right into it. So I'm going to select everything down here. Like, so I think also I might need to select the body and then the outer eye. Yes, these two should be just fine. This should be just because we need a placeholder for the body just to get something holding the entire piece together. I think this is fine. So let's spot this out as an FBX. So export selection and move back. This This is the correct folder. Okay? Okay, yes, yes, that's the correct one. So final Pis, set this to FBX. FBX exports. Let's select this and then name this to IDRS accessories or ADRs assets instead. Whichever one you prefer to use Assets. Okay, that's fine. I'll click Save. So export selection and then give the amendments to Exports. That's fine. So let's open up Sub tn spins in here. I'm going to import that in and then Import the necessary normal map to work with in there also. All right, so we have this in here now, just give you a moment to load up. So give you a moment to load up around there and then should be fine. Okay, this is loaded up correctly. Then we'll go to five new select, move back to the folder. This is the file we need. As accessories, open that up. It All right, then we need to bring in the big out maps for it. So let's click on Add. Let's go over to B bust out SB body. Let's just select these three and select the outer Io. That's pretty much it. Lease for this, open this up first, then go to AD again Z maps. Now let's select every that's in apart from the displacement maps and then the assessor that comes with the body. So let's see, so I'm going to start by selecting everything, then I would select this. I would select inside the piece I don't need? Oh, there's something else I needed too. There's something else I'm missing. Let's let's put this in first, then we'll go back to it. So yes, or arm rings, waste, calorie waste, cross chest, wear ornaments. Okay. This is fine. How would you select the body? Okay, I think, apart from this body, diselect this as well displacement map. Okay, I think, aside from that, everything is working just fine. Click open. If I click Okay, I need to go back in here. I need to diselect the arm rings. I need to diselect the arm rings. I don't need the arm rings at least for now. Let's actually leave that in. Let's leave that in. So we have variations. I'm not going to live with as it is. So we have variations to work within there. All right. I think this is fine, then everything should be working just fine. Open G that is fine. Click Okay. Then let's give you a momentum load up in our view. Then we'll start the baking process. So yes, we have this successfully imported in here without any. So far, there's no major issue I can find in here. Okay? Yeah, this is fine. This is fine, for the most part. All good. All right. Yeah, this is fine. So then let's go in and begin to import the Glar by adjusting our camera view. So focal length, let's do 85, just so we can merge the camera lens with that of Zbrush and Maya. And I'll save this. I'll just name this to SP assets. Let me put Idris in front. I dries out. This is fine. Save need to de correct food as well, so you click conceive down here. Awesome. So we have received successfully. Let's begin to import the normal map in there. So let's start with the p splits. I'd like to delete these numbrins at the end. I don't want those numberings at the end, so let's get rid of them. I think there are quite a whole lot of them, but it shouldn't take us too long to completely remove that. So we don't have numbrans for exporting our model. Still have a lot more to go. Okay? Oh. What is this? Well, we did not give the same name. We did not give the same name. The bid for this, we didn't give the same name. Let's go back in here. So it's not going to major issues going to copy. Do we have, there's a weird name for it. Let's delete this end. Copy the name. Apply the name on the material. So let's go over to attribute editor and pase the name in here. That's fine. Then we'll just go back to subtermpina and then just paste the name in here as well. Yeah, that's fine. Okay. So they would have the same name now when we do our exports. Delete every other thing every other weird number we don't need. Okay. That should be fine. I think this is the last one. Alright. Awesome. Let's do a quick sieve again. Then let's go all the way back up. Herb splits, go to normal. Select normal. You should be looking for herb splits. House sprith yes, I remember. Remember the house sprint do not did not bake any remember for that inside of Zbrush because we were having some importation issue. So no that move to the next piece. So this should be What is this called? Generally you can see the name around there somehow. Okay, armor. Let's select darts. Okay, that's the one arm rings. Arm rings, select darts. Cowie waste bead, Cowie waste bead. That's the one so we come close now, if we check, we can see our number map imported incorrectly without any issues, is precisely what we want. All right. So cross chess strap. Cross chess strap. Let's go in and check. Imported also without any issues. That's fine. Ya, beat, ring. Okay, yeah, chain, beat. Ring, ya ya, chain, beat. Chain bed group. So select that as the one also. Y ornaments. This one, we exported this out. We biked our map inside of Momset two back. So ornament, that's the one, select. Coming close, yes, we have this biked correctly. So yes, we have this imported correctly, rather, that's fine. Move to the next one. Y rings. Rings. That's the one. And letter strap and letter strap. That's one. It gets enclosed. You should be able to see all the latter details imported incorrectly. That's fine. A few more to go. Add center bid. Head center bid. Head center bid. T should be the one as well. Yes, that's the one. Head on. Normal head on. That's definitely the one. Imported correctly as well. Okay. Adri body Adri body, that's the one. Get that in. Okay. Imported in successful. All right. Seem this will work just fine. Yeah, this would work just fine. Let's go over to Jaw beads. J's J Jaw Beats. That's the one. Cross shoulder beads. Cross shoulder. No, cross shoulder, cross shoulder beads. That's the one. Imported successfully. Leopard chess strap. Loupad chess strap. Lupa chess strap, that's the one. Metal metal with band. Let's go for M. Metal with band. That's the one. Metal with band. Okay. Outer I O I, I think you should come down instead. Okay, I don't think I imported the outer e normal. But that's fine. We don't really need it. We don't necessarily even need that I don't necessarily need that. So let's ignore that for now. Sandals Sandals that's the one. We really want Sandi in our entire set, so that should be the one screw down sheets. This is the one. Okay. Skirts. Select nomal skates, skate, skate, skate skates skate normal, select that. Spare Spell normal as the one. Tiger mark, tiger meta mark. So that should be T. Tiger meta Marx as the one Ws bond. This is the one Okay. I think we have everything imported incorrectly now. The only mode that does have normal map in there is the b splits and then the outer eye. So the rest comes with its own normal map. So at this point now we can let me say this again. We can now easily do our baking. So let's go around and then just check if everything is imported correctly without any issues. Because we need to actually check if we have everything imported correctly. For the most part, I think we are good. Yes, I believe we are good in here. We are golden. Okay? For some of these things, we need to kind of do some operas, textual resolution for it, but for the most part, everything is in correctly. Okay? Maybe since we're here, we can just import the Did we import the roughness map for the body? I don't think I did. So let's import that. Let's also import the normal map for the outer eye. So importing this in, let's say these two texture put these are texture files. Okay. Then we set, this is fine where it is. Then we don't imports. Let's go to our outer I and then just drag that in out I. We know it just one mode that does not have normal map, which is the b split let's drag this in here. All right. Let's look on big maps. Les you go to baking mode layout in here now, so much controls in here. Let's jump right in. I need to create a bit more space in here so I can see the name a bit properly. Little bit more space around there. That's fine. So I'm going to exclude the B splits, so I'm going to exclude that, exclude the split. Okay. I think this should be fine. So exclude the b split, go to the mo Turn of the normal for it. Can we do the same? Can we do the same for the others. Can we do the same for the others. Apply selection to more texture sets. Apply all setings to your textual sets. Let's click that. Let's see. Awesome. So that works. That works to exclude the normal map being selected on the rest of this. Perfect. So like that also in man they kind of created most of the setting, so spits lot faster for us. Then go over to Covitual. So select the mo, go to Coviture. They want to generate a Cvture map from the normal map instead. I believe this one should reflect on every other piece also, because they're all linked. They're all linked together. So let's select perfect. So this will work just fine. This will work just fine. We'll just show you guys setting I used. I used this. I believe I use apleon to texture set so that's one I use so let's click out. So everything's working correctly now. So now we can make. Let's be selected because everything selected outside the a split. So let's let me zoom out a bit more and let's do big select Okay, so now we're absolutely done with this piece. But we still have one more thing to do. We still have one more. Still a more. Still have this last A split, create normal mouths. Let's go over to the set of settings in here, and then let's do invert, I believe textual sets. Hess the one, then select it. We need to turn on for the coverture, we need to take it back to default for mesh. Turn on normal. And then I believe we can big in here. Let's see. I think I think might be there might be something might need to do later on, but we check, though, we check. So let's just do a big for this big selected. So this butler one shouldn't take too long. We're just baking just one mesh. Baking just one mesh here, so it shouldn't take too long. So let's return back to pins mode, we need to check. There's something we need to check in here. So if I should go in and then turn up these app splits, I figured you might have this issue. So let sure you get how to fix this in case you have an issue like this. Let's go back to Bk. Let's go back to Bit mesh. In here, let's invert the mesh. Again, invertecture set. Then turn this off. Sleet, okay. I think it's off. It's turned off for the rest also. So to fix that, we need to select one of these, then go over to ambient seclusion. Dish is from ambient seclusion. Then self occlusion, selects Os mesh name, select that. Okay. Now, I don't really know if it's going to apply on every on the other on the other piece. I believe we should apply on the other piece. Let's check. So it's applied here as well. Okay? It's applied on every other piece. So I think it's not going to be an arsle to actually make all of this out again. So let's just do Big selected again. I'm going to select the apps plate I'll do this case. I's already applied in there already. That's fine. So go back to coverture. We need to set this to generate from mesh again. All right. Now let's check this for the ers. If that is taking the same setting, it is, that's fine. So let's do big selected. Then we'll come back when this is done. So I beg that out correctly now, so that should be fine. They need to big for the split, select the splits. Let's do an architecture set inverts that is fine. So no normal ambient seclusion or the self same name is fine. Cvture need to generate this from the mesh itself, right? We need to also generate number map for us, then we can click on Big selected. So this should be as quick as it can be. Almost done, actually. Almost done. Okay, that's fine. Let's return back to pins in mold. So if we turn this off now, you shouldn't be seeing that weird dark shed on the ambient seclusion anymore. So that actually fixes it, fixes it. So everything is working just fine now. Let's do y so I'll check this out again just to be sure we have everything working correctly. For the most part, I think we're good. Don't see any weird issues so far around this. Okay. So in the next lesson, we're going to start and then start. I want to start texturing the asset piece by piece until we're done with the entire outing. So exciting days ahead. I'll see you guys in the next lesson, bye for now. 12. 115 Sandal Fix In Substance Painter: Welcome bad guys. In the previous lesson, we baked out all the necessary math needed to get this set up accurately and properly for us to start our texturing process. In this lesson, we're going to start the texturing process. Let's jump right into it. I close for now. I'd like to start by going to the body and then applying the textures we spotted out in the previous fight. Old down, on through and out, then right click on the model, that go to the body, go to layers with a new field layer. I'm going to bring the body in Emington on roughness as well. Let's delete all of this. Let's do I believe the name is Idris, body, select that, apply that on. Go to the roughness as well. This is the roughness in there. Okay. This should be fine. I'm not going to upscale the texture five for this because the preview should be just fine. We're not really doing any specific work on the body, so I'm just going to leave this preview at two k. Alright, so I'm going to work. I prefer to work from the top all the way to the bottom piece. So the last piece I'm going to be working on would be the Sanders instead. Whoa, whoa, whoa, whoa. I'm just noticing some pinching in here. So that is something we need to fix. We definitely need to fix that. We need to fix that. I did not see this at all. So let's go back to our Maya file. Get in there. Oh, I'm just seeing it now. I'm just seeing this now so I need to open up my Zbrush first and then fix this. So let's do that real quick. So I opened up the fire now, so we know what we need to adjust in here, we're just going to adjust that. So let's make sure I'm using the let's just set up a layout and then use the move brush ton of dynamic. Take down the brush size and extend this out. I need to be going back and forth between Maya and Zebra just to see which part I need to fix. You know, there are some issues there I need to fix also. So I'll pull this out, pull out. Okay? O as well. Let's go back to Maya and then see. Okay? So we have one fix that already one on the back, right? So let's do for the B. Okay. Come in close. I'll just pull this back some more, and we should be good. All right. Yeah, that should be fine. We have symmetry turned on for this, that's fine. I'm going to turn off symmetry now. So I can do this asymmetrically. I'll pull this out some more. Let's go back in and then check. I see one on the front side also too. Come in close. Let's fix for the back. I was going to increase the brow side a little bit more and push all of this out some more. Put out some more out some more, that should be fine. Let's see where else you need to fix. All right. On the side, route to the side. Okay. Get close somewhere around here. I pull this out. All right. Let's see which other parts you need to fix. Okay? We can see as well, get close. Pull this out some more. All right. Let's see see we can move on to the other the right side of the sander pull this out. Okay, leave this up some more. Let's go up. Let's see. Okay, the sides. I'll pull this side out more. Let's go back and see how this looks. Do that. I'm just going to pull this out some more. That should be fine. Okay? You can see if you are at the back side. Rotate this this way. I'm going to extend this out some more. Pull this out some more, get this out. All right. I think I need to push this out a bit more. Pull this out a bit more as well. Okay. I think I believe we are good. Okay, this post on the opposite side, I think we need to fix that also, too on the opposite side. I believe somewhere around here, let's pull that out. Alright, so remember we encountered an issue while exporting where we have Zbrush messing up our UVs. But let me save this first. I need to save this first. So after seven, I'm going to export out on the same subdivision level and then we're going to check if there's something else we need to fix and hopefully it doesn't ruin our UVs. Let's just hope it doesn't ruin our UVs. All right, so I'm going to export this out. Let's go to preferences. Important exports, exports. Turn off group keep smooth. This gets in here. I'll select this. That's the duplicate of this. I'll send this out of the group shift p to send it out of the group. I'm going to hide this for now. I'll hide this also. Then let's export this out. So exports. I would like to export this out instead. Put this in the same folder. Let's just put two in front. We just put two in front, save. All right, so moment of truth. Let's import this in. Let's Import this into, this is the corrective. Final five Z exports, two Sanders, drag this in. Alright. Let's check our UVs. Awesome. Awesome, awesome, awesome. We have our UVs. We have our UVs still in place. Awesome. So good still have our UVs in place and they are not completely messed up, so that's fine. So we selected now, I'm going to play this out. I'm going to make this visible. I'll hide let's open this up, hide this sand, hide that. And let's check if we did a good job of bringing everything back out without Oh, I think we skipped the part. So let's go back in and then just fix that. Saving out. All right. Let's find the angle for this. Okay? So it rotates to the side, to the back rather. I believe that's the one there. So we just need to raise this out some more. Let's raise this out. Okay, it should be good now. Check this again, get close. Leave this out. Let's add new exports. So sounds to save Okay, we can delete this, bring in the new one. Because we replaced that so let's drag and drop this in. All right. Awesome. Yes, I think this should work just fine. So we need to do is let's check this again to make sure let's make sure UVs are imported in correctly without any issues. Delete any weird naming in there. We can send this down or send this down. Delete these two. Drag this back into the group. All right. Then let's give you the name needed for it. Existing material sandal sandal sandal that's the one. So now we need to export let's select the body all the way down, then the outer eye. Need to reexpose everything we exported out before. I'll save this. Let me give this a moment to load up. Then we'll go and export this again. With the replacements. We can just replace this. We should be fine if we replace this. Or just replace saf, we can just rename this put in front, export this out. I'll go back to A Zbrush fire. I can just quite easily close this. Safety is also to while I'm closing this Okay. Then we're going to open up Substance Painter, and then update our entire file. So once update our entire file, everything should be working just fine without any issues we need to rebake again because it's maintaining the same UV shells, which is precisely what we want. Okay? So let's open up Substance Painter. We already have the five saved out, so we're going to open up the same five we saved. So SPA d set so open that up. Right in here. So we just need to update. So to do that, let me go over to Edits, project configuration, select. And then we'll just select the updated version, which is to reduce assets. Click open, click Okay. Then just a few seconds to update to update a moments doing his ten. I believe it's done. So we come down to the feet now, you see that we have this accurately fixed. Okay? Awesome. So now we can properly go into the texturing process in the next lesson. So I'll see you guys in the next lesson. Bye for now. 13. 116 Beads Mats In Substance Painter: Welcome, B, guys. So in the previous lesson, we fixed the issue we encountered with the Sanders and then we imported this dart back into our subtanspena fi. So now, I think we a goop listening, I think we are safe to continue the texturing now. So let me just set up the eye first to control right on the outer eye. Let's input in the layers textures for it. So create a new field layer for the color. Let's just type in outer eye in the outer. Let me just select the outer eye color and then we should be good. Okay. Yeah. This should be fine. We don't need to do too much in here. We just need to have something that's a reference in. Put this around here. Now let's start with the building. So control out select this building. I would isolate it. So let's start texturing from this, go to layers. We have a reference in here. So let's see if we can find a material that would actually be fine for this let's type in bed. Not really. Let's do marble. Marble. Okay. So we have these two textures in here. We have this marble vein and we have this Trazo composite. So let's do this marble vein instead. I'm going to drag and rub this in. Okay. So it's kind of affecting the entire outing, but I don't want to affect the entire outing. We still need to make modifications to this. So I'll first of all, need to upscale this. So let's go to Forky resolution so you can see the best possible quality for this on our preview. Close, open this up. Okay. So now we have some variation colors in here. So let's do let me start by naming this to dark brown. Let's use all caps in here. So let's do dark brown. Okay, marble. How would dark brown be? Let's just bead instead. All right, that's fine. We need to use a dark brown tone for this. You have the marble colour, let's go into the marble colour, this colo pica, let's pick. Let's pick this dark brown tone in. Is loading up. Let's give you some moments. I'll cancel this. We still have this marble crowd that still has a light colour to it. Let's just use the colo pica and pick something dark as well. I think we can leave this two K resolution so we can work a bit faster, Let's say this SAT k resolution. Okay. We need to make some more modifications to this. Let me use more use more darker tone for it. These as well are p juice towards the red, slightly darker like so. Marble roughness. That's way too rough. I believe that's roughness, there's variation in there, too, which is cool. But we need this to be more reflective. He'll be slightly more reflective. Let's find a good value for this. Yeah, that seems fine. So I'm going to hide this for now. I'm going to make a duplicate. So I'm trying to create the variations of colors we need, then we can now begin to apply them one by one as we see fit. So I've kind of tackled this. Let's do it towards some tiny bit of a dark blue tone to it. Let's call it pick pick the color in. Let's use the more darker darker bluish tone. That would make better sense. So push this towards the dark. Let's get this bit darker. Okay. Let's get this dark as well. Okay. Something feels oddly wrong. I think I'm missing something in here. Which color is this? If you use the whites. This is what controls most of the colors let's just pushes towards something quite dark. Let's do crack dipness. Let's take this down. Take this up, let's see. So just a matter of playing around with this just to figure out what actually works. Randomize as much as I like this, I will still like to make this a whole lot darker than it is right now. Let me push it all the way to the black. Okay, push this all the way to the black. Yes. No, that's way too dark. Push this down some more. Let me brise this up. Push this dark some more. Come dark, a bit darker. Get this a bit darker. That's way too dark. Way too dark. I don't want it to be too black. Let's just get an inch of blue in there. I still want this slightly dark. Is there where I can kind of pick? I'm trying to see if I can find something I got the colour initially, but kind of lost it at the same time. I'm just pushing it down some more. Still pushing it down some more. No, definitely not. So black. Maybe I might just set you for this instead. I might just set you for this instead. So let me set you for this instead. So let's do dark blue. Let's do dark blue instead. Dark blue. Okay. I'll duplicate this. Let's use a more lighter brown tone instead. Let's go for a lighter brown color, randomize. I think we need to get traperna mapping in here as well. Tripna mapping. Temperna mapping is not doing justice to it except we increase the tiles I think increasing the tie should fix that quite right. Okay, increase this. Let's do a value of 40 instead. Yeah, that should be fine. I need to repeat the same to, to the others. Let's make show Let's do tile in 40. Come down there as well. UV mapping, typing mapping. Tying 40 as well. Okay, so I'm going to, we're still working on this. We're still working on this. So let's go down. We can pick the same coloton but a the coloton some more. Yeah, something pretty much like so should be fine. Close this. I'll duplicate this again. Okay. Let's use this more brownish tone to it. I feel like we just need to reverse this do an inverse of this. Cool pical let's pick this. That's the one. Then for this, we just push you towards a more light ton. Push you towards a more light on. So there should be some contrasting detail in between them, something like so, close this. Let's create a duplicate as well. Let's see what else let's see what color we can get in there. Okay, I see one. Overall colo tone. Let's pick this color right. Then for this, I'll push this to a more deep blue. Something light should be fine. But this tone needs to be a bit dimmer. Yeah, something like that should be fine. Dimmer tone to it. Alright, that should be fine. I think there's other colors in here also, too, we can Also emit it in there. Or we can just completely use something different. Is there something we can do in here. That's fine. Let's duplicate of this. Not duplicate. Let me close this instead. Let's drag and drop this in here Tazo, what's it called? Trazo composites. Whoa, whoa, there's way too many colors in here. Way too many colours. Can we take down the amount of colours okay if we can take down the amount of colours in here. Let's do something that has at best three colours instead. Yes, at best three colours should be fine. Let's select some colors in here. So coming select use the color picker, I'll pick. Let's pick this. Okay, let's make sure we say this to triplanar mapping, increase the tile. All right. So there are preset also in here that we can use, which is fine. I believe you should also have preset also. It does. It does does preset also. Let's go back in there. Let's change the next color. Let me use something a bit brownish instead. Let's change this. Let's use large. I think this large one is actually cool. Then in general overall tone for this, we can use let me push this towards something brown as well. That's way too. Let's move towards something brighter. Yeah, I think this is fine. We can work with this. I would duplicate this. Then come in, I'm going to change this completely different color. Let's use something towards the green. Maybe darker green should be fine. Put this towards a darker green, like soap. We can change the colors a little bit more as well. Maybe I think it's actually fine. This is actually fine. I'll do, we need to rename this first. Let's just rename this to I'll thetas in there. I'm just going to give it a different name. Let's Let's give it pale. Then this we can give green. Let's put green. Alright? That is fine. Yeah, this work, that's fine. Then we can now create a few new ones so far too that we can just use for this. So I'm going to I think we can get everything in one same layer, I believe. H. Let's see or we can use or we can use textures instead, so. Let's see, someone to create a new few layer for this ton on roughness. You should be at least quite reflective in a way. And I'm going to import some textures in that will actually help us do a better job. So I have this oil texture in here quite a number of them, so I'm just going to drag and drop a few. Then I can drop a few. We can use this, this. We can use this as well. This also let's see if we can use this. So I'm just going to drag and drop this into Substance Painter want to import this in as a texture file. I just put this nasty texture file, and then we should be good. Okay. That's fine. You click on Imports. All right. So on the field layer now, we're just going to drag and drop. We can just drag and drop any of this. So let's start with let's start with one of the top, drag and drop this in. You can see how right off the bat, we get something interesting enough already. So I'm just going to rename these two. Let's rename this. Let's give you a different. Let's name this 20 marble. So I know what they are. So I'm going to duplicate this. I'll drag and drop something different into the second one. So let's use this instead. Let's drag and drop this in. If you use draping mapping, even do not good enough. I think the default is just fine. Default will work just fine for this. Okay, even as it is right now, even as it is right now, we can even we can just say, Okay, this is the way we want our final look our final look to be to be, like, because, like, so now we already getting we just want texture, we have a lot of variation in there. The only issue we're encountering in here is the fact that, not even it's not even a major issue. Where do you visit kind of mets? The elderly part, we have a little issue in there, but for the most part, for the most part, this would even work just fine if you decide to actually keep this because for me distance is already looking quite good. It's already looking quite good from a distance. Creating a really interesting variation in there. I think I'm going to leave the Stites. I want to leave the dites. These are just happy mistakes that just seems to work perfectly. But there are still a few things we need to do in there, though. Let's see if we need to do in here to make it a lot better. So I would like to experiment on this a bit more, so let me just make a duplicate of that and do some experiments in here. So one of the experiments I would like to do would be to make sure sim line are our seam lines are not visible. For the most part, our sim line is not going to be visible because we do seam lines at the back. So if we should bring back the head, you will notice that we can hardly see the same line. You can hardly see the same line on any of these so no seam line whatsoever. Okay? So it's hardly visible in the hardly visible. But we need to do some more work on you just to experiment and see which results would work just fine for it. I said tiling this now is giving us a really weird look. We get a really weird. Let's do physical size instead. Let's see if that actually helps. Not really. The best results it comes from the best results C comes pretty much from just having it at UV projection. A best result comes from UV projection. We can just go now and set this to Tylen, set this back to one. Okay, start with the best result from this. So I'm going to keep it as it is. Then the next lesson, we're going to continue on and keep testing it and trying variation just to make this look even better. I'll see you guys in the next lesson. Bye for now. H. 14. 117 Ear Ornament In Substance Painter: So welcomba guys. So in the previous lesson, we worked on the chain and then the ear ring loops. So this is fine. So in this lesson, we're going to work on we'll spend a bit more time on the ornaments on the year ornaments. So let's do that. I'm going to turn of the shadowing in here for now. Okay. That is fine. Clear this out. So get close. Okay? I think that is fine. Is it intercepting with too much? Not too much actually. I think that should be fine. If we need to make any adjustments Okay, we actually have quite a good amount of interception in there. I think that's we can fix inside that we can fix later on naturally. So it's not going to be a major issue. Okay. So let's carry on. It's just something we just need to push out a little bit more. Most especially for this ornaments. Let's push that out a little bit more, then we should be fine. Okay, so we can isolate no, not that. We can isolate it. So let's go to ornaments. Before we isolate it, let's go back to the gin and copy that metal. Step dark edge. So let's copy this copy this. Control, click on this. On the ornaments, let's isolate it. I plays the material in here for now. So okay. This looks interesting. So we can do one of two things. We can just change this to gold or we can just try a good material in here, see how that plays out. Then make modifications on that as we move along. So let's go type in gold. So we have this good damage in here. Good damage. Let's get a preview of what that looks like. For good damage. Generally, since so much of damage in here let's jag and drop this down. Okay. No, it's not there yet. So you need to make modifications to this. I'm just going to open this up, open this up as well. Think I would copy, this scratch is actually I believe this be cloud. Okay, yes, we can use this. We can just copy this too Or I'll just drag it out of that group and drop it in here. Okay? Now this is looking a bit more interesting. So if as you turn off the clouds, as you turn it off, yes, this is fine. I think with this, we can definitely work with this. Just adding this here alone is kind of giving it a lot more of an interesting result to it. We're getting a bit more of an interesting result to it now. But I would like to make some of this different. So I would copy this, go back into the steel and paste that inside of the group, drag this back into the group. Okay. On this on. But this time around, I'm going to add the black mark or the black mark. I'm going to specify the mesh I need this to be applied on. So let's go to our polyfu. So we want mesh few. I'll select these two. I'll select this. I'll select this on this. Then I can select a few of these. Let's do UVs instead. Select this UV this select this as well. This is just creates variation in there. Let's select this as well. Undo that, let's do mesh fill instead, select this. Okay. I'll select this also undo that. Select Undo that, et's do UV fill instead. Feel this UV. Okay. Yes, I think that should be fine. Then move to the next piece. Basically repeat the same thing in here as well. We can do for this this and this. On the opposite side, let's do for this instead. N doo that. Let's do mesh fill instead. Let's just this mesh. Okay, mesh nd that. On do that. Let's use UV fill instead. Select, this and this as well. The select one instead. Let's select in this fashion instead. All right, select this as well. Go back out. Let's see what we have. Okay. I think we can actually work with this, but let me turn off. Cloud is already turned off. So we turn that back on let's see what we gets. Yes, that should be back on. I think for the most part, this should work just fine. I don't think we need to do anything extra in here to push you even more. This will work just fine. Let's bring everything back out. Okay. Let's see. You should be fine. But looking at this, now, I feel like maybe I should make this a leather material or some kind of rubber material instead, yes. I think to break uniforms in India, to add rubber material will make a whole lot of sense. So let's go back in. Let's see I will need to deselect this. So let's go back to the polyfel. I think we make this some kind of rubbery material instead. It X on the keyboard and deselect. Okay, move to the opposite side. The select Okay. For this, we can use cannot use a rope also for this. So just so we have variation of interesting colors in there. So let me select this as well. Go in there, I think I'll need to add a white mark. Add a white marks the selects all of these. Okay. Yeah, that should be that should be fine. You select it as well. Okay. Come close the selects, I think we're good now. I think we can Oh, I need to for the god, I need to select select all of this. Okay? The digital invited for it was for something of metal. But I think if you add leather in there, it shouldn't be too difference shouldn't be too obvious actually from a distance. So let's do that. Let's drop in a leather material in. So I'll just go. I think we can make this leader also. I think we can make this leader. But we see basically having fun and experiment in here to figure out what works best. Let me type in leather for smart material. So I have a few leather material in here that we can use. I have some of mine as well. I have some of mine that we can use, and then I'm going to share it for you guys to actually use the same as well. But there are also some default ones in here, too. That comes that comes with subtan spinster that we can as well use. So let's find something interesting to actually use in here. Let's try this leather aera dam. Let's try this lata damage. Drag this below. Okay. And I think we need to upscale. We need to upscale. So let's use fortune. So you can see more of the details in here propelling. Close this. It's loading up, give this a moment. I'm not sure I'm really liking this though. Does not give me the desired result I'm going for, so I'm going to clear that out. We have this leather fine edge. Let's try this leather fine edge instead. Let's see what that gives us. Okay. It has giving us really strange leathery look to it. Quite strange leather look to it. Let me see if something has to do with tiling. Let's see if there's another leather in here we can experiment with. Okay? But this might actually work though. This might work though. I kind of like this redness we're getting from this. I need to remove. I need to remove this. Remove this as well. Okay? So let's go in and make modifications to this. Let's make modifications. So open that up. Let's go to we have leather pattern if you turn that off, the leather pattern, let's see what we get. Leather pattern is actually making it a little bit old, so maybe leave it on and take down the at intensity for it. So we have too much intensity. So let's go to the eight channel. Okay. If you take this down completely, let's see what we get. You don't need to be too intense. It should just be barely there, so let's use the value of one instead. This is the value of one. Okay? Get enclosed. Let's see. It's not as intense as this was anymore. Let's increase the values use the value of three instead. Okay? I think three should be fine. But we need a bit of roughness in edge damage. I think this work best with edge damage turned off. Okay, let's go back to the leather color instead. Roughness. I think the value that was there before was fine. Sin intensity. Let's take this Let's spread this out actually. Okay, let's take it down. Since somewhere around there should be fine. Okay. I think we can work with this. But we need to kind of change some of this to ampeblack leather material. Let's look for more darker shade of leather material in here. We have leather damage in here. Look for something black. Leather Cris, this is a good one also. We can use that. So I'll close this. I'll add a white mark in here. Do that. Add the white marks in there instead. Then I'm going to deselect. Let's see what we can deselect in here. I'm thinking I should do this downward black instead. Let's probably down this up up about black instead. Let's do the upper black instead. So let's drag and drop this in. Drag and drop this in. So on the white mark, let's go back to Bully field. Deselect all of this. Okay? So this is a black leather now. Let's see tone that off. Black leader almost look like metal, it's not giving us an interesting result. The results we're getting from this is not so interesting. Not an interesting result. So I need to go in and then tweak this a little bit more, select the base, pull this up slightly. Let's complete black off makes it look a bit more like a metal material. Not too red. Frankly, fake, good value that should work. Come in close. Okay. I think something like so should be fine. Then I'll go back to I think there's so many damage in here edge bump. So many damage in it that I don't necessarily need. Maybe turn this on instead. Maybe we can use this instead. That's fine. Then I'll go back to the later fine edge. I would like to make this slightly brighter. I just make it slightly brighter, but not too bright, though. Okay, I think if value like it should be fine. Okay. Let's go back in, select that's fully few, select all of these. All right. Yeah, this should be fine. I think we can definitely work with this. This we can work with. Let's go back to go damaged. I'd like to select this. Okay, select this. You should be having good instead, supply good to it. It should be fine. So we have some variation in here. We have metal, and then we have leather also in there. So I think this we can work with just fine. Let's go back to textual set. Let's bring everything back out. Let's now get a better visual on this. Yeah, look a lot looks a lot more interesting like what we had before. This look a little more interesting. Okay, so that should be fine. So let's move on to something else. Let's move on to the horn. Let me save this. Yeah, that's fine. Here, this we can definitely work with. So moving on, let's work on the own. So before we work on the own, I'd like to copy the steel dark edge. I'll copy that. Then let's go on. Based here. So I'll add the black mark in. Let's isolate this. Then we can go back to Polyfill. Let's do mesh field instead, select this mesh. Select this mesh as well. That should be just fine. Letter work, that's fine. So now we need to use a leather material in here for this. Let's see if we can find a good leather material that we can work within. We have this leather roof. This leather roof looks interesting. Let's see what else we have in here. Screw down. Get this done now some pattern to it, so let's drag and drop this in. Okay, W a black max. But I think, looking at this, I feel like actually make it similar to what we have in here. And the closest one to us is this layer off. But since we experiment, we just trying to for New Year and figure out what works best. So I'm just going to go to Polly fuel and then match fuel select this, select this as well. Okay. Open that up. We, shoot this damage. We don't even really see we don't really see the fabric pattern India that much. Probably need to tile this a bit more. You need to tile this a bit more. So let's increase the tile some more. Let's do this UV projection instead. Okay? Let's see what we get. Damage highlights. Yeah, I don't need that damage. Let's turn that off. We don't need that. This is way too much. We're supposed to use a different color for this instead. So let's go in. Let's change the color for it. We're having some kind of gradients in here. We don't want this building. Equal or similar to what we already have in here. Let's pick this colo tone. Use something darker. We should something brighter in here instead. More brighter tone for it. Like so should be fine. Then the next one should be a bit dark, brownish tone instead. Something like so should be fine. Alright. Now this is looking a bit better than it was before. Let's go back to our channel. Pattern. If we blow this out, undo that. I think what was there before should be just fine. A little blow should be fine. All right. You can go back to the ID channel. Increase intensity is way too high. I think somewhere around there should be fine. Okay. Yeah, I think you should be fine. Should be fine. Let's zoom out a bit more. Let's see what we are from a distance. From a distance, we're getting something interesting enough to work with. Yes. We can keep this can keep this actually. So I think another units will be dot, but we do the dot on the overall on an overall type of wings after completing this on. So let me save this right will be fine. So I'm going to use my own presetting here. I will just drop my own presetting here so we can work with that. So let's just type in. I think it's called i do we have a potla material we can use in here. 15. 118 Tiger Mask In Substance Painter: Welcome by guys. So in the previous lesson, we're working on the ear ornaments and then we started working on on. So I would like to continue on. So it's an issue here, this leather for Don is way too brown. Kind of blending too with the skin. We don't really get that contrast in there. So I'm going to darken it a little bit more. Let's go in to the base color. Let's darken it a bit more. You're like, so. Okay. Then we'll go over to the ils gets closed. Okay. They will go up all the way, I believe. What is the He highlights these He highlights, do we? No, we don't go to this damage. I think we need to go to the gradients instead. So we need to let's see. We need to take this down a little bit more. So it's not too bright. Somewhere around there should be fine. So you just feel kind of kind of peeling off. So if you do feel like it's spilling off, we have t information in there already? We have t information. We pull that down that way down way too much. Okay, I think around there should be fine. Get us fine. At least now, we have a bit of contrast in the a little bit of contrast in here that should work. So now for the own piece, I'm going to use my own smart material preset in here, which I'm also going to be providing for you guys to also use. It's going to be like a freebie. So let's drag and drop this in. So Case is called. So it has all at least most of the details in there, but we're still going to add a few of ours also. Just make it just to make it a lot more interesting, so I'm not going to drag and drop this down here. Let's co the black marks. Add the click on black marks again, those going to go to Poli fuel select this. Select this as well. So let's go on Isolate. Let's just work on this as an individual piece and see what we can add or remove in the Okay? This is fine. One thing I'd like to add would be, we have scratches India already, so let's go in. Let's open this up. So there's quite a lot going on in here though. So we have okay, there's quite a lot going on here. But we also need to modify or adjust what is necessary in there. So let's go in. For one, I would like to make this data a whole lot browner. Okay? This should be it. That's the one. But I'm going to duplicate. I'm I'm going to duplicate that actually and then use something different in there. This is a more sharper, more reddish tone for it. That's way too much. Sin somewhere around there should be fine. Okay? Something like so. Yeah, yeah, this work just fine. Alright? Let's see there's something else you need to add in here. So we need to add some more black stain in. So we have cavity in there already. So we need more black stain. Let's see. I don't really see much much of what this is doing, though. But the soft dust a copy of soft dust, I'll drag this on top of the entire outing because I want the entire outing to have some dust on there, so let's drag this on top. Okay? Now, this is a bit much. I won't do that. I won't do that. I'm going to do new one instead or better still. Sending to do new one in there, so we can let them copy it again, actually. Copy our pieces at the top and I'll make modifications to it so. Turn the paint off for now. Let's go back to base color. Take this down by lots. Like so. I'll go in, take down the balance, don't it to be too intense, just barely in there should be fine. Okay. I think we can work with this. But I think we might need to introduce I think some more scratches should do justice to this. So let's go back to the skull. I'm just going to think I can duplicate this. What does this actually do? Okay. I'm going to duplicate this. Let's you name this to scratches. Use all caps for this scratches. Okay. Yeah, this is fine. Add a black max. Increase this. So I'm going to use the Smartmx in here. So let me clear this out. Let's go to Smart Max. I think we have scratches in here. So we have some scratches in here that we can use. Come on. I need to see the preview so you can know how that would apply on me mesh. So we have this. Then we have so scratch. Let's drag this in. Let's see what we get. Yes, more interesting. This looks. This looks even more interesting. So it's kind of highlighting most of those depth information we had inside of Zbrush. So this is looking more interesting. We can definitely work with this. Cause I like this to be so I get more stains on it. I think I would even select this or copy this actually go into the leather damage. I can paste this in here as well. Let's see what that gives us. So this is going to create some dark stain, scratches also in there, interesting. So we have a bit more contrast in here now. Yeah, this we can definitely work with. Okay, so let me go over to. Let's go back to this call. This is called Mart. Let's see. I think in there, I believe, I'll go in Max Builder. Is there? Is there any blow filter to this? Is there any blow? Let me clear this paint. Don't have paints in there. I need something that has sharp death in there. Something that has more sharper deaths. Take this down, increase this up. Well, that's not even the one we need. I think it should be no this. Let's find this. Let's find that, this is the one we need. So I'll go in there. I'm going to add a Nodle. Let's see what we can add in here. Let's add a few layer. Add a few layer to this, and I'm going to use we scratches in here already, let's find some let's type in sin instead. This is a good one. Gross platter. Okay. I'm going to increase the contrast. I just to be quite sharp in there. Something that sharp edge, and I'm going to take down the balance, randomize this. Let's increase the tile increase the ti. So more something like two should be fine. Yes, this is what I'm going for precisely what I'm going for. Get enclosed. So we have sharper contrast to this, which is fine. So we can work with this. This we can work with. I'm going to save this. I think for the most part, it should work just fine. So let's after late. Let's see what we get. Yes, this is fine. Awesome. So let's work on this metal max get close. I need to repeat the detail also in just once. You need to repeat the detail in there. So let's go in, let's grab. Let's grab this material. Let's grab good good damaged material. I'm going to copy that. Yeah. Arnold when we were doing this, I'm going to use the displacement map instead to capture most of the detail a bit more accurately. In the normal mapping, not really catching any detail that much. Cutting detail, but we're having some weird issues on the edge, so we need to use displacement map instead. But let's create a new few layer. This few layers should have just normal in. Then let's type in meta marks. Metal mark. Like a meta mark just to make this a bit more intense. Going to piece my good material in. Okay. Let's see. Let me get close. Do we have all the details in there to make this look good? Now, we don't need that. We do not need that. Let's come in. Let's see what we can adjust in here. Scratch. I feel like something is missing in here. Feel like something is definitely missing in there. Let's go back to let's look at this again. Okay, Scratches. Let's go in there. Let's make some modifications to this. Increase a little bit more. Yeah, something like so. So it fizz a lot weathered out. You can of get some weathering effect to it. Okay. I think I'm going to let's duplicate this instead. And for this, I'm going to use a good material as well. So let's grab this good. That's the wrong one. I think we can just grab the good from this preview icon instead. Okay? But this is going to be a more darker sheet. Let's get a more darker sheet to it. All right. So I'm going to make some modifications to this. I'm going to randomize this. Let's go in and find randomize somewhere. Let's hide this come to the scratches. We actually find where it is also. Invert. Okay. Yes. I think the inverse would work just fine. Yes. The inverse of that looks a lot more interesting from a distance. So this would work just fine. So we can also adjust the global contrast. Let's get more contrast to it. As need to kind of upscale this, let's upscale this so we can see the details a whole lot better. All right. Yes, this is fine. This will work just fine for what you need it for. Yeah, that's fine. So now let's apply. Let's work on this building here crossroad db. So this crossroad dabit I'm going to use wood material for it. Wood material should work just fine. So let's go in there. Okay. So let's come to this. Let's type in let's go over to materials instead, let's type in wood. So we have some variation of wood we can use in here. So we have this we have this as well. I think WoodbT are an interesting result to it and pressing pattern to it as well as Let's drag and drop this in. But I think the contrast for this needs to be way darker. We need to darken this. Let's Let's do trapea mapping. Let's say no. Let's increase, this will work just fine. Trapea mapping would work. But the contrast for this, we need to adjust need something a bit more towards the red and a bit darker as well. Okay. Something a bit darker as well. Maybe that's bit too dark. Push this up some more. Okay. I think I believe we can work with this. Most likely increase the tiring a bit more. Okay. I would like to make this a bit more reflective. So let's take this bring some more shininess to it. Increase the roughness variation. All right. I think we can live with this. But let me see if I can make this kind of push even more. Let's increase the tiling let's do a ten of 50. Make them quite small. Let's do 70 instead. I think Let's do 70 instead. Now, let's go back and use UV UV tiling instead. Let's UV projection instead. I think I'm liking UV projection, but the tiling is way too intense. Let's take down the tiling. Yeah, this is fine. Let's go in. Let's see if there's something else you need to adjust highlights. I think we should have some variation in here to work with. Let's do damp wood. Nope. Nope. I think what was there before what's better. Fake lights. Let's turn that on. I think we might still need to darken this. Let me just make a duplicate of this, and then I'm going to darken this duplicate. Let's see. Because I need to get some contrasting details in there. I don't want to blend so much with the skin. Okay? Let's see if this will be fair. Let's urn on the shadows for this to see this properly, we need shadows to be on there. So let's try pushing the color up a bit more. Okay. Let's see. So just a matter of eyeballing this cannot figure out what should work best for it. I remember I was still going to add some low part pattern to this soon. We might still circle back to it. Let me just put this something to us. This should be fine. Okay, I think for now, this should be just fine. Okay? Now, let's try different light setup for this. Let's see how all of this plays out with a different light setup. Let's use the Studio Blacksft Okay. It's not looking good in OC. You kind of do some renders for it. The preview render is not looking too good. But I just need to kind of test this out under different lights, different lights just to see if this is working correctly or not. All right. I think for the most part, this is working just fine. Let's start try the mandarini. Okay. Way too much shadowing going on in here, though. Take down the shadows. Let's try a different light source in here as well. These more neutral lights. Yeah, I think for the most part, this is working just fine. Let's try the boss garage. Okay. Interesting. Let's see what else we can try. So we have deep shadows from the top. Okay? This is also an interesting one. I think for the most part, for the most part, this is working on that good. This is working all way on all the lights set up in. So I think we can live with this. Let's try this studio wide. Okay. Yes, we can live with this. This is just fine. We have good enough contrast in Okay, just because since we're in here, we can also experiment with adding this bid and also in here, see which one comes out best for it. So I think I think we named this already. So let's just cancel this. Let's go over to Let's go over to SMAT material. Let's type in bid. So we have this oil bit in there. I'm just going to drag and drop the oil bit in. Okay, dragging the oil bit in. This is where we get. This is also interesting. We also have this cool pattern India. This ice pattern in India as well. But way too many coloring going on India, actually. So let me turn this off for now. I think I'm going to stick with what was there before. I don't want too much coloring in there, so I think this one, just the simple wood material should work just fine. For the most part, should should work just fine, okay? So I'll see you guys in the next lesson where we will carry on and then continue working on this. By for now. 16. 119 Fur Chest Fabric In Substance Painter: Oh Welcome about guys. So in the previous lesson, we kind of finalized on the horns. So in this lesson, we're going to go into working on something different in here. So we want to work on this cross shield happies which are this kind of texturing into it that we're going to use for generating our four textures. Okay? So let's get right into it. But I'm looking at the ho, and I feel like there's something I need to do in there. Feel like there's something I need to do in most likely the roughness is way too rough. So I'd like to go in there and see if we can make some adjustments to make it not as rough as it is right now. So let's go over case is called mats. Okay? Let's go down to the base itself. The base we have is quite towards the shiny side. But let's see what we can do to make it a lot better budding some roughness to it and probably make some adjustments as well. Now, this cloud color I think we actually need the cloud color in there, but it needs to be more shining than it is right now. Not sure if this is doing anything though. Not entirely sure it is doing anything. This as well, so I'm going to delete this select this. Let's see. Coming close and see if there's any major difference in there. I don't see any specific difference in there, though. No specific difference in there, so I'm going to maybe just leave that for now. Then I would create let's see if we use the roughness detail. Roughness, go into the roughness detail. If you take this all the way to something shiny, let's see if you see any major difference in there. Okay, we see some difference in there. So let's open that up. We need to make some adjustments to it. So to do that, let's check the marks for it first. So this is the marks for it. Make it more brighter. So you should be able to see some shine some shine through it now. Se some specular ey light it is precisely what we want. Want some specular highlights in there. Go in some more increase the tiling, probably. If you drag this all the way up, you should see some shine through this light saw. I think this is fine. If you go to the spots, you can see it more aggressively now on this soft dust. It's a bit more aggressive now on the soft dust. Let me just increase a little bit more. It's not supposed to look down rough it's supposed to see some shine or at least some slight shine on it should work just fine. Okay. I don't think I'm going to business soft dust anymore. So that's already hidden. We have this as well. Okay. I'll use this but probably take it down a bit a little bit more so it's not too sharp in there. She doesn't give it much of yellowish done to it. She wants can see some whitish stone pecking through it. Here, I think this is fine. Some shine in there should should catch some eye to be necessary in here. So I think we can definitely work with this, this we can work with. Alright, so moving on. So just to get a fresh eyes, and then you go back to your model. You kind of figure out some since you need to adjust or fix in there. All right. That's fine. So let's carry on. So hold and control all and select. So this is a piece now we need to work with. So let's start by painting this. So let's isolate it so there was this coin reference for it. I don't know if I'm pronouncing this animal's name correctly, but I'm sure you get the idea. So let's kind of paint something somewhat like so in here. See this area is lited now, so let me delete this to begin with. I'm going to start with a few layer. So I'm only going to painting just a build. I didn't need to paint any roughness in there. So let's start with a black toned material. No completely black, though, because there's no materials absolutely black, so something somewhere around there should be fine. Okay. Then I'll put this in a group. Let me name this to dark four. All right. I'll put this in a group, add a black marks to it. Okay. And I'm going to duplicate it. Spot la, let's start by applying it on where we need it for. So let me select do mesh fill instead, select this. All right. That is fine. Then I would need to Yeah, everything is fine. So I am the duplicate of this, so we're going to name this to white four instead. White four. I'm going to just change the colour to more whitish to, not completely white, though. Maybe somewhere something around there should be fine. Somewhere around here should be fine. Okay? And I'm still going to need to turn off shadow in the let's tour of the shadow we have in there. All right. Then I will need to duplicate this dark for one more time. I'll do a variation for this. Let's push this somewhere around here. Something that's more like a slight of reddish tone to it. And I'm going to add a black mark and I'm going to add a few layer. Then let's use the BW on this. Maybe going use clouds let's use clouds. Procedure texture for this. So let's use Cloud three instead. So we might not see any major difference in here though, except we're using let's see where is the red tone for it, so we can at least see the difference there then we'll take it back to the cloud that was there before. So let's tie this a little bit more. Okay. Yeah, I think this should be fine. But let's do this with Tripena mapton on. Let's do this with Tripena mapping. All right. Then we go in the balance, take down the balance like so. Yeah, this should be fine. Then we go back in there. If you use something completely black, not completely black, we don't want something completely black. We just need some disparities in there. I think something like so should be fine. If we add a little int of red in there. Okay? Let's go to the base black. Let push this towards the gravy a little bit more. I want this to be slightly obvious in there. If you use completely black, let's see. I think this should be fine. Just an interface should be fine. Just an int off it should be fine. Something pretty mot like. So just to break uniformity of the surface some more. This should be fine. We can increase the tile for this. Select the clouds. This is something a bit more broader in nature. Like, so let's add some contrast to it. Okay, I think with contrast now, we can adjust this a little bit more. Okay, randomize, increase the balance. Yes, it should be fine. You should be fine. Yes, we'll work with this, so now we can go back to the white four and add the black marks to this. Then we're going to paint in where we want. We want them to be. So let's use our main reference instead. Let's see the guide from my main reference. So I will go to my brushes. Let's use the dead brush. There's one, take down the bre size. Okay, take down stroke opacity a little, take down fully a little. Then we just need to paint white in, use the bros size. So let's just do some disparations of white around, use the bre size as well. Okay. That is fine. Move to the opposite side. All right. And in the middle parts, I'm going to paint more white around these parts. I was thinking to kind of blow this out, though, but let's just get that white stone in there. Okay? I think so it should be fine. Do some large breakup in between. Okay?use our br size. Then I'm going to paint in between some of this Condo that Weduse the broize some more. I don't neglect the backside as well, so let's go in and paint something in. Get close. Make some of them a bit more obvious to see. All right. Paint in the middle a bit more paints in as well, getting something more whitish in the middle part, so should be fine. All right. Then I'll need to blow this out. Let's go and blow this out, add a filter blow Okay. I think this should be fine. Yeah, this should work just fine. If there's any need to make modifications to this, we can always come back and then modify it as you see fit. I would like to push this push some more white around here. Okay. Yeah, so well. Yeah, it should be fine. Yes, we can definitely work with this. Let's turn back on the blow, that's fine. So this we're going to be using to generate the white or yes, generates four texture four colors in here, so it should be fine. Now, let's move down to something. Let's move down to this fabric. So we have this red dish fabric in here. But the material in here is not good enough, so we need to use something else. So we have a reference that we can use for that. We use this reference in you already have the pattern laid out for us to use. So I'm going to input the pattern, but the color is going to be slightly different. It's a slightly different color for it. So let's go right into it. I'll create a few layer drags down. So these few layer should be, before we do that just before we do that. Okay, we cannot do that just to be sure. So this few layer is going to have a black max that is driving this, and I'll add a few to darts. Okay. Then I think to use this wave pattern. Let's see if we have a C, we can find a wave pattern in Do you have a wave don't really don't have a wave pattern inside of Oh, yes, okay, yes. Line wave This is what we want to select darts drag this on top. Okay. I'll put this in a group at the black marks to it. I need this to be applied on Let's say the polyfel select this. We need this applied here. No seen anything yet, so to kind of make this work, we need to go in and increase the tile. But still not seen anything being applied in here. It seems like there's some corrections we need to make in. Let me change the colour to red first. Set this to red first so we can see red in here. I would like to go to the wave and do rotation rotation for this. Let's do 90 degrees. Let's see which one. Let's just adjust this by e. So this should be fine. We increase the tiling, you need something extremely small, increase the number. Okay. So let's set this to folky resolution so we can see we can see this a whole lot better. I kind of liking this shape is adding in between, though. Shape is adding in between looks interesting. So now that we have this here now, we need to kind of go in and then create bringing a fabric material in. So let's try smart material. Let's do fabric. Let's see which interesting fabric they have in here for us to use. Okay. This is not really give me something desirable, though. We have this fabric Canvas, Chris. Then we have this fabric compose. Now, I'm not sure what that is. It's not looking like fabric to me. We don't want something that's age enough. We don't want something that's something that ages. Let's try this fabric line Cris I'll drag this into the group. Okay, a moment to load up. I think this might be interesting enough to work we drag this down. Yeah, for the most part, it's actually coming out quite nicely. Like how this fabric increase is looking on our mesh. A little bit of age age ging to it, which is fine. Okay. But we need the red. I think this red a. Let's see. Let's check the reference. Let's see. So you want a more brtle overtone redness to it. Okay, let's see what we can do in here. I think our base, our base should be red, and one on top should be white, so. Let's tune this. Let me hide this for now. Let's work on this. Fabric base. This is the base color in here. So let's push something towards a more reddish tone. Way too bright. Let's darken this. Me darker tone should be fine. I think something pretty much like this should be fine. If there's saying need to kind of adjust this, we would but I think there are more colours going on in here than usual, so you can see another color in here. This also as well. Okay? This looks interesting. Let's turn this back on board. Once you take it down some more. Let's take it down a little bit more, so you just barely in there. All right. This should be fine. I feel like I should darken the color a little bit more. Let me do duplicate of the base. Then I'll use a modar carton moda carton, then I'm going to add a black marks to it and add a few layer. Let's do clouds in here. Let's add clouds in here. Let's use the cloud material in. Let's try this on. So this is just going to create some breakup on the surface in there. Let's do UV projection. Okay. If you hide that, you can see the difference in here now. I'm getting something a little bit more realistic. Let's check the maxing for it. Let's adjust some more. I don't need to be too sharp in there. We can increase the tiling a little bit more. It's aim on the keyboard, let's visualize this. It's kind of creating some stain in there, so we can take down the general opacity of it is not too aggressive. Somewhere around there should be fine. Okay, this we can work with. Now let's go back to our wavelength. It's our wavelength now, I'm going to change this to completely different column. I'm thinking of even using yellow. Let's try yellow on the let's see. Okay, but this is completely hiding. It's completely hiding the red under we have for it. It's completely hiding it. And we don't necessarily want that. So let's see if we can take this down. It should just be faintly in there. She can see faintly in there. But she completely hiding completely hiding the redness of our material. So we can do We can keep taking this down or we can just change the color. If you use white, what do we get when we use whites? Nope. Let's use a variation of red in there actually. Something that will not completely hide. Something that won't completely hide the red, we already have on top of that. So if you increase this, you come in close, we can see some redness peeking through this now. Okay. I don't want this to be too red. Feels like it's too reddish right now. Let's say we darken this, use the more darker tone. Yes. The more darker tone now, we will see something a bit more interesting in here that we can work with. Interesting. Okay, this is fine. So now we can now let me name this to weave with weave instead. I think there's something else I will need to do this base. I think I can drag this up. I feel like I should drag this on top. So I'll select drag this all the way up and roll this on top. Let's see what that gives us. Let's see if you see any major difference in. No, I think it's best on the bottom part, so it's best to at on the bottom part instead. That's fine. Now, let's create a new fill layer or let's duplicate this. And I need to import bring in a particular texture. So we have this fabric texture in here. Let's try bringing these two in. Let's bring these two in. So we need you to bring them in as a texture file. No, I want to bring them in as an Alpha instead. So you bring them in as an Alpha Inpots. Okay, that's fine. So I come in here and I'm just going to drag let's drag this strick pattern in. But the tying is way too high. Let's take down the tylen. Interesting. So you have some interesting pattern in here now. This would work just fine. Should probably increase the tie a little bit more. Maybe something like so. But let's say this to gold. Oh, that's yellow tone instead. Let's say this to more yellowish. Most go this tone. I'm going to turn on roughness, metal. Let's add some metallic property to it. Make this metallic kind of material in. Yeah, so we get some mean interest out of this now. Okay? This is fine. But still need to make some adjustments to it. I'll need to add some t property to it as well. So let's add some eight to it. I think the eight valid is way too much. Take it down. Okay, I think this is actually fine. This t is actually fine. So this is gonna create some kind of boba kind of piece to it. Okay. Awesome. So this is what we're going to work with. I think maybe I should increase the tile some more. I feel like I should increase the tie some more and you feel That's way too much. Let's do 34 instead. Over three instead, three should be fine, okay? I think three should be fine. So if you go and bring everything back out, let's see. Yes, this is interesting. So we have some cool interesting result out of this this we can work with. So in the next lesson, what are going to carry on and then work on another piece. So I'll see you guys in next lesson. Bye for now. 17. 120 Leopard Fur In Substance Painter: Welcome ba, guys. In previous lesson, we worked on creating some scoring for texturing in here and then we kind of worked on the fabric, so let's move this along. So let's select this li pad chess strap. So I have a texture I use for that. So I'm going to import that texture in. Let's first create a new fill layer and let's drag the texture in. Okay, let's drag this texture, it's in. So this low pad skin. So this low partakin texture, I'm going to be using for this as well. So let's drag and drop this in, and we'll bring this in our texture file. Click Imports. All right. Then I'm going to drag and drop this on the base texture. So let's get in there. Let's see how this looks. Let's turn on roughness for it as well. Let's use something completely rough. I'll come back in here. I'd like to set Oh, let me make sure I'm setting this correctly. So this should be the fabric, red, red fabric. Okay. Should be naming things up correctly, so we know what it is. White, four. Okay. So I would just like to just create new filler on top of this. Turn on the roughness. Turn off color, just make this completely rough, so I don't want any specular or rough roughness texturing in there. So this should be fine. So come back to the low part cross chest strap. I select that, too. Let's make sure we stay this roughness all the way up, then we can take down the til let's increase the tiling instead, rather. I think this might be too tight. Let me say this back to's the value of two. Okay. Let's do three instead. Just looking for a value that should be just fine. This seems a little bit too extreme. Let's do 2.5. 2.5, 2.5. I think 2.5 might be a good one. I think 2.5 is a good one. And Okay. Yes, 2.5 seems to be a good one. I think 2.5 should work just fine. 2.5 should work just fine. But let's actually check some other references to actually see. I think I have some references also we can use in here. I think it should be slightly smaller. Should be slightly smaller. This is one that's on both side. So it should be slightly smaller. Let me drag this in. This will be our main reference for the low part skin. Increase that, put this around here. Okay. I'm trying to simulate something that should look quite realistic. I need to increase this even more. Let's do four. Okay. So you can see some disparities in the seeming here. We don't want that. So let me say this back to Let's say this to three. Let's do 3.5, 3.5. Yes, I think 3.5 would be just fine. Let's check to see if there's any issue around this. Okay, I think we are good. You should be good in her rotator lights. Okay, you can see this disparity around here as well. So let's see if we can move, do an offset and do that. Let's use the other offsets. Still not fixing it. Let's let's see what we can do in here. Okay, yes, I have an idea. I have an idea. So I'm going to put this in a group. So let's first find where we're having those issues from. So, we need to isolate this isolate it so we can see a lot more better. On the other bits, this is fine. I'm going to add the black marks to this. Let's use mesh fill, select this. Then we select this. These two are just fine. These two is fine. You see the issue around there as well. I think that parts actually covered with metal mark it shouldn't be too much of an issue. But we can modify that if we need to select this again. Let's go in and then modify it a little bit more if we rotate. We can rotate that out of our front view and put it on your shoulder. So it's here now. Let's check if you have any of that issue somewhere else. Okay. We have this around here as well. If you ask me is not entirely a major issue that we need to be too concerned about. But if you go in here, let's use f mesh per, that's going to create something that's way too wide. Planar. Let's try planar mapping in here. Okay. Now, not looking good. Single is the best one so far. Take this back to zero, see if we can use the offset and push this somewhere else. So I'm using the offset, kind of drive this somewhere else instead. Undo that. Redo that. I think this one actually works best. We do that. So I think this should work just fine. Okay. There are still other ways to fix this though. So if I duplicate this, yes, we I'll go back into the tiling and then adjust this a little something like so. Then I'm going to put this in a group I the black marks. So I can just easily pint this back in. So I can just pin this back in just to clean that part up some more. Pin this back in. I reduce my brows size. So I'm just going to use that kind of fill up those part that has those tiling in here, the tiling issues in there. Okay? There's also another thing we can try also too that should fix it. But I think this fix is just fine. I think that fix this is just fine. We can look for somewhere that has that UV tiling in here issue in here as well. So we have some something around here. Okay. I'm just going to fill this part up as well. I'm just going to paint over it. Increase the bros size a little bit more. Paint over it. So that should actually clean it up. So this is one way of fixing it. Okay? That should be fine. Yeah, that will work just fine. Then I'm going to duplicate this. Let me just name this to Tiger. I dry low pad instead. Low pad. Texture. Since CEH, this should be fine. Oh, no, let's use map instead. Map should Mould make better sense in this. Let's set this to Map. Okay? I think we should be fine in here. I'll come back and I would like to add a blow filter to this. Let's see. Add a blow filter to this. Not much happening in there though. Not much happening in there though, but that's fine. Oh, we see the issue somewhere. I see the issue around there as well. So we need to fix this also. So it just paints over. So just clean that up some more. Okay. Yeah, I think we can live with this. Then I'm going to duplicate this do that at a black max. Mesh feel select it. Let's see if we have any issue across this. No, we don't have any issue across this should be fine. All right. I will work just fine. Okay, so I'm going to copy this. Let's copy this. Bring everything back out. And I'm just going to paste this on the lower. On the next piece that is the same material in your, which is waistband. Lecti. Okay. Delete this piece that's in the black mark is already added in there, let's just select these two. Okay. So on this part, we need to make some adjustments to this. It's not completely tilable so we need to make some adjustments to this. If you use triplanar mapping in here Tripenaapping, we're just going to create some weird issue to it. So let's go back to the projection. If you say this to one, still have this weird tiling issue there. We also have other maps that we can actually use too. I think let me bring in another one. So most likely this okay. Or we can do a rotation. Let's do a rotation instead. If we rotate, it's this way. Let me make sure I isolate this first. Let's isolate. Isolate rotate this way. Okay. So I'm going to do two instead. So I would like to come back in, select this. Let's work with just one side for now. Et's work with just one side for now. Okay. Let's adjust the offsets. Need the offset to see if I can pull that styling out. Then let's set this to two Tylingh be a two. Yeah, I think two should be fine. Then we use the offset to kind of push push that undo that undo that. Won't do that. Trying to push this tiling issue out. Okay, let's check this. Front side looks good. Just the back side. Am I pushing this out? Okay, let's see. This will work just fine. We're going to push this all the way to the end. This is fine. We can definitely work with this. So I'm going to duplicate this. Okay. Add the black marks to it. Mesh fill, I'm going to select the opposite side. Okay. Then let's check. If you need to do some adjusting on this. Okay? It's actually in front now, so we need to kind of drive that to the back. So I just need to move this let's just move this all the way to the. Let's just continue. Let's see if we can drive this out. Drive out of the front and check the back. Okay, we still need to make some corrections to this. And drive this old way out. Okay. It's still in there. Need to make some modifications to this and then drive this out as much as we can. All right. More adjustment, and then we should be good. Did I put this way to do that? Great. So just a matter of finding the right right balance for this. Drive out the tiling completely. Maybe I shouldn't set all of this back to default. Let me set it back to zero. Set this to zero. Okay. Okay, it's in here now, so we need to get this out of the way. On Do that has the wrong Great set this back to zero. Keep pushing this. Let's do minus ten instead. Yes, minus ten actually completely fixes this. So minus ten should be just fine. Rotate, this should be just fine. Okay. This should be fine as well. I think we in a good place should work just fine. Yeah, it should be just fine. So now we can just for the meta piece, we can just use the other meta piece we created initially and just drag and drop that in and then should be good. I think as far as this goes, this should be fine. Okay, so let's just let's copy this metal piece. So go in, copy this copy. Go back in here. I'll just piece this on top, what are the black marks to it. Then I'm just going to use the mesh Polyfill and then just select undo that this and this as well. Okay. I think they should be fine. Move this along. Let's see what we get. Okay. But I think I should make them quite a bit shiny. They should be a bit shiny. So let's go in and then make modifications to it. Start by turning this off. Here, the scratches will be just fine. This metal. We turn that off. Okay? Go to finish, I believe finish rough. Let's take down the ski grudge. I think they should be fine. Can we increase the brightness of this? Is there way to increase the brightness? Okay, yes, we can. Add some more brightness to it so it's not, I think somewhere something around there should be fine. Let's check this. Okay? Yeah, this will be fine. We can still make some adjustments to it if we need to make it slightly brighter. But it feels way too bright now, I still want to see some dark sheets in there. Let's turn on the black stain in there. We'll make some modifications to this. Let's go to clouds. TyleneF let's take down the tyleneT just be faintly in the lex. Yeah, that should be fine that we can work with. Alright, I need to apply the same material also to this. Let's apply this on the Yes, this one works. This one actually works just perfectly for it and our scratches in the opposite direction. Our scratches in the opposite direction, supposed to dig in, not pull out, it should be inwards instead. We had our scratches wrong all along. Let's go in and fix it for the others. Scratch is supposed to be inward, not outward. Let's go back in here, go to the scratches. Pull the inwards instead. Inwards. All right. Select this as well. Push the scratches inwards. Get the scratches inwards. It's a little enough. Let's give you some moments. All right? That's fine. Okay. I think for this, let's do the same thing. Let's come in here. Let's make sure we fix it for the entire outing. So scratches should be inward. Push that inward. That should fix it for everything because we have the layer on tops, okay? That should fix it for just one piece. You need to go to this damage as well. Scratches. You need to push that in instead. Okay, I think we should be fine now. I think for the most part, that should be every. Okay, we need to do for this also. This also, let's go in the scratches. The I information, push this in instead. Alright, that's fine. I think as far as that goes, should that should fix for it. Okay. Then we need to do this piece. I want to do that in the next lesson, so I'll see you guys in the next lesson. Bye for now. 18. 121 Abs Plate In Substance Painter: Welcome bar, guys. So let's carry on with this. Since we are here already, I would like to just kind of wrap up texturing for everything around this waste region. Even be biding also, too. But let's start with the app splits. Let's let the app split, delete this. So we're going to be using I'm okay, yes, we can use we can grab this good material in here. Let's grab this good damaged material. By spot L one is way too damaged, too. Let me ignore that one. Let's use something that not too damaged. Let's select this instead. So I'll grab this instead. I'll copy this. Come down here pace this in here Unless isolate this. All right, so we need to make some adjustment to this. We need to take down the dam major little bit more and make it a bit more shiny. Or maybe not. But let's just take down a few things. So let's go over to scratches. Okay? So we need the scratches in there, but we need to take down the intensity for the height. Let's adjust a little bit more. I think it catches good high lights, so this should be fine. I'm just going to I'm going to duplicate this. Going to duplicate this. The duplicates duplicates, this duplicates, go into polypil. Let's do black marks again. We select this, then we would select this as well. Okay. I think this should be fine. Yeah, this should be fine. Let's see if there's something else you need to do in there do that actually. I'm going to re duplicate this. Add the black marks to it. Make this visible. For this, I'm going to select this instead. Then we'll go in there and make some modifications to it. So let's go to the scratches, open that up. So let's go to the MG max edge. I believe I'm going to increase this no, this is not the one. I think let's use something completely different instead. Let's just something completely different. I'm just going to duplicate this. I'll add the black marks to it. Let's go over to let's close this, clear this texture. Let's go to SMAT MAX. Then let's type in edge. Let's type in edge. So I need something that only works for the edge. Concrete edge edge scratches, edge strong. I think this will be the one, let's do edge strong, let's drag and drop this in, delete this for now. Okay, so tap some at information in there. We don't want any act information in here. Let's kick this down by lots. Okay. Yeah, I think this should be fine. Let's go in and make some modifications to it. Let's go in. Let's modify this little bitmll. If you increase the balance, we have more of this like. Crease the balance a bit more. But more specific for the edge, so I'm more specific for the edge. Okay. Let's open up this curvature. Let's do extra process. Let's do cavity. Okay. Let's do edges instead. Fine, let's adjust more of this yes. This is what I need. Take down the fine. Okay. Then we can increase the coverture some more. Let's just set this around the edge be fine. Should just be on the edge, but I'd like to extend it out a little bit more. Nope. Let's do big. Push this way. That was way too sharp. Take down the fine, soften medium. I need to push this out some more. Let's go back up. Let me see balance balance to do a better job. But I think this should be fine. This edge should be fine for this. We can work with this edge, so we'll keep this. Okay. Then let's go and then I think I can we have a duplicate of this already, so what parler one, let's add a black mark. Mesh fields like this. But we need to change the colour to red tone for it. So let's use reddish tone for it. Like so it should be fine. Yeah, that will work just fine. That will work just fine. Okay. Then we need a metal piece. So I'm going to duplicate this again. I'm going to name these two. Instead of gold, I'll use red. Let's type in red in there. House our cups for this red. Okay. Then this one on the bottom part. I think I I might even change the color for this. I would like to change the color for this just to make my little bit more interesting. So let's do a duplicate for this. Let's go for a more bluish tint. Looking for more bluish tints. Okay. I think this one looks a lot more interesting. Then we finish it off with a silver polish to it. So which butler one is not used yet? This one is not used yet. So let me just rename this to metal. Okay? Changes from red to more silver tone. Like so. Then add a black max to it. Meshfw select this Okay. No, I think should work just fine. Let's bring everything back out. Let's see what we get. Let's also see what we get when we set this blue to a good color. We set us back to a good color, let's see. We have duplicates in there, so we can switch in between let's see. I think the blue mix Let's see which one works best. Like to push this towards a more darker set of blue. Okay? So it should be fine. We move our lights around. Let's check. I think this makes better sense. Yeah, it's pee a lot better. So I'm going to keep this. Keep this in here. We can just see let's steal the gold. Let's steal this is the blue. Let's rename this to blue. So we know where they are. So let's rename this to blue. All right. That's fine. Okay. Get enclosed, let's steal the gold and the metal. So I'll copy those two. I'll come in here, select this. Let's go in and then hide. Hide this instead. Arm ringlesshide, ds Stone this back on pist. Lt make modifications to it. So let's start with the metal. Let's Okay. Select this as well. Then for the gold, we select the ring. Select this Okay. This is not being applied. Undo. Oh, I did the wrong thing, so undo that. We need to select the marks instead. Come on. Black marks. Okay, this is good. So why are we not getting that good stuff is in there? Let me drag this on top. Something feels oddly wrong. Let's remove the marks. Remove the marks, drag this down. Add the black marks. Okay. Something Oh, yes, yes. I know I know what is running to tone of these scratches. Yes, that was the issue. Of those scratches, and then we should be good. Let's add the black marks in here as well. Let's just select select select this as well. We should be good. Okay. So now we need to add some strip across this. Let's add some strips across. So that is going to create a new few layer on the bottom, add a black mark, go in the ton of color. We just need light for this. Okay, push this down instead. Let's do a negative instead. Then add a few layer, and then we just search for strip Okay. I think this should be the one. I think I might even need to try. I might also need to try with also. But let's start with the strip. Let's isolate this. Okay. Let's see on the cable. Let's see the Martin for this. Martin is not working yet. I can't see this working yet, so let's drag this all the way to the top. Okay. I'll put this in a group at the black marks, mesh w, select this. Select this as well. Let's go to m Name this strip. Strip. Let's go to the strip. Let's change the rotation. Should be something like so. That would increase the tilene. Okay, then I'll need to add a blow filter to this. We bevels should work just fine. So we have this weird urgent, add some to it. Okay. Let's find a good value for this. I think the art information might be too intense, it should be where it is actually less. Turn of this for now, increase the strip. The strip size also less take it down. Take the width down some more. Turn on the bevel. I think the bevel smooth is way too much. We need dance moves, but distance is way too much. That was a bit too much. Let's say this to foc resolution so you can see this on higher resolution level. So we'll get better definition out of this. Okay. Let's do good. Is any major difference in your adults. Uniform precisly what we want. O to be on uniform. So go back to the strip. Let's increase the tiling for this. That's way too much. Let's find a good value for this. Go back to Beevil Okay. Something around the nature of this should be fine. Probably need to take down the take down the at some more. Okay. I think we can live with this. So this is going to be one variation of this. I still have an idea of another variation we can use in here. So let's just keep this as first variation. I'm going to duplicate this. I'm name this to pattern. All right, the strip, remove the bevl for now. Okay? Clear this out. For this, I want to change this to a pattern instead. So let's let's type in fabric in here. I think I have a fabric pattern. Fabric. Pattern. I need to use the one I imported in. Let's see. The one we imported in let's go over to I think we imported this into an Alpha. Let's check the naming for it. Let's check the naming for it. It's called Strick pattern. So let's type in strict in there. Okay, that is it. Apply this in. So this one should give us more of an interesting result to it. I'm already even liking how wavy this is already. I'm liking how wavy this is. Okay. I think I'm going to select this. We can make this a little more interesting. There's something we can do. Let me hide this one now if we go into this metal damage. In these crutches, I believe we can add a few layer to this, add a few layer. I drive this few layer down here. We can then add that strip can't see anything happening here though. Let me clear this out. I think that's not going to work. Let me say this this way first. Then adjust the tinge first for now. Adjusting the tiling is way too mot, let's say this to one. Increase this. Increase this one more. Okay? Go back in. Okay, I think we need to add Bevo to this now. Let's add a filter Bevo filter. If you smooon this out, no, we don't want any smooth to this. That's a bit too extreme. Just need a little should be fine. I think so should be fine. Angle let's do uniform. Okay, let's go and thaw this a bit more. There's a lot of correction to make here do, but let's just one step at a time. Okay? I think we need a bit more of this bevel in here. We need something a bit stronger. Add Let's get includes add some tiny monset. So it shouldn't just look completely flat. I should have some variation in there. And I'm going to Let's come in here. I think there's something you can do. No no this. I would like to darken this material some more. Or maybe actually let's actually use the metal material instead. Let's use metal material. This has a lot of detail in here already, so we can use this instead. Let's grab let's grab it so copy that. Come in close. Okay, it should be fine. Select this and paste this in them. We're going to select isolate. I don't need this. I don't need this anymore. Let's just add this for now and drop the new age material in the black marks or the black marks and apply it on here as well, okay? So we need to make some corrections or adjustment to it. So let's start by making sure we remove zing into wound drag, we can drag that layer in. Let's drag that layer into the into this instead. That's fine. Until the folder, then we can easily delete this. Don't need that anymore. Okay? So this this dark sheet is way too dark. We can just get a feel to it. Okay? Then we come in there. Let's see what we can do. Let me kind of look at this from a distance just to be sure if it's working well or not. Okay? I think this should be fine. No, let's rename this. Let's rename these two pattern, and more pattern instead should work better and more pattern. Alright, that is fine. So now we need to add ankle points to this. Let's add an ankle point to it to add ankle points. Then we'll go back to the scratches. Let's see if we can use. Let me just play instead. Let me just duplicate this. I'll duplicate this I'll add a black max. And I'm going to add let's use generator instead. Curvature generator. Let's see Curvature generator allows us to use microdorur on microdtlin here. Let's apply our ankle point to the eight because we have this it information in. So ankle points, let's use this pattern instead. Awesome. So it's working just fine now. So to see some leakage between them. I just want to make modifications to this. Maybe go back to the pattern and then take down the intensity so it's not too intense. Intensity was way too high. Okay, pulling out, digging in should be just fine. Like, so it should be fine. But I'm going to drag, it should be on top. It should be fine on top. They we just need to make some adjustment to this, bring this down, take down the balance. We just need a few of that being through, and then we should be good. We can go to micro detail and we can make adjustments to this so we can increase we can play with this now just to get some fade effect where we have this pattern detail in. So that should be fine. I think this should be fine. Don't need to do to go to extreme. This should work just fine. Okay? So let's bring everything back out. Let's see how everything works works, okay? Yes, interesting. I think I'm going to keep this instead. I would ignore the ring ring, so I'm going to keep this instead. This has a better or interesting result to it. So let's keep this instead. Okay, so I'll see you guys in next, let's work on something else. Bye for now. 19. 122 Cowry And Leather In Substance Painter: Welcome back guys. So we're still working on this. Let's see how a few more to texture and then should be done. But now at this I feel like I should make some adjustment to the armor. In the sense that let me close this for now. Okay. In the sense, I don't think I need this anymore. Let me delete what I don't need anymore, right? So in the sense that since this one is moving towards the right side, I would like this the directionality of this to move towards the left side instead so. Let's see if we can get that to work. So I'm going to duplicate this. Okay. Then I'm going to add a black Max. Too, I'm going to add a white max. Then I'll go to PolyfTelet poly X on your keyboard to invert that Oh. Did I select the Wongton? I think I selected the wrong ten? Okay, yes, I did not. So I'm going to X on the keyboard, select the select Diselect the select. And I'm going to deselect this as well. All right. So I'll go to the top one. Et on the keyboards, go to the whites. I'll select this. Then I'll go in. Let's go out of paints. I'll go into it and I need to rotate it so armor. I need to go to the fill, rotate this to face the opposite side. Okay. That's just the value of 180. Let's do 180 in there. Okay? Oh, this actually looks interesting, also, too. Trying this one, this also looks interesting. But let's see the one that looks more interesting, I think. This one that goes in this fraction looks more interesting. Okay. So just figure out which one works best. I like this, though. I like how slanted this looks. It gives you more interesting results. It's also looking good. This is also looking good. This can actually work also as well. It's a tricky one. Okay, just for the sake of getting everything looking a bit natural because naturally, naturally, I don't think anyone wants to kind of create carvings like this that go slanted this way, especially on cylindrical on this cylindrical shape. So my best bets is that I don't prefer to do this anymore straightforward fashion, something that goes all the way down here like this. That's what makes better sense. That is what makes better sense in here. So let's just go for something that makes better sense instead. So if I go in here, only if X on the keyboard, I can select this. Then go to the top one and select this. Okay. So I think for realistic purposes, this will work just fine. It also creates an interesting shape inside where we have our same line, which is cool. So yes, realistically, this is the right way to go vertically or horizontally. I'm going to be sticking with let's stick with vertically instead. Okay. So I would let me see if I can go in and the tiling for it. So ride this at 8.13. Let's say with the italian of five They of five. Let's see, I would like to make this a bit more avail because I want it to be too small. Italian of five should work. And I would like to add a tiny bit of blow to these two. So let's add another filter. Let's add the blow filter. Blow intense is way too much. A tiny bit should should help. So we don't have a that are looking a bit too jagged. I think something something around the nature of this should be just fine. Yes, that is fine. We can work with this. I live that acts. Okay. Back also too is fine. I think we can work with this. I'm just going to leave the acts. We should be good. All right. Just checking this front meta just to be sure if she's working correctly or not. Okay, that's fine. So now let's work on the calories. For the calories, we just need to use or repeat. Just copy this own texture, and then we should be fine. Let's go into your own texture, copy that. So scull. So I'll just copy that. Don't just don't ask too many too more tin in there, though. Maybe I'll just drag and drop the default. I think the default would be fine. Let's drop the default instead. Clear this out. Let's come back in here. Let's go to smart material. Then scull. Drag and drop. Okay. I would add a white with a white mark now should have been supplied on there, but it's looking way too stained up, so we need to make some corrections to this. The issues from the stain. Stain was way too aggressive in there. We take down the stain, we have pattern in getting close. This pattern is making it look a bit roughed up, so we're going to take down the pattern. Let's just take down the information for this the value is already small, it's way too small, so if we move it might not capture it very well. So let's go over something that has a wide spectrum more wider range of the value in there so we can take this down. This will work better in here. Okay? That's fine. Now, the roughness, we need some more roughness in here, so let's bring in some shininess to it. We don't want to completely clear of the shininess in there, so she needs to have some reflectivity in there. Okay, I think this should work just fine. But we need to kind of give, I think we need to work in the opposite direction instead. So let's say this to black first. Let's say this to black. Mesh fw, isolate this. Okay? The worms now like to do would be bring everything back out. I'm going to go over to chain and ropes, select the chain and ropes. This selected not yet. Okay. Europe smart material we have in there. I'm going to copy that. Move down, go back to the cowry. I paste this down here. Get that out of the group. Set this down. I'm going to remove any marks we have in there, remove any marks we have in there. Whoa. But it's not coming with the texture. I know why. If I turn off, it's still not coming with the texture. Okay, let's remove this. Now we have the texture in here now. Okay? This should be fine. So we can go back to Polyfill. Let's isolate this. I'm just going to select do that. Can we do this symmetry turned on? Let's see if I can use the symmetry turned on. If it's going to be an issue to select the right ones. Okay, let's use with symmetry turn on. So I'm just going to do this as carefully as possible. We're already selecting the cow is alone. Okay. Here, this will work just fine. So selecting just the cows alone. So we can do this as quickly as possible because we are just selecting just one piece. Just the calories alone. Alright. Almost done. Let's go to the opposite side. Yeah, that's fine. Go back to painting, getting closes. Let's see what we get. Get some things here and there, which is fine. Okay. Yeah, this is fine. Let's come in close to the rope. This rope now, this strip, I need to increase a little bit more. So let's do a value of 30 instead. Okay. Then the height information, we need to take it down. Should be too aggressive in there. Something light should be fine. Okay. Fabric. Crease Italian for this. Yes, this should be fine. Let's bring everything back out. So now we need to test this with difference. It's kind of shadows in here. Let's get some shadows going in here. Okay. Basically just checking this again just to be sure we have all of this working correctly. Making sure this is working correctly. Yes, we are good in. Now let's drop some let's drop a shadow in. Let's see, just be shadow going on in there. All right. Okay, interesting. We are good for the most part, we have good shadow in here. Should darken the shadow some more. Okay. Yeah, this, this would work. This would work. Looking good. Just checking the highlights around this, to be sure. Alright, this This will work just fine. Okay. And I would like to doll up this looper texture some more. Feels way too bright. So I'd like to doll them down some more. So I think we can do Let's create a layer on top of this this to normal. I'll set this to pass through. I'll add a filter. Only one if it fat you call a loon. I think we can use the HSV, HS which is, I think should be one is the one. I'm not entirely sure. This is the one, though. No. Okay, this is the one. This is the one. We just do this down, let soon. Then doll down the, the force should be fine. So should be affecting everything that is down. It affects everything that is down, which is precisely what we want. That's what it is to layer. Okay? Like, so it should be fine. And I'm going to copy this. Go over to the chest strap. Okay. I'll paste this at the top. So this should dot things down up around here as well. Let me just add some lights to it. Yeah, this should be fine. I don't want it to be too bright. Something like so should be fine. Alright. Yeah, this is fine. This is fine. So let's move on to let's move on to Let's see a few things to do in here, but let's move on to the glove. Layer is in there. I've got a new few layer. I think I would like to bring in the normal map also in here. Let's type in leather strap. Intensify the leather material in there. Now, let's look for a good leather to also bring in. Let's type in leather. So we have leather fine edge. We have this leather. No, not this. We have this. We have this also in here. I think I'm going to use one of mine. I would like to use one of mine. This one, let's drag and drop this in. Let's see what that gives us. Yes, A right off the bat, if you get something interesting. But we need to make some corrections to it. But for the most part, we're already getting something quite good that we need to just make adjustments to. So let's get closed. Let's start by turning the color somewhere. So we have me tone leader right. All right. We have this one also on top. Take that down. Okay. With all this, I think we already have something with the number. We need to kind of tweak some of this. Let's add this. This part ar one, I'm going to the lower one, invest with the lower one. Let's darken this a little bit more. In some more come in, then darken this as well. Okay? I think somewhere around there should be fine. It's already looking interesting. This we need to take down the brightness shouldn't be too bright. Faintly in there should be fine. Something faintly in there should be fine. I've gotten something very similar to what we're looking for in here already, which is what we want. So let me isolate this. But there are still some things we need to do in there. For the most part, this is looking good already. We have good results already out of this, which we can keep Okay. If I go to the bright red, I go to death. I would like to do motin in here. I would like to, let's use for the top one instead. Let's use it for this instead. I'll add a black max. Yes, let's add a black max. Then let's use generator. No Generator should use generator genital. Yes. Let's generator in there. Let's use a curvature generator. Okay. But the colors need to change the color for this. Color for this is way too bright. So I think somewhere around there seems like a good fit. This color seems like a good fit. I feel like it's kind of peeling off. Good example of what we need, but just way too intense, so let's take down the intensity. Okay, we still need to make some adjustment to this. Take down the around this all over the place. The height also, let's tune down the eye height position, take eight position down, normal, take it down. Does this even do anything? Let's go to s, take down the ts. Should be faintly in there and not too intense. So let's go back to the covrtual, set this back to base column. Don't use to be too sharp. Like so. Can we randomize this? Okay. The stuff is for the edges. Let's do something lights. Large, take down the large, take down the large, take down the medium. Fine, take this down. Okay. Let's add a lit two. Okay. I think the sharp is like the major issue here, so let's take this down some more Okay. Take down the balance. Contrast, don't need contrast in there. That doesn't make it look a bit too weird. Think like so should be fine. Yeah, something around this nature of this should be fine. All right. This will work just fine. Okay, one to look slightly used. If you look somewhat used, let me move my shadows in there. Alright, this we can definitely work with. But what we need to do a bit too hard. We need to add some pattern to this. This needs an interesting pattern. Okay. So I think let's add that same pattern around here, that strict pattern. So I think we can let's do this underneath everything. What do we have here the normal? You have the normal in here ready. Let's delete this create a new few layer. But this few layer we need color and heights. Let's do a depth instead at a black max. Okay. And then let's do let's do I think we can use we can use some of the default in here at. Let's add a few layer to begin with. Then let's go to Alpha. Let's go to Alpha in here. Let's go to the Alpha channel. Let's look for an interesting shape. This arrow head looks interesting. Let's look for something that resonate more with an African type of detailing in there. Something not too complicated. The triangle still looks like a good one or the arrow head rather. The rest looks too intricate and too modern as well. Oh, this is a good one. This is a good one. It's an interesting shape. Let's drag and drop this in. Okay. And I'm going to add a group to this, add a black max. Let's specify what we want this to be applied on. Let the max. Of you want it to be applied here. So we can go in and then let's increase the tilling. Okay. They'll make some adjustments to this. Let's do no, no, the offsets. Offset instead. Now, this is exactly this is just all over the place, actually. This will not work. Can you something a bit more interesting than this. Let's add a streak Let's see Let's add this instead. Set this to one. This seems to work for almost everything, so right out of the battery, getting something interesting enough to work with, set this back to zero. If you increase the tile, a bit more. We get something like so. We should even work perfectly. So let's go in and max this also as well. But I think the rotation, I would like to get a different rotation. Let's try different rotations. Let me duplicate this in there at the bottom, let's go to rotation. Let's rotate this. Can we do 180 instead? 90 should be the one. Then you need to know that offsets. Offset inside. So let's find a good one. Okay? The tiling outside is two, three. So it's a lot bigger in here now. Wow. This is actually interesting. So we can apply the same thing on the opposite side. It's already applied on the opposite side. It's already applied on your pool side, but it's not applying correctly. It's a bit of offset in there, so we need to duplicate this actually. No, undo that. Undo that. Now to get this to work, you cannot get this separates completely separate. So we go to the back to black marks, fully filled. So let's just do one piece at a time, ton of symmetry. X, select this. So the other one on the opposite side should be fine. The model is going to duplicate this at a black max, come in and the X, select this, select this, then we can make adjustments to it. You just need to go to the tiene and then do some adjustment on the tiene for it. Okay, this is fine. I think the right value for this would be just adjusting the ups. Something a value of -7.065, that's a good place. I'm going to leave that as it is, move to somewhere else, and do something else. 20. 123 Glove Leather In Substance Painter: Welcome about guys. We're still texturing this because in the previous lesson, we started texturing the glove, so we're going to carry on with that. So already I have a pattern here and I have a pattern on the other pa also, too. So let's carry on. Let's put the Let's say the pattern here as well. Let's go back to layers. Let's duplicate. Et'sna Let's rename this so we know what it is. So let me just name this ring left pattern. I'll just use PIT instead. Okay. Okay, left top top pattern. That should be fine. Copy that. Should be writes top pattern. So writes Okay. And I'm going to duplicate this. So this should be sort of top, should be bottom instead. Others would be C C, that should be fine. Okay. So select the max in. Go to PolyfilO start adding a black max first. Then polyfel selects this. Okay? So now we need to make adjustments to it. I should be able to make the adjustment in my two DVew. I should be able to do that in two D view, so let's go into it. Okay, let's go to our two D view, three D and two deview. Select this. I should be able to see the Gizmo in here. Gizmo is not visible. Not sure why Gizmo is not visible in here. Let's set this to repeat none. Now, something is oddly wrong in here. I'm supposed to see my Gizmo. For some reason, I'm not seeing that. Let's maybe if I drag that out of the group, maybe that might show. Still not showing. I ought to be able to see the Gizmo in here We can see rotations in here, but it's not shine up the way it's supposed to. Supposed to see something that gizmo shine up in here. Okay. But that's sad. Let's just drag this. Let's say this back to repeat and drag this back into the group. Then we also have to manually adjust that's where we need it to. So select this. Okay, this should be fine. So just basically need to just tile this one until we get something good enough. So let's do some offset adjustments in here This actually looks interesting. We can actually keep this. That looks like it should work. All right. Then I'm going to duplicate. I'm going to duplicate this. So this should be for the right side, or type in right in here. At the black marks. Move to the opposite side. Let me make sure I'm kind of checking this to be sure the pattern that is here. So we have diamond pattern in there. Let me rotate at my lights. At the black max, mesh, select this mesh. Let me need to go into we don't need this. We have extra piece in there that we don't need, so we'll go back and fix that. So let's just adjust the offset just so it looks like the one on the opposite side. No. I think we almost had it. Let me drill the three at the end. Nope. Undo that. Yeah, this is the one we need. We just need to push this up a bit higher. So let's see which value would work for this. Let me delete the seven at the end. Let's put five. The values are a bit too extreme. I'm not even sure what was there before. Okay. The values are moving way too fast. And we should be able to see it on now. Not three D view, two D view. Transform is supposed to be on our D view. For some reason, we can't find it transform. Okay. Anyway, let's just see how far we can push this and make this seat well. Let's add one in front. No, moving way too much. Let's reduce the value instead. Let's do 49. Yes, 49 will work just fine. 49 will work just fine. Let's check the opposite side. Let's see what we get on the opposite side. Get in close. Okay. Stick close enough. Still close enough. Yeah, this should work. They should work. I need to see if I can completely merge merge this on the opposite side. But I'm kind of liking this though. So let's see if we can merge this on the opposite side. I need to remove S this back to just d view. I just I need to merge. I don't ruin what we already have in there, et a bit murky, let's just check check everything on here. Okay? That should be fine. I think this should be the one. Let's go in. Which value should we adjust for this now? If I change to six, let's do six. Okay, definitely not. We need to go higher instead. Let's do eight. It is almost I think eighth be fine. Eight should be fine. Okay? I think we can live with this. Maybe you should add some values in there. Maybe that should help, eight, let's do 89. Whoa. Undo that. Let's do 78. Yeah, 78 would work just fine, so that work just fine. So now, there's something else I would still like to do in here. I would like to add or bring in some kind of tribal logo in here or tribal marks in here. So I do have a few examples I can bring in that should work. So I'm just going to bring that in let me just show you guys where that is. So fabric pattern. You have some mark in here. So I think I'm just going to drag and drop everything in. So I'm going to import them in as as a texture. Oh, I think I know why the previous one was not working. Probably because we imported it as an alpha. Why the gizmo was nothing, but not supposed to be a major issue, though. It's not supposed to. Anyways, what should you bring this as in here now? Let's Let's import them in as a texture, maybe. Okay. Let's see. Let's important as an Alpha instead. I think important as an Alpha should be better. Import. Let's do some cleanup in here. I'm going to delete this. Anything we don't need any layer we don't need, I'm going to delete that. We have we have deletes, we have a deletes, isolates. Okay. I think we should be fine. Let's figure out apply let's apply this on. I'm just going to close this. Do you have anything applied in here? Let's just duplicate this Okay. I'm going to remove the normal map in there. All right. Now for this, let me name this two tribal marks. All right. Move normal map. Let's do texture instead. I'm going to try something in here, so what tribal mark should we bring in that would work just fine? I think this one seems broad. Let's drag and drop this in. Okay? Let's go to the two d and three D view. Yes, agizmchine now. Giz Machine now. Okay. But I need to drag this up. Let me set this up here. Let's turn on It map. Drag and drop that also on the Heights map. Okay, now we can move this. This we can freely move now. So let me shing this down. Hold that shift to shing this down. Go in and turn off repeats. So let's find where this is supposed to be. Shing this down some more Okay. Drag this in place. That's even the wrong one. It's not supposed to be on that piece. Let's find where this is supposed to be. Okay, found it. This is the one. Let's shing this down some more. Now, the only issue we are having. Okay, I think, the only issue we're having is the edges. The edges, we're having some weird edge to it and do that. Get some weird edges. But it's not going to be major issue why because we can just easily fix that. That we can easily fix. Polish come on. Keep selecting you wrong too. You're having this weird cut off on the edge which ideally I do not want. Okay? Yeah, we can clean off some of that. We can clean off some of that, but also apply any max to it, and then we can clean that easily. So let me just get the rice scale for this. Shring this down some more. Okay. Yeah, I think they should work. They should work just fine. Okay, so I'm going to add a black mark in there. Then I need to paint in where I need this to be. Let's paint in where we want this to be. Okay? I think this we can work with. Now, let's do a blow. Let's do a blow. Above that, I would like to try something else. I would still like to try something else in here let me duplicate this layer, add the black mark. Go in. I'm going to clear this out. Let's add this lower part first. Let's clear this out. Try and see the best possible way to do this. Then for this, I'm going to black mark is there already. For this, I'm going to turn off color. We need intense need eight information in there. I'm going to add a few layer. Let's see if you drag that max in here if we would get that transform. Awesome, finally, finally. Finally, we get the transform we're looking for. And this is precisely what I want, so I think I'm going to delete one at the bottom, so let's just drag this down, drag this down. Won she drag this down. This butler one shouldn't come with those weird edge we have this on repeat. Let's turn this off. Set this to none. Now we have come on, now we have greater control over this. We have more control over this. I think something as big as this should be should be fine. Then we can go back in to the art information. Okay, let's get some more depth to it. Okay. Do we need to pull this out or Let's do the opposite instead. Let's push this in. All right, so I'm going to add a black x. No, I'm going to add the bevo instead. So let me delete the lower one. Delete that. Okay? So I'm going to add another fill. Before I be able to eat, let's add another fill. Do we have symmetry Symmetry won't work after this individually. So let me just duplicate this instead, duplicate effects. And I'm going to move this to the opposite side. Let's find where the opposite side is. Get enclosed rotates. Nope. Is it a nope? Is this nope? How do we get this in the right place? Trying to figure out where they should be lead. Something doesn't feel right. Something doesn't feel right. Let's do believe multiply. Okay. Let's go back to the opposite side. Try and lay this out here, if you can find it. Something's off, completely off. Let me clear this out. I'm not entirely sure why this is not working, though. Let's see. This is supposed to work. So there seems to be really weird weird stuff happening in here, actually. Because now I made a duplicate of this, and then for some reason, I can just get that duplicated one that worked in here to work on the opposite side as well. So something is definitely a bo. I've done this before several times, and it's worked just fine, but in this case, it's just not working. So what I'm going to do be to duplicate this try ball marks, I'll duplicate it. Okay? Now, even if I drag it to the opposite side, it's still not working. But for some reason, kind of did some test and then I notice that if I drag the sod way up, let me drag the sold way up and drop this on top. Now, it's still not working, but just watch this. Still in here, still not working for no reason. Still not working. But if I do something like this now, let's say I close this, create a new feel layer, turn off the color, turn on the ights, increase the ides. Then let's say I drag that in. And I'm dragging this to the IT information. I can scale this down. I'll turn off repeats, say this to none. And I can say it's working now. It's working just fine. It's working just fine, yeah. Even though I'm doing this, the opposite way, seems to be working just fine. Now, let's say I want to do this the correct way instead. Let's say I want to do this correct. Let's say I let's move this from the Its. So on the IT again, clear this from the I add some IT information. Then instead create a few, undo that. Instead of add the black marks and create a few layer, then drag that to the field. You can say it's working now. The same thing we did in here, same exact thing we did in here that is still not working. So I think it's definitely a bug, definitely a bug. So if I to scale this down, it's already set to let's say it to none. And just come in and drag this in. So my best guess is that it's a book from this newer version of Subtanspinter. I hope they fix that soon. So we get this in here and now I can say it's working correctly, go back in, increase the eight already increase the height already. Let's say I turn that off, turn this back on the exact same thing we did, but still not working. Select this now exactly in there, but not working. I'm going to delete that. Let me rename this to tribal Mark, it should be the right side instead. So let's try something now. Let's see if we can drag this bad down.Tom counterpart, so I think is up. Let's drag this on top. So it's tissue in there. As you can see it obviously tissue in there. So I think we can let's add the bevo now in there. Let's add the bevo in. It's a really weird and disturbing bug. I'm not supposed to create two layers for this. I'm supposed to just ad this on one single layer and then duplicate the fill, and it should work just fine. But for some reason, it's not in that. It's not working. Which sucks. Anyways, let's add the blood to this. Blow intensity is way too high, so I want to take that down a little bit more. Then go back to the te information, take down the It shouldn't be too intense. Okay. Let's copy this blow. Copy effects, paste effects in past past effects. That's for the opposite side. You had information for this 0.3. Let's say this is zero roughly around 0.3 as well. Okay? So this should be fine now. Let me see if I can put these two in a group and add an ankle point to this group instead. So let's see if this will work. Let's add an ankle point. Do that first. Let's rename this to tribal mark. Okay, let's add an ankle point to this. Now go over to most likely won't create a new one. So let me just duplicate this instead. Okay, I'll add a black mark All right, I increase the visibility of this, and I'm going to go in and then add a generator. So let's add a generator in there. Let's add a coverture generitor. So under the micro details, let's set an anchor points in there. We're using the t information. Let's select the IT information, select it, open this up. We have this working at all? Cavity. Nope, this is not working, so I'm going to clear this out. Let's add different marks. Let's add the different marks in there instead. So let's go back to Smart max. Let's just type in edge. Let's type in edge in there. So let's do strong, drag strong in there. Okay. Go down. Let's select the Let's out, the stars micro details. Let's turn on micro detail. Then for the IT information, we need to use the ankle points in here. This is still not working. I think we might need to do something else. Let's remove this. I think we might need to add it individually in there, so ankle points. Select this ankle point as well. Okay, so if we should go back and let me drag this out, go back in the coverture. Let's select two ankle Can we select two ankle points in here? I'm not even sure. Okay, awesome, boy see how this is working, now. It's working properly here now. So I think we need to make two duplicates of that instead. Might need to make two duplicates of that instead. Okay, so we're getting close Let's use the global balance. Only one just to be affecting the max alone. So somewhere around there should be fine. Something like that should be fine. So I'm going to rename this let's just put in here. Then I'm going to duplicate this. I'm going to change the ankle point for this. This is the other one, so this is the other ankle points. Let's go into ankle point. Let's do this instead. So she's working on the opposite side now. So let's go in and make some corrections to it. So under the micro details, we can increase a little bit more. That's fine. So we're going to leave the suites, and continue on in the next lesson. Bye for now. Okay, this will work just fine. O. 21. 124 Glove Leather Stitches In Substance Painter: Comb, guys. In previous lesson, we were working on this leader, we're still working on the leader, but last thing we did was to create a maxing for this. Then we have that then we added texturing for it. So it's texturing for it. So we're going to SST one molten I kind of reduce the opacity of this. I've used the opacity a little bit more. So just to make this look a lot better, and I'm going to select these two actually and put them in a group, just to get them organized. Let me name these two face make geure I think I should spell out correctly. Okay, that's fine. But I feel like I should add some detail in here. I feel like I should add some detail, it's too empty. Let's try and add a detail in the let's find. Let's find one of this. We can use one of the so we can just, why not let's just use one of this. Let's see what that gives us. I'm going to duplicate this. How the black marks in the Okay. Get close, open that up. Okay. So just to figure, the pattern is already in there on the field, just to figure out where this needs to be. Use the right ring top. Let me see the fullname for that ring, ring top right. Let's go to the opposite side. Should be somewhere around the here. Okay. Move our light a bit more. Then let's go in and select the polyple select mesh, filets select this mesh. Okay, we get something like this. So let's go in and then make some let's make some modifications to it. So let me set this back to one. Okay, I do that. I think the previous that was there before was okay. Let's do rotate. Let's do something that comes in this. I think something around this line of this should be fine. Okay. Doesn't need to be on the same vertical or horizontal fashion like the previous one. I think something like this should be fine. Okay. Yes, this we can work with. I think I can just feel the same thing too on the opposite side. I can feel the same thing too on the opposite side. So let's just go in and then find a good angle for this. Get in close. We can just do this once, actually. So let's go in mesh field, select this mesh also. So have this flown in the same fashion. Let's see if, you know, if we increase that that's going to be a bit weird. So let's just reduce the value instead. Let's do two. Maybe get something a bit wider. Probably not. Let's do four. Four feels a bit too tight. I think three is still the best one so far. Three still seems seems like the best one so far. We can let me say this offset to zero. Say that to zero. Let's see what we get. I think this is fine. Yeah, this will work. This would work. The one thing I'd like to do would be I need to rename this. Let me name this two but Elbow. Elbow leader. Okay. And I would I would like to, that should be fine. I'm just going to convert this into an ankle point, ankle points. Then I'll go into the face marks edge wherea. I will duplicate one of these. I'll add a I don't need a black marks in there. I just need to go in and then change the ankle points we have in there. So let's just go in and select the elbow leader instead. Okay. So this should work just fine. There are a few things we can do in here. So let's go over to global balance, increase the balance a little bit more. Okay. I think somewhere around the nature of this should be fine. Is it affecting It's affecting the entire thing? And I don't want this to affect the entire, so I'll need to take this out of the group. I need to take this out of the group. Then I'll need to create a new folder for it. Let me just name this to book. I'll have the black marks in there. Then I think I can select. So let's go to Mg View. I'll select these two. Go to the opposite side. I'll just select these two as well. And then we should be fine. Should be fine, get in there. Let's see. Then we can make some modifications to it as well. So if you go in on the core virtual, let's do. Now, this is not looking too good, so if you increase a little bit more, let's go into micro details. Make some adjustments to this. Okay, data details intensity. So let's increase a little bit more. We can also blend between these two. I think standard is fine. Let's do standard. All right, so I think this is fine. Oh, that's a bit slightly too extreme. Let's go and reduce the global balance instead. Alright. I think I'll take down the opacity down a little bit more. If you do between ten, just barely in there should be fine. Okay, that's fine. So one last thing I would like to do would be add some stitches. I think this parler on some stitches. So let's bring some stitches into this. Let me do a quick sieve. So now let's create some states for this. So the credit statues, I'll let me duplicate this layer as well. I'll drag this out of the group. C s I need to bring this on top almost the entire out somewhere around there should be fine. Then I would we add one or the black marks. Okay, then I would go and increase intensity. I information, less Okay. This one is okay, I need to use the natural feel layer instead for this so. Let me delete that. Let's create a new few layer. That am was a material. Let's use the full layer instead. Turn on ides. For the colour I'll pick use the colour pick, I'll pick this same colour in here. I'll name these two stitches. Right on all the black marks, you have increase the art information, go to the stitches. Okay, let's use the pen to in here use the pencil open that up, paint along parts. Yes, I think this is the one we need. So now we need to create some stitches across this. Okay? Let's just come across. We still need to make some modifications to this, though. Let's just go across. Well, I think I did the wrong way I supposed to kind of start from the Okay, we can continue this on around. We can go around this. Yes, we can go around this. Put it my light source. We need to make some modifications to this because our brush strop now is way too intense. Okay? You need to find a good angle so it doesn't intercept with the previous one we drew. We can close this year. Then for the stitches, let me create it. I think you need to create some space in here. So for the Alpha in here, we need to change the Alpha to stitches Alpha. Let's type in stitch. So we have stitch generator in here, we have food. Stitch roller. Let's use the stitches instead. This is the one we need. Et's reduce the size. Reduce the size. To kind of reduce the orientation as well. Let's see, somewhere around here. Then you need to increase the spacing. Increase the spacing. I think we still need to rotate this a little bit more. Yeah, something like that should be fine. We still need to reduce the size. So let's temporarily hide our pattern for now, let's just visualize, did we do this with symmetry turn on symmetry, symmetry, symmetry? Is there symmetry in here for this? Let's see if we would have it on the opposite side. Awesome. We have it on the opposite side because symmetry is done on. Awesome. So we can build any part and then we should be good. Let's go back in. Where is my visibility that's on the visibility. Visibility, Where is this? Grades. I can't really find the visibility in there anymore. But anyways, I've done what to do so I just go and then continue making some adjustments to this. I need to take down the size. Okay, something feels off. I can't find the visibility, there's one, and I can't adjust this anymore. So let me undo that. On the visibility. I'm just going back because I need this to be visible. Then let's redo a few times. Redo redo. Okay. Let's just work on one side, and then once while done, we can mirror to the opposite side and that's the preferable way to go. So let's make sure we have stitches in stitch is back in there. Something is oddly wrong. I have to redraw this again. I have to redraw this again, so we have this active again, select that. Let's go back to stitches. Let's say this to stitches. Yes, it's working now. Final is working now. So let's go in and then make some adjustment to take down the size, increase the spacing, get the orientation around here. Okay, temporarily hide that pattern for now. We use this bros a little bit more. I think this should be fine. Then go down. The spacing, let's get this a bit tighter, tighter this way. Let's make this slightly brighter than it is right now. Okay, since some around here should be fine. You need some roughness for this as well. Make this white rough. Okay. I think this should be fine. Check this from a distance again. Trying to see if I'm getting this correctly. I have the right set up in there. I think for the most part, this should be fine. L if I need to increase the size of want to increase the size of this. I've lost the updates in there. Anyway, this work just fine. Let's make sure we mirror this to the opposite side. Mirror this to the opposite side. Fantastic. This is not mirroring to the opposite side. There's quite a lot of work going on in this version of Stan Spina, though. Let's just go one step backward. Okay. Do you still have control over this? We do not anymore. This is quite big. Let me just repeat the same steps again and then get back to where it was before. I'm going to redraw this again because just allow me do what I need to do without having to redraw this again. I need to go back and then start making some adjustment to this again. This time around, just do it and get it done once and for all reduce the brow size. If it doesn't work on the opposite side, then I just have to redraw it for the opposite side. Set this gets close this way, increase the spacing. Get this in this direction. We use the spacing some more. Yeah, I think it should be fine. Should also be working on the opposite side. So we can also use the opposite side to actually tails. It's working just fine. So this is fine. We'll work with this. So now I can just if I go in and then we to make some adjustment to the material, I lose this part completely, but I think I'm fine with what we have here. So I won't get worry too much. Is going on, M some adjustment to this. Yeah, it should be fine. So what other part we need to create another new part to be around there as well. So let's duplicate this at the black marks. Okay. So this time around, I believe I'm drawing this with symmetry turned on, yes. So let's go in and draw in new parts in here. Okay. Rotate our lights. And this is automatically taking up the stitches setup we have in there. Which is cool. So we need to begin to make adjustments for that. Okay? I'll undo that. Undo one step. Let's go somewhere around there. Then begin to get a curve that comes in this way. Undo that, let's get something straight enough. Okay. I believe we should be able to make some good orientation for this in real time. Let's just close all of this up. Okay? A, then let's close the gap. Go back to the origin points. And let's go back to the stitches. Let's make modifications to this. Yeah, I think somewhere around there should be fine. This spacing, you need any more spacing in here. Okay. Let's check this from the opposite side because we have this cimet returned on. Yeah, I used to work just fine. I'll go back to paint. We have successfully added stitches across this. We should work just fine. All right. Now, if you need to take down the height, you can just take down the height if you need to. We shouldn't be pulling out with two more, but the height position we have for this is just fine. Because we're going to look now this from a distance. I think the to be just fine. Let's bring everything back out. Let's see what we get. Rotate our light around there. I think that will work just fine. Yeah, this should be fine. This should be fine. I think the next piece we need to work on now will be this pair. Then we'll move down to working on the skate and the rest of this piece. Okay? So I'll see you guys in the next lesson. Bye for now. 22. 125 Spear Rod In Substance Painter: Welcome about guys. In the previous lesson, we finalized on the armed glove eaterie. In this we're going to be working on texturing this pair. Let's get right into it. I'm going to let's select the spare so we can just select the spare in here. But bef select the spare I would like to grab since I like the way this material is meta material. I'm going to go in there to the earrings and grab that again. Okay. Then let's go to the spare. I would like to isolate the spell. Let's isolate the spell. Let's say this to fk resolution. I would also like to reimport the normal map for the spell just to have a higher resolution in here to work with. I think, so let's go in at a few. So we don't need to bring in normal for this. So let's type in spare. Okay, spare one, spare normal. I think it should be this one. It should be this one, yes. That's what we exported out of Zbrush. See, we have this in. All right. So let's create a new, not a new fill here. Let's start with adding wood material to the rod. So we can go let's do wood in here. Let's just type wood in here. It's going to show us every wood material we have. So I don't want something that is too edgy. Nope. Let's go into materials instead. Let's type in wood. Okay. So I have a few going in here. Let's find something interesting to work with. This ones this looks interesting. Wood beat vein. Let's look for something that's also interesting. Wood shehip also looks interesting. So that type of wood shep. Then we have wood wave knots. Mm, a tricky one. But let's do something that has a bit more. I think this one should be fine. Let's drag and drop this in here. Amazing the wood sheiphle Let's try this one. Let's see what that gives us. Okay. This is quite quite too rough and then too many cracks on it, so I'm not going to use that. Let's try. This wood wovens. So at this point, basically just testing and trying to figure out which one works best. Let me to up ton of this nonmal. Let's see. No more difference though. But I would like to be slightly slightly shiny, slightly shiny. So I'm going to keep this as a there's one sample that we can actually go back to if we need to. Let's see, let's try something. N is way too smooth. Let's look for something in between smooth and rough. New moody wood. Let's drag this in. So at the moment, I don't really have any specific wood I want to use. I just want to kind of experiment with what we have in here and then we move along from there. Okay. Somewhat looks interesting. Let's bring this back in. I think I'm going to stick in with this one, but I will need to take down or make some more modifications to it. They make it more of like a darker brown. So I think I'm going to stick in with this wood will not instead. I also have some of my own wood in here, but I don't think I need to use that. Let's see, this new wood. This is way too clean. Way too clean. So let me delete this one at the top. I want to work in with this. Let's add a black mark. I wouldn't need this to be affecting the wood in itself. And I'm going to change this up to more darker brown wood with some modifications to it. I think, Okay, that should be fine. So let's go noise color. Let's see what that gives us wood fiber. I like the wood fiber, but I like to reduce the overall visibility of it. Groage pass, garage pass I would keep, sharpen I would keep. Wood fibers again, I would keep. Okay. I think I'll keep this, but let me take this down a little bit more. It's making it adding too much roughness to it. So for that, we need to adjust the information. So let's take down the s so it's not be too obvious. Slightly in there should be fine. So let's go to the base. For this base, I'm going to use are darker, more darker shade for it. I think somewhere around here, make this not too rough. Somewhere around there should be fine. Just right off the bat, already getting something interesting already with the few modifications we have done in here. Okay. Yeah, this is cool. This is cool. So now, I'd like to make this a little bit more interesting by adding a good material, a good ring material across this. I'm more less like gold painting across this actually. Like gold painting. So I'm going to use I'm going to use a few things in here. So let's do. Let me close. This I would use. I'm thinking of using that good material from the order mesh. Thinking of using this good material from the mesh. Let's grab. You need to grab this. This is way too rough. Let's grab this. This might give us an interesting result. So let's grab that. Let's do good damage, copy that. Okay. Then go back to the spare, Salw this out. Layers, rotate our lights. I'll drop this at the top, drop this at the top. Okay. I would, there's already a black marks in there. So on these black marks, I'm going to add a few layer. And on that few layer, I'm going to be typing. Let's do typing trick. Let's try this strict material. Thistrict material has been quite useful for a lot of things. Quite used for a lot of things in here, so this is looking interesting. Okay. It's also giving us a very, very, very interesting results on this speck. That actually looks cool. I think I would actually keep this can naturally use this. Make it a whole lot lot more interesting. I make the spell a whole lot more interesting. But this is not what I'm going for. But I just duplicate this for now. As a backup, let's create a backup that we can fall back to. Then I'm going to put this in a group again. I'll group this at the black marks. Why? Because I won't just to affect your rod let's just let the rod. Let you rod in I think I need to make some modifications to this rotation. Let's do 180. Okay. So at 180, we get something like so. So the tiling for this, let's let's let's style this in an interesting way and try to figure out what works and what doesn't so. Offset, we can offset this the way we want. So offsetting this now, we're seeing different patterns, picking through this as we offset this. Okay. Interesting. Now the maintenance to figure out which one do we need to keep in here. We have interesting result out of this already. So just to figure out which one we want to keep. I'm still going to max out a few of this because I don't want this to be affecting the entire outing. I'm still going to do maxing for a few of this. Let's figure out what works. I like this. This is 0.47. If you tweak this again, we have another one, we have another one. We have a different one now. Yeah, I think I would go with this instead. Yeah, this one feels a lot more interesting. So let's go with this instead. I'll go with this. Okay. But now I need to make some adjustments to this by Max Nut. I want it to be all over the place, just all over the place. I don't want it to be all over the place, so we can do something interesting here by adding another few layer. So this few layer, let's try I think I think we have, let's try the wave Line wave. Let's try and line wae. So I think I need to say this to. Not even sure this one. Is it overlay? Not overlay. Should be probably screen or difference difference multiply? No. Let's start by increasing the Let's start by increasing this first. Yes. Okay, This is where we want to be a multiplier. Boy, I think the orientation is wrong. Let's set this orientation to 90 degree and the width, let's increase the width. Okay. Not sure I'm liking this though. If you increase the tiling, let's see what happens when in create it now. I don't like this so. I think the more preferable one, at least for me would be the strip instead. Strip will be just fine. But if you feel like this is something that works for you, that's completely fine. Because since we're experimenting in here, I'm kind of show you guys the possibilities that we have in here. So we have various possibilities in here. I kind of do whatever you want in here and make it look a lot more unique. So you can see with this now reduction of 90, we have something even more unique in here. We have something unique. Okay, I think I don't I don't want this so. I will duplicate this as a backup let's with a back. I'm going to hide this. For this now, let's say this one on top, let's say this to zero. Let's say this to zero. Set this to one. Okay, interesting. So we have an interesting result already. It should be cool. But, I'll go back to the field. I feel like I should tile this a little bit. Let me hide this for now. I feel like I should tile this a bit small. Let's use a value of two. Oh, changing the value of two, we have something. We have both we have two of those textures in here now. This one on this side, I fills up the entire out, which is cool. But I think let's use a smaller. Let's use the value of 0.1 0.7 instead. Let's see. 1.7 is not doing it. Let's do 1.6. Okay. Is why I'm doing this is because I'm to fill up this extra gap we have in there. So I don't do that, consists a lot of gap in here. We're setting this to 0.6. Let's do one point C one instead. You also that completely filled it. That's fine. So let's go back to the strip turn on the strip. But I think I need to change the I need to change the angle for this. Let's go back to the strip. Let's say this to 90 degree. I think I need to rotate this a bit more to get my desired results. I want something that is slightly straight on. Okay, this is planted. Let's go into the pattern Digit. Increase dit a little bit small. So just little gaps in between should be fine. Okay. Let's see if I take this down. Yeah, I think this should work just fine. Yes, this should work. T should work. We already have something interesting out of this already. Maybe the sharpness only softness in net les. Let me increase a little bit more. Trying to find the right balance for this. The right balance for this will be just fine. Yes. I think this will work just fine. I can certainly use. This I can certainly use. Yeah, awesome. So you can see how we kind of use different pattern and then with the fill in here to kind of create some interesting looking variation in here. But we're not done yet. I see one more thing we need to do. So go in and add another fill. So for this field, I'm just going to use a grunge material. Let's just use a grunge material. Let's use grunge. Let's look for something interesting. Let's try this grown concrete in here. We can sell these two. Let's try overlay. Let's see what overlay actually does. Overlay kind of chips off chips off the edge a little bit more. Let's go in and increase the Let's do Tripena mapping first, Tripena mapping, increase the tile, increase the balance. Okay. Let me change et change this let's try screen. Nope. Sprint is an interesting one. But those sprint is just adding to it and kind of sub tra so I think you to stick with multiply instead. I'm just trying to create some level of breakup in there. So it feels like some parts are kind of washed off over time. But it is way too extreme. So let's maybe increase this a little bit more. Yeah, you can create it a little bit more, increase the balance. Then just get something that's slightly fided in there. Then if you go turn this off and on, you can see a little fed happening in here as well. Then I would like to add some information to it. We like to add some t information to this. So let's go back to good pork. Let's add some eight to this. Okay? I think that's way too much. There's something slight t difference in there should be fine. Like so should be fine. All right. Let me go in. I think there are a few things I would like to do as well. The middle parts on the middle part, I'd like to erase some of this, so we can easily do that with. But that was going over to Polyfill unless I think poly is mesh fuel. Let's use pfill instead. I'll hit on the keyboard. I would like to erase a few of this on the center parts. Like so raise some large gaps in between. Let's do one here as well. Okay, let's check what we have. Let's see if we can keep this. Okay. Yeah, for the most part, for the most part, I think, I think we can keep this. Yes, you can keep this. This is fine. So now moving on. Let's do what else are we supposed to do in here? Let me do a quick sieve. Okay, so moving on. I think at this point now we can texture the metal piece. Friends if I need to add this back, yes, you can add back in. That's fine. So let me also name this to normal so we know what it is. Okay. So let's go about it. I'm sure we copy it. Let's open this. Okay, this is the let's name these two gold pints. Good paints. Let's do good rod paints. That makes better sense. Okay, so moving on. Let's go in and then use a metal material for this. Let's use let's just see if we can use the default in here, so smart material, typing. Should we type in steel. Let's type in steel. Let's see what we get. Okay. Steel ruined, steel stained, still scratched. Let's die this sin ruined. Let's try this out all the way to the top. Let's give you a moment to apply. Okay? But we don't want to apply to the entire outing, so we need to this is looking way too ruined. I don't want something nice. This is looking way too ruined. So I will need to let's just recycle experiments. Let's ide this for now. Let's go bring back everything out. Let's copy this steel dark edge, copy darts. Move back to the spare. I solid darts. Let's piece this in. We need to add the black marks as well in there so we can select just what we need it for. Add the black marks, mesh field, select X, go back to whites, select the spare head. Take out the black. Okay. Let's see. We're just trying to figure out which ones one works best for this? I think some slight modifications are in order for me to make this little more interesting. But I think, okay, this is fine. But something doesn't feel this black. I'm trying to remove this black. This black we have in here. Let's say this back to base colo. That black is not looking good for me. I'm not liking that black. Okay, awesome. So I've removed that. Bring that slightly back in. Okay? Yeah, so for me distances looking good because you always want to check this from M distance just to be sure everything's working correctly as it should. These scratches, Oh, okay. This is the previous. This is one at the bottom. She's fine. But the scratch is what has most of the broken up gtylin. Okay, we can take that down. Yeah, I need this though, but the roughness is just way too much. Let's just take this down a bit more. Let's just use Come on. Undo that. Let's go to the opacity, take this down a little bit more, just a tiny bit should be fine. So we have way too many scratches in here, obviously, so you need to take that down down as well. Shouldn't be not too much in there should be fine. Then let's randomize this. Okay, I think we need to bring Okay, this should be fine. It should be fine. Let's see, another scratch is in here. What is this? Okay. We can go in and make some adjustment to this as well. That's way too extreme. I think the previous value should be just fine. Okay. Okay. Let's see. I increases, we get a bit more grunge in there. Let's look at this from a distance, rotate our light just to be shock. All right. We can go and then blend this down as well. But we still want it to be still shiny. We still want to have that shiny look to it. I think somewhere around there seems fine. Something like this should be fine. We turn this feed back on. I think I'd like to make some modifications to this. I would like to let me duplicate this to begin with and go into the setup. First of all, let me change the color. Let's see something a bit more grayish like so. Then go to the clouds and I'll increase the balance. But the tiling, I'll need to take down the tileing as well. Maybe I think I actually won't drive this with something else. Let's drive this with something else. Let's drive this with the max instead. So let's do Smart MAX. Let's type in Rost. Okay. See, we have this edge ros. Let's drag and drop this in. Let's see what that gives us. Interesting. Now, we have a bit more interesting result to this. Something we can definitely keep. We can decide to darken a little bit more if we need to. I think somewhere around there should be fine. We can go in and make some modifications to this as well. Yeah, I think that is fine. That's fine. So in the next lesson, we're going to carry on and then keep working on this. I'll see you guys in the next lesson. Bye for now. 23. 126 Spear Head In Substance Painter: Comb, guys. So in the previous lesson, we kind of started the texturing and completed the texturing for the wood material, but we're still working on the spearhead. So let's carry on from that and see what we can get out of this. There are a few things I like to do is to modify some of the setting in here. Let's see. Let's go in. If we reduce the balance, let's see what we get, increase the balance, we get more of this. I think for the most part, I will need more of this actually. So that work just fine. This is for the edge. We can spread that, no, not spread that out too much. Let's blow as well. Yeah, like so also should be fine. All right. Then let's go back to, I believe, we don't need this tend anymore, do we? No, we do not. So let's move that. Okay, look at this from a distance. L from a distance. And I'm going to drag and drop this at the top. I will need to undo that. Undo that. I need to put this group. I'm going to add a black mark to it. I wouldn't want this to have to be applied on the spearhead. Let's select the spearhead. So nothing's working here now because we have not turned it on, left on its own. So turn this on now, should see something apply in here. This is actually looking quite interesting. Ready getting an interesting slab of gold to this. But we need to make some modifications to it. Some modifications are in order, but for the most part, I think this is coming out quite nicely. Okay, in contrast to what we have here I just too plain. I wanted to get something a little bit more interesting in here. And this is looking goos I'm going to duplicate this. I'll hide the bottom one. Let's go back in here. So the strict fill, we can start making adjustments to this as we need to. If you don't offset, so which offset we're doing here gives us an interesting result to it. So this is what we are getting Okay. So if actually zoom out. This is actually looking really cool. Except for the fact that I need to clean it up on this edge because I want this edge to kind of maintain that clear metal look to it. But as far as this goes, this is actually looking interesting. Actually, it's more interesting than what we have on your opposite side. Definitely more interesting than the opposite side. I have a different pattern here. We also have a different pattern on the other side, which is also giving us an interesting look to it. I'm going to keep this. I'm going to delete this. So I'll go in. I'm going to add a paint, add a paint layer in this. I need to erase I need to erase some of this. So let's go to our brush. Go to our brush for this. Okay, one more ten. Normal optimal motin. Let's see if we can open that up. On the gold layer, can we do an indentation in there? If you put this in which result with that gis Mmm. Way too deep. I think something like soap. I think I might need to dig we kind of should be digging in instead. I want this to dig in instead. So let's see how we can make this work. Okay. Let's go into this and then figure out how to make this go in instead. If we do let's say I do let me create a new fill layer actually. Create a new fill layer. Well let's drag this in. Okay, that's for that bits. That's for that bits. Let me create a fiel layer. We need height for this. We pull this in Oh, I think I know better way to do this just to get this right. We would need to add let me open this up in here, I need to add an ankle point to this. I'm not returning an ankle point to an actual group. But let's see how this pans out. I'll create a new fill layer on top. And then I'm going to turn on just the height information, get a depth in I'll add a black mark and I'll add a few layer. Then on the few layer, go to ankle point, let's use this go damage to max. Yes, it's working just fine. This is working just fine. So this is only affecting just the indentation for it. So lab is affecting indentation for its precisely what we want. So if you go back in the let me name the two depths. Let's do spare head depth instead spare head depth All right, so let's go back to our It information. So while on the negative, we can pull this out. We can dig this in. While I'm digging this in, I would like to add a filter on the filter to only affect the information. So let's try the bebl to begin with. Okay, I crazy distance for this. Not so much happening in India, though. Not so much happening in India. Let me clear this out. Let's use a bevo instead. Let's a let's oo. Let's use a blow instead. I'm not sure I'm seeing so much difference happening in here though off and on, not so much difference happening in there. Let's do extract Alpha instead. Extract Alpha. Let's see what that gives us. No, this is not working anymore. So I think let's do keep Alpha instead. I think we're supposed to keep alpha in there. Okay. Maybe we need to add a filter to this instead. So let's do bevo instead. Yeah, it actually works now. So I was doing it in the wrong place all the while. So I just need to add the Bvlinea instead. But the bevo is way too strong. We have Bo is way too strong. Stick it down. Back it down. Then go back to the it in formation, take it down a little bit more. Let's go in, let's see where we get. This needs to create an oltions digging in, but is not doing that much in. Let's go back to the Bevo and then. Let's do uniform. Angular hide this for now, pull this down instead. Is it doing much? No, not much happening in there. Let's take it back to the way it was before. And let's find the right value for this. Dig in no doubt, Bevul I think I need to increase this Okay, this is forward way too deep. We take down the sms. All you want this affecting just the edge. Okay, we're getting something in here now. So let's go in and adjust the eight information. I should just dig in a little bit more like so All right. Yes, this is fine. We get some depth in here now, just the way we need it to be. Awesome. I would like to do on in one order in also, too. I'll go into the max and then I'll add another filter. Let's do a Let's do wp filter to add to this. Yes, W. So DAply affect just the edges loon. This is way too intense. It's way too intense. So you're going to tune these down. So it just barely on the edge. Okay, we have a few. Let's try this multi dimensional intensity. Now, do that. Let's go back to default. Okay. Yes, we have some cracks in here now, which is precisely what we want. I also wanted some cracks in. So their doesn't look too clean. We want something that's not too clean. So let's go in. Let's add more contrast in here is going to chip up the heard some more. That'll chip up the head some more, but way too intense. Dowet's take down the intensity. It should just be barely in the not too intense. Yes, for me, distance is not too intense. We'll come up close. You can see some chip off looking there on the edge. Precisely what I'm going for. So this will work just fine. I think now at this point now we can clean off some of these edges, and you should automatically update also, too. So let's get on the keyboard. If this broad size, let's experiment with this first. Oh. It's not updating. I think we need to have a this ina instems out. I think that should be ina instead. So let's do pins. Let's try this on now. Still not odating. Most likely, most likely, let's do something first. Let's clear this ankle point first. I'll hide this for now. Let's go in and plains where we don't want to be visible to begin with first. Then there's a better way to go. Then we're going to create a new ankle point. I believe that should now update. Let's do some cleanup on the edge. I don't want to be on the edge. The edge you need to clean off. Okay, let's go to the opposite side. Clean the edge some more, do that. We just need to clean the edge, and we should be good. I do that. I think I'll keep that part around there should be fine. Okay. So now let's add the ankle points again, add ankle points. All right. So let's go back to the field. Let's update the ankle points. Let's update this. Awesome. So it's working now, so you can see how it's working now, which is precisely what we want. But I think I need to do some cleanup in there, so clear this out, go back to the pints, reduce my bro size, do some more cleanup in there. You see that slat is clean enough. We back in the art by at the anchor points. Okay. Oh, yeah, this is just from the chipped off edges, so this should be fine. This should be just fine. Maybe the depth is a bit too much. Let's go in and adjust the it in formation. Okay. Like, so it should be fine. Yeah, awesome. This will work just fine. All right. So this we can definitely live with. So let's go back in and bring everything back out. Okay. Yes, we can make this a little bit more interesting, I need to name this gold, spear, gold. Okay? That is fine. What I'd like to do would be to come in here, this plerlayer just name this to gray. I think I would like to bring this on top. Let's see. I think I can let me put this two inside inside of this group. I think I will need to group all of this instead. I think that's a better way to go. Let's select all of this, put this in a group. We you name this to spare a head. All right. I will add a black mark. And then I'm going to select this spare head. Then now I can go into this grab this gray drag this on top. So she kind of, it's kind of clearing most of it's kind of clearing most of the paints we have in them. I don't want you to clear most of the painting. I want the paints to still be obvious there. I think that should be fine. It should be fine the way it is. The one more thing I would like to do would be to create a layer, drag the layer on top. I'll say this to pass through and add the filter to it. Let's do a sharpen filter. So let's do sharpen filter in here. So typing, sharpen Okay. So that should sharpen up most of the detail. Just make it slightly sharp. So like, so it should be fine. Since trying to figure out this depth we have in here is way too much or just the right amount, we can go in increase this. I don't want it to be too deep. I think somewhere around there should be fine. You have some depth in here, but not too extreme. That should be fine. Maybe a little bit more. Just a little bit more should be fine. Yeah, that's fine. Save this next lesson. Whoa. See some issue. I kind of discolortd not sure why I got here, though. Let's see. Okay, that's coming from the sharpen. Coming from the sharpening instead. I'm not ttly sure why sharpening this is just creating some weird, creating some weirdness. Let's see if I turn off the color for this. Now, there's no fixing it. There's no fixings either. Okay, I think I'm just going to drag this into the layer into the layer for the metal piece. I think around there should be fine. So also we're good now. Let's go back out. Okay, this should be fine. So I'm just trying to utilize as much as possible various texturing tools found inside of Subtan Spencer, just to get something interesting out of out of our character design in here. So I think for the most part, it should be fine. I should be fine. So let's just do a few tests with shadows and then also testing out some light setup in here as well, just to get a general feel of how it looks like under different light setup. Okay. Interesting. Let's use this. Okay? This is nice. Boss garage. Yeah, the boss garage has a very nice warm warm look to it. Really warm. Like most likely for artificial lighting in there, like yellowish lamps, specifically. So this gives an interesting result also, too. Interesting. Yes, all of this is working just fine. This we can work with. Let's check another light set up in here as well. This is an old one, obviously. Was very more for, like, a sci fi look to it, but we're creating any Sci Fi design, it's not going to be the best look for it. Okay? Villa Nova Street, also an interesting one. What else can we try in here? Let's try this Studio 03. SudiT has a more neutral light setting for it, which is cool. Okay. What else can we try? Studio five. Interesting. Yes, it's looking good as well. Okay, all good. All good here. Let's try this studio black. So Black has a good contrast to it. Well, I'm still going to stick with it to Marco Studio. Okay, Taco Studio is also looking good. Looking good as well. Well, the panorama has a more outdoor lighting to it, so giving us a more outdoor feel to this soon. This is fine. This will work just fine. So in the next lesson, we're going to move on and then texture something new. I'll see you guys in the next lesson. Bye for now. 24. 127 Skirt In Substance Painter: Come by, guys. So in previous lesson, we analyze on the spearhead. So in this lesson, we're going to work on I think we can work on the skates now. I think skates would be a good one to work on. Before I do that, I was looking at this colour, this red colo ton. I feel like I should make that even darker, so let's go in there. So we get in old control I select that. Okay. So it's a red fabric. Let's see what we can. Let me make sure I isolate that first. Let's isolate that first. The red, I would like to make the red a bit darker than it is right now, so. Let's go in and find that red. In the bottom one off. Okay. Okay, so let's select the bottom. Let me duplicate this first, hide. Then I'm going to use a more darker shade for it. More darker shade. If I tone this off, let's see how it gets. Not much going on in there though. Should be a bit more of a dark red tone. Should be fine. This bright red is not really good looking good enough for me. Let's see what we can do to make it a whole lot better. Okay. Is this glam tone that of now? Go back and use a more darker red tone. I think this seems to be in a good place. So now we have this fabric pattern. Now that fabric pattern actually makes things a bit too whitish, so we're going to select it and then use something a bit more reddish instead for it. I think this is a proper colour for it, proper red tone for it. W turn that off. Let's go back in, let's lighten it a little bit more. By too light. Okay. I think this should be fine. He should be fine. I don't want it to be too red. So let's go in here. Let's copy the entire out in. So I'm going to copy this. Let's go to the skirts. Okay. Let's isolate this. I'll paste this on here. So there's a black marks in there. Let's select. I need to turn off symmetry for now. I don't need symmetry anymore. So mesh fill select Okay. Yeah already getting interesting result out of this already. But this is not what I'm going for. I think I let me see what is in there, okay. I'll select this as well. Okay. So I is we need to change in here. But before we change that, I'd like to go into let's go to our texture file. I would grab this and this, the and center part and drag this in here. What should we import this in us? Let's do Alpha instead. Import. Okay. So this is one that has the pattern in, but we need to make some adjustment to a few of the. So the main reference we need to use is this in here. I would like to use as my main reference because I'm kind of digging out this is. So this is fine. So we need to go in and set these two. The base is going to be a black material. So the base is going to be a black material. I'll turn this fabric off. Let me turn that on instead. Se this to black as well. Alright, let's turn off this good for now. Don't need that for now, let's see what we can do in it, make it look good. Set this to fork a resolution so we can see the best post resolution for this. All right. So we still have the wave pattern in there, so we have this dark wave pattern. Dark wave pattern should be white now. Okay. And it should be flowing. I think the directionality of this flow should be on the opposite direction. So let's do 90 degree. Oh, that's wrong place to go into line with. Since said this with zeros zeroin that should be fine. Let's be fine. But it's all over the place. You need some gaps in between. So let's reduce the width. Let's reduce the width by lots. Okay. Now, this black, I need to make this even darker. Let me delete, delete this as well. I don't need those. Okay. I think we still need some gaps in between. Yeah, I think we need some gaps in between. So let me go back in. Also, let's take down the number. Okay. I think this should work. This seems like it would work. Okay. But the undertone needs to be a bit darker than it is right now. So I believe this is the one less useful black. Okay, we have colors in here actually. So we turn of this loop. I don't see that in is the one we need. Okay, this is the one that we actually need to fix up here light fibers. So we can take this down some more. And we also need to increase the tying for it. You need to create the tiling a bit more. Let make it a bit visible so you can see it. Take it down, it down some more. It should just be faintly in there, like so. All right. Now, let's introduce this pattern in here now. I'm going to do two of this duplicate of this Wave pattern Let me rename this to hem on the field, let's type in hem Let's typing her in here. So I have a few ideas in mind that might work. If it doesn't work then without going to fix it up. Let's make it visible. So it's applying on a completely different list. But we are getting really cool, interesting detail into it as well, which is fine. Okay. So now, this is kind of the tricky part now. If this doesn't work, then we might need to export the two D texture two D UV is out of. Sometimes spend time to photoshop and then get that to be applied on the M. Okay, so this is the piece we need. So I need to align this on the. So I think I'm going to do this piece by piece, try as much as possible to get it piece by piece. So let's do I think for this, I might even need just one. So I might need to receive this again just one single hem. One single hem should be fine. Except otherwise, top and bottom, let's do that. Let's turn off tying us to none. We need to make sure three DV is visible. Let's find the front. Okay. I will rotate this. Can I tie this I think there's too much tiling. Let's scale this out. Okay, we already have one good one at the. Yes, I think certainly we need one. We need to do this as an individual piece. So I think I can just go back in there. Let's go back to Photoshop. I'm going to make this available for you guys to actually use too, so we should be good. I just need just one piece. Let me go back and kind of check where it is. Okay, this is it. So we don't necessarily need to do much in here. We're just going to bring this in and then delete what we keep what we need and delete what we don't need. So I'm just going to drag this into a new documents. All right. Then I'll go over to crop. Easy on the keyboard, go to the crop. Let's crop these bits. And on that. I'm going to save this. So let's name this JPEG. Let's do instead of, let's just do. Let's do. Save this. Go back to let me undo this. I'll go back to Subtanpna now back to Subtanpna and then I would just drag and drop this in. I'm going to bring this in as an Alpha. Let's select Alpha for this imports. I'm going to drag and drop that in the Okay, so now we have more control over this. But everything just get ballistic in here, so I'm just going to zero some things out. Rods out. Make sure this is locked. The rules out as well. The rules out as well. The rule is out, okay? Now there's an issue, we still have transform grades. Transform is no longer there. Fantastic. Fantastic. Transform no longer there. Let's see if we can bring this in instead. Maybe this would work. Drag this in. Yes, this works. This one comes with the transform in there. I'm going to duplicate it. Lead the one at the bottom part. I don't need that anymore. Hide this. Let's work with this instead. Turn off repeats, said this to none. Okay. Tiling said this to one rotates. I think I need to scale this down. Let's get it where it needs to be. Scale this down, squash it down even this way. Rotates. Okay. Scale this out a little bit more. Let's just try and get this roughly where it needs to be. The idea is that it is going to be cut out, if this is a full material, some bits are going to be cut out. Need to get it where it needs to be. We just need something that will just that will just sit nicely somewhere. So we can just set it somewhere around there. Okay? That is fine. Awesome. I need to scratch this down. Okay. I'm going to I'm looking at my three div and my two div as well just to figure out which one works best for this. So I can elevate this some more drag this down, copy more of the space. Okay? No, I want this part to be covered up, so I'm going to rotate this down instead. Let's rotate this down instead. The most suitable way to do this would be to do this inside of it's most likely to do this inside of Photoshop. But if we can get something good enough, you should be fine. Okay. We just need something that would be good enough. I think at this point, the best way to do this would be to do this instead of photoshop instead. So we have better accuracy on photoshops. Let's get this done in photoshop instead. So like I said, if it's not working, we're going to export. So let's just export this. I'm going to hide this. Let's use the red material for this. So are you going to export out the we're going to spot out the texture file. I'm going to paint over where I should be creating my marking on. So let's create a new fill layer, the black marks. Then with the paint brush selected. So I know I need to paint create our texture do this paints here. Let's do here as well. Here as well. Okay, that should be fine. So let's export this out. Export texture. W you export in one? So I would like to hide check everything. So let's look for the skirts, select darts. Let's export the south fork resolution. So what you need the base colors, Language to hide all of this. Let's make sure I'm setting this south fork resolution forkeRsolution. And then we do we What do we need in here? So let's do default background dilution, default background. Okay? Okay. Yeah, this should be fine. If it's not fine, then we'll just make modifications to it again. So let me just export this out. Open directory. Yes, awesome. This will work just fine. So I'll select this. Let's drag this into Photoshop. I think I need to open up photoshop in, let me close this for now. So we just need to go in here and then I'm going to drag this into Photoshop. Okay, close this. We don't need this anymore. This is what we need. So I kind of marked out where we need to have where we need to have the pattern in. So I kind of marked out those. Where are we having this weird, we stretch is not complete at the edge. The edge is not complete. Something's off. We have incomplete edge for that. Let me take this down completely. Export this again. Okay, the dicty should be there already. Okay. Open this up. Let's see. Okay. Okay. I think this is quite better. Let's go back to Photoshop. Some exhibit odd close this, no. Drag and drop this in better than we have a little bit more little more gap to work with. Let's zoom in here. Then we would grab. Let me go back into, we can grab this right now so. Let's grab this and drop in this documents in here and then I will to undo that. Let me move this up. I need to remove the black. Let me duplicate this layer first. So duplicate this layer, hide this. Let's do color range to select color range, select the black and delete everything that has to do with the black. Then I only need one. So let's do I think we can use let's use the lower part. Let's use the lower part instead now. Control J to make a copy out of that. Then we can now shing Let's shring this let's get it where it needs to be. Okay. Sh little bit more. All right, extend this out some more. Let's zoom in there. So we just need to position this now where it needs to be. So I'm going to make a duplicate of this. Okay. Let's rotate it and get this roughly where we need it to be. Okay. I need to shring this down some more. Pull this out. Okay. Get this down some more. Undo that. I want to rotate instead. Okay. Since somewhere around there should be fine. Extend this out. I'm going to down shift and extend this out a little bit more. Okay. Then I need to use the Puppet wp, I believe. So let's go to edit. Oh, perspective. Let's see what perspective wp actually does. No, no, this is now This is now need. I think the puppet. We need the Popetwap select that again. Edit. Come on. Control T. Cancel. Don't apply. Come on. Okay? So Puppet wa you have any transform we can use in here that should work. We can't use W because without so much control over the over the web. Let's use the Puppet wap instead. Puppet wap now can create points to grades. It's kind of broken all this into several piece. Just know precisely what I'm going for. Starts Nope. That one's work. That one's work. Let's try something else. So let's try the wap. So under the okay, I think we can also do this manually instead. So I come in here to split. I can do a split around somewhere around there, and I can move this down this way. I believe I can move, no. Let me move this up instead this way. Okay. Let's do another split again. Split here, move this up a little bit more. Can I select more? I believe I can. Something somewhere in the nature of this should be fine. We do that splitting here as well. I think this is how we're going to get this to work just fine. Move this slightly up a bit more. Okay. Move this up, not there. Can we move this up instead? Okay. I think something like this should be fine. Let's move this up as well. All right. I think somewhere around the end of this should be fine. Move this up some more. Move this up some more as well. Okay. Yes, I think this will work just fine. Pull this outward. Yeah, this is fine. So I've done for one part, so let's do for another piece. Okay. So what are you doing this for the hems, for the part is going to be visible. So another part you need to do would be year and then year as well. Okay? I think I can duplicate this. Then I can just drag this in here, get close. Let me just try orient this the way it should be. No, I think that a low need something completely different. So we need to redo that, something completely different. So let's just go and bring this back on undo that. This is the one duplicate this again, bring this on top. Okay, I just need to shrink this down roughly around the same length with the other one on the bottom parts. Should be roughly around the same length. That should be fine. So I'm going to move this in place. I'm going to rotate. Okay. I think this should be fine where it is. Now I just need to let me put it this way, this way it should be fine. Now I just need to use the b instead for this. Okay? So I'm going to continue this on in the next lesson. I'll see you guys in the next lesson. Bye for now. 25. 128 Skirt UV Mapping In Substance Painter: We come back, guys. So we are still on this. She trying to she trying to make this rather wb this to ness in here. So let's carry on with it. So let's see what we can do. Let's go back to Wp Edits Transform. Let's do W Okay, we already have something in here already, so can we pull this down? Let's select two or down shape, see if we can select those two. I cannot. Let's get in close. I should want to select two. Why can't I be able to select two? Great. It's not like no select two in here, so let's see let's see if we can kind of try to get something a shape similar to what we already have in there. The flag, okay? No bend. Oh, like an overall bend for that. Okay. Maybe somewhere around there. Let's let's split this vertically instead. Then pull this down. Can I select all of this? You should be able to select all of this and move this down. We can move this down. Awesome. So let's move this down here. Okay. Let's do another split somewhere around here. And do that. You can do this from the top. No. Let's select why can't I just select select this three? Come on. We just did the same thing just now and then it works, but now it's kind of refusing to work. Undo that, undo that. Select, selects. Okay, top to bottom. Then move this down. Top and bottom, move this down. Okay? Move this down. All right, so we're getting somewhere now. I'll do another at around these bits and top bottom and top and move this down. Okay? Yes, we have a bit mercury in here now and do that. Let's do this again. Okay, that is fine. Let's do another split horizontal split around here. Slide the top, slide the bottom, move this up a bit. Okay, let's select this. Okay, move this up around here. Okay. I'm just going to clean this off, clean this a little bit. But let's just make sure we have this where it needs to be. I think somewhere around there should be fine. You don't need to be extremely precise. Fantastic. We do that. Let's go back to wp. W we see have the setup in there if we go back to wp. Nope. We lost it. Anyways, we have something good enough to work with so trying to see if I need to do the same also around here. Yeah, let's make can make some more corrections in here, actually Let's go in. Let's make sure that it's selected. Let's do a w horizontal top and bottom. Okay. Then we can move this down a bit closer to the edge. All right, that is fine. Let's done another one also around the. Then slide the top and then the bottom as well. No, I'm not squashing this. I want to move. Yeah, that should be fine. Let's do one around here as well. Okay, sled the top, sled the bottom. We move this down this way. Yeah, that should be fine. Okay. I think we need to do a little bit more working here. So well, let me go and select that. Let's go over to transform Wop. Let's create a horizontal wap in. Let's lay it up and then the bottom and move this down a little bit more, out to the. The other is fine. So let's go out. Let's see where else need to paint on. So we need to paint. I think this is last one. So we have one too. I know by this indication of this painter adding, they just know where it is. So this as well. So let's turn this back on. Drag this up, make a duplicate of it, hide that, bring this up. Okay. Let's just shing this to decent size. Decent size should be fine. Let's shing this down some more. Okay, let's get close. I think somewhere roughly around there should be fine quae a bit more space in here. Then we can now begin to move things in place. So let's go to wap. I think if you right click, right click inside of it, you can do Wab inside of it. So let's do horizontal. Let me start from here. Slide the top, sled the bottom, move this in place, create another one. Slide the top. Led the bottom. Okay, let's move this down. Down around here, should be fine. Do that. Nope, nope. That will just ruin since Nope. I think I need to move this up instead, up, down should be better actually down is better. I manage to create another loop around the horizontal. Sorry. I've been saying horizontal for a while now. Let's see vertical, it's supposed to be vertical. It's supposed to be vertical. Let's create another vertical loop around here instead. Select, select bottom, bring this down around here should be fine. Let's create another one here as well. I'm sure by now, you guys already gotten the ang of it already. So basically just repeating the same thing. I trying as much as possible not to deform the entire shape. Okay? All the way here should be fine. We create another vertical wap here and move this down in place. Okay, that should be fine. I'll create another one here as well. Move this up slightly. Yes, I think we can live with this. We don't need density for the top parts. We just need this to be where we need it to be. So around there should be fine. So I need to do some cleanup now. Si not bleeding out with tocan is actually bleeding out, so we need to make some corrections to that, so I will just let's do I believe it is this one. That's the one. I have the black marks in there. Let's call it black marks. Layer marks instead. Using the terminology for sometimes painter in here now. So let's just clean this a bit more, so I'm just going to use my brush. It's on black already. I'm just going to paint this off and do that. And to paint this with a bit more accuracy to it. Okay. Won't do that. Let's use a heart brush instead. Okay? Yeah, somewhere around there should be fine. Alright, and I'm going to create a black base. So this is pretty much all we need. So I'll go and click on Save. I'm just going to bring it into that same folder. Bring it to the same folder. Let's do JPEG. Let's do skirts pattern instead. Let's do caps instead. All right, so Cal conceive. Let's go back to Subtan Spinster. I think we can now replace this in here. But let's drag and drop our material in. So let's get pattern, drag this in, sent this to Alpha. Click Okay. I'm not going to drag and drop this in here. Okay, that's not going to work. Let's say the black marks to begin with. Then add a fill. Then on the field, I'm just going to drag and drop this in. Awesome, so you can see how we kind of get something good enough right off the bat, so we're definitely working with this. So this we can work with. This other part this other part actually covered up actually covered up. So we can just ignore that because we bring everything back out now. It's completely covered up, so we don't need to worry too much about that. But for the most part, we did a pretty good job getting this where it needs to be. Okay, so that is awesome. So now let's go back and isolate that. Let's continue working in here. We need to do the same also for these bits. We need to do the same also for this as well. But before we continue on, let's let's just get our materials right. Okay. So this is right now. So for this at the top, I'm going to let's go to the fill. So we have the RF in here. We don't want this RF anymore, but we definitely need let's go over to our pattern. Let's type in. What's this even called? What did I names? Completely forgotten what I've named it so we name this center pattern, center pattern. So let's go type in center. Okay, drag this in but I think the orientation is off. S this to zero, supposed to be flowing horizontally. It also looks stretched out, okay? Let's say this to one. Whoa. I don't think one is doing justice to this. No. All you need is to repeat horizontally. You should only repeat horizontally. So let's see. Come on now. Given us a really terrible result. Like resulting years not good enough. I think is to do some more control working here, though. Let's see how we can Let's see if we can make this work. Let's try She let's try cylindrical projection. Cylindrical projection. I'm going to drag this down. Okay. I would like to squash this as well. All right. We're getting something, no doubt. Yes, we're getting something in here. I need to rotate this up a bit more. I would like to rotate it this way. Okay? Can without this? Without this, it becomes way too small. Let's say this to one. One is a bit too much. Let's say this to. Okay. I think I need to rotate this again this way, move this up. I definitely need to squash this down. All right. I kind of work in one part, but on the other part is not really doing well. So I think it's but last solution. We need to do it individually. We need to do this as an individual piece. We can as an individual piece or we can back in here, we can just manually arrange this box. I want to manually arrange that. If you want to do this instead of Substance Painter. Etshaust all the options we have doing this instead of Substance Painter, before trying another software for this song. Let me sent this back to UV projection. Let's go to 32d view. So let's do this one piece at a time. So I'm going to select this. I'm going to drag this out. You can Dad this through now. So we're going to do this one piece at a time. The that'll make better sense. So let's put this in a group. Add the black mark to that group, and then go to PuliFel. Then let's use for this instance, yes, let's fill this B piece instead. Let's fill this back. Okay? We need this line at the back. All right, so let's go back to the mesh. Okay. So now we know where the back is now. But let's figure out where the front is. I think this will be the front parts. Yeah, this is the front part. But the part that is visible to our camera view, so this is fine. So let's squash this down. Okay? Yes, now we have more control over this now since we are doing this inside of our two D view. Let's move our lights on that region. Okay, Squath this down some more. Okay? This we can work with squash. Can we get a bit more in here? No, I think we need something that's quite big. We need something that encompasses it quite a lot. Yeah, something pretty much like so. Then we can sq squath this down some more. Let's see how this looks on our three D view. Yeah, yeah, yeah. I work. This will work. Thul. Okay? So I need to visualize. You metal waistband should be visible, actually. No, not darts. Not darts. Waist band. Well, let's see where is it where it where it's waistband, waistband. Okay, let's bring everything back out first. Show hole. This is what I'm supposed to select. Okay, it's waistband. So this isolates. Then turn on the skirts. Turn on the skirts, waistband. This is what I need. I need to get a better visual on your meta waistband as well. Yes, yes, this is fine. So just to get a visual representation so I can properly I need to spread this out. Okay. So yes, so this should be fine. Yeah, this This work just fine. So let's go back to our layers. Okay, Tishul work just fine. We can work with this. Feel like I should spread them out a little bit more. Okay. Let's do some movements in shred this out some more. Bring this down. Okay. Yeah, I think that's fine. That's fine. So I'm going to name this to back face. Okay, that should be fine. Then I'm going to duplicate this don't do that actually. So let's rename this two B pace skirts, right? So I'm going to duplicate this now. Let's duplicate this folder instead. So this should be fronts, face, skirts. That's fine. So I'm going to add the black marks in there. So I want this to be applied on. Let me select the mesh and I need to be applied too. So I'll select this mesh this. Okay? Then open that up, Let's go in. Let's figure out where that is. It that's where it is. But I think I need to make some selection in here, though. Go back to mesh field. Let's do UVchunk instead. Let's first deselect everything. I go to X I select everything. Then go to UVhunkO select this select this UVchun chunk I need to work with. So let's let that. Then let's go to mesh field. Come on. Okay, finally. I thought I lost that. I thought I completely lost it, so let's move this in place where it needs to be. Okay? I think we in a good place, get this, you know, up, rotate this this way, some more. Yeah, I think somewhere around there should be fine. I can scale this out, move this along. Okay. Awesome. That is fine. That is fine. That will work just fine. I think I might need to stretch this out a little bit, you know, do that. Is the lower one, I need to stretch a little bit. This one I need to stretch out some more. Yeah, that's fine. Awesome. So let's move to the next bits. Okay. I think I need to rename this one, so in front back. Let's do front back instead. Then let's duplicate this. Let's be totally front now. Okay. Get in the select D marks. I'm going to select go to the black mesh field. Select deselect all of this. Okay. Go to mesh film now or Chunk fill rather. Chunk fill select this in front. Let's go in select this and let's move this where it needs to be. So this is going to be the one for the front now. So let's get this working right. Rotate this way, get this down. This one looks somewhat treaky we'll make it work. We'll make it work. Okay, pull it down some more. Yeah, I think this should be fine. This should work just fine. Is should work just fine. All right, so we have concluded on this come light. This is fine. This is fine. So let's go in and then visualize, visualize turn everything back with some shadows and let's see what we get. So I'm going to sell this back to three D only. Let's visualize everything. Okay. Interesting. Yes. Awesome. Getting some interesting shapes in there, which we can definitely keep and I'll go in let's don shadow. Let's see some shading in here. Okay. Wow, this is looking good. This is actually looking good. Yep. Awesome. So the next bit you need to work on now would be the front bit so I think I can still reuse the same detail also to her. Can I put that also in here? That will work just fine. But let's make sure we have all of this. I'll select all of this. I'll put this in a group. Put that in a group. And just to name this to black gold fabric. Black gold fabric. Awesome. That's fine. Then let's add a black max. Then we'll do a mesh fill. Let's solo this out again. Let's do mesh fill. So those basically need to select this as well, this and this. And then we should be good. That's pretty much it. So next lesson, we're going to move on and then work on something else. I'll see you guys in the next lesson by for now. 26. 129 Red Skirt Flap In Substance Painter: Welcome about guys. So in the previous lesson, we worked on this set fabric. So in this lesson, we're going to carry on and then work on this center wrapper piece in front. So now, I need to figure out where let met off my shadows for now. So I need to kind of add some hem to it, some hem details to it. Just the same way we did for the lower one. So to do that, I need to figure out where the front part is. So if you should just create a new fiber set that to red, add a black marks to this. Then we just tap pens in front. Then we go to the three D view. Okay, it's in front I know where it is right now, so that is fine. That is where it's supposed to be. So I can delete this. I'm going to be using the same detail in here also. Let's go into this. Let's see where that's supposed to be's back to Photoshop. I believe this is the one, let's duplicate that. Let's drag this where it needs to be. Let's get close. Scale this down. Rotates. Let's try and figure out the right length for this. I think I need to scale this out a bit more. On do that down shift scale this down a little bit more as well. Okay. I think that should be fine. All right. Let's just kind of set this roughly where it needs to be. I think I might need to extend this out a little bit more on this side. All right. So let's right in there. Let's do a. So I need to be in you so vertically. So let's do this vertically. Let's get close. Okay. Let's do one. But let's select this to begin with. Whoa. I think I need some undo the previous one I did before. Come on. Let me select this again let's go into it. Let's do undo, undo that actually. I need to undo this a few times. Let's redo undo that again. I think I don't think I need to poison this again. We're just going to bend this from the way it was before. Let's just do in there. This is what I was trying to avoid, I need to undo. I need to rescale this again because it's creating something too white for us to work with. Shape we have in there is just too white. Extend this out, rotate. Okay? Come on, undo that. N to rotate this undo that. On shift, squchh this down some more. Scale this down. Let me down, no, undo that down shift scale this down this week. Let me ski the entire thing uniform instead, okay? Yeah, something pretty much like soap. Come on. Come on. Seats. Let's scale this down. Okay. Let's do something somewhere around mid range. I think somewhere around there should be fine's getting close now. I don't lose this. I don't lose this transformation we're having here. That's pretty much what I'm trying to. I don't lose this. So I'm going to select this and this Can we just select. Let's add one around here. Select this and this now, then we can move this in place. Okay? This is what I need so it will be quite close to the shape itself. Bend this in select these two. Extend this out. Even this way. So somewhere around the should move this somewhere around the roughly around the should be fine. Okay, let's continue on. Let's add another vertical shape around the. Undo that. Slide the top, sled the bottom. Okay. So round just should be fine. Let's add another one around here. Slide the bottom, slide the top. Okay. Let's add another roughly around here as well. Sled the bottom, let go down she led the top. Move this out a bit more. Okay, I'm getting some here now. Let's add one around here. Slide the top, led the bottom, move this in place. Okay? We need to add another one roughly around here as well. Slide the bottom, sled the top. Okay. Let this bottom set the tops, led the bottom, extend this out again. Create a little bit more space in there. Sin. Somewhere around there should be fine. Move up. Going to create one vertical shape here, let this here as well. Move this up. Select this, select this. Move this up as well. Select this and this up a little bit more, create a little bit of space in there. I think somewhere around there should be fine. Select this, extend this out a little bit more. Okay, extend this out some more. All right. That should be fine. Now, I can just mirror this to the opposite side. I'm not sure it to look good. I think I still need to go back in there. I think I've lost it then just leave it as it is. So let's duplicate of the one that is below duplicate this ton is back on. Let's bring this in position. Get close. I'm just going to rotate this to begin with. Scale this down, get it roughly where it needs to be, get close. Hold down she square this down a little bit more. Okay. Let's position this where it needs to be. Move this up. I think I need to extend this out a little bit more. All right. We can rotate in place now. Can do that. In shift to extend this out a little bit more. Now, this one, we need to do a lot of work in here actually. This one would require a little bit of extra work to get this right. But I think roughly around there should be fine. Then we can go in and do the web Okay. Let's add one. Sled the top bottom, sled the top, move this in place. All right. Select this. Move this in place as well. Roughly around there should be fine. Let's get close. So you can be a bit more precise in there. Get one year sled the top, sled the bottom. Move in place, so should be fine. Let's add another one year as well. Slide the top, slide the bottom, move in place. Move to the next piece, somewhere around the should be fine. Slay the top, sled the bottom, move in place. Okay. That should be fine. Okay, I think that's it. Okay, let's just move this down a little bit more. So it should be fine. Let's create one roughly around the edge, the slide the bottom. Move this out. Okay. Next, slide the top, the bottom as well. Move this in place. All right. Almost done. S here, select some around the, slur the top, sled the bottom. I think we need to create a piece in here. Let's just move this roughly where it needs to be first. Somewhere there should be fine. But I think here actually fine, as well. Let's move this up out a little bit more out. That should be fine. All right. I'm thinking maybe I should add one around here as well. Thinking of adding one around here. Let's see if we necessarily need that to see if I need that. I don't think I don't think I do. I don't think I do so. This should be fine where it is, but there's one more you need to do. There's one more you need to do. I need to bring in I created the max the new mark. Let's drag this new max in here. Center to apply that center this. I'm going to scale this down. Then I need to resterize this layer. Let's go over to select, color orange. Let the black. Click Okay, delete. Okay, we just need to position this where it needs to be. So we need these other ones at the top, are going to hide. Let's hide those. We don't need. We don't need those. Okay. Something seems odd. But Aspin just get this shape where it needs to be, so let's swing this down. Oh. Something comes with it, though. Something comes with it. For some reason, we have something that comes with it. So we need to delete every other piece that we don't need like this, for example, which is weird. Not entirely sure where that came from. But let's just delete it. Delete those. Okay. It's kind of messing for us, but I still have it in here. I still have it in here, so I can just easily fix the issue in here, so I'm just going to re exports. I want to re export this again. So we shouldn't have any weird issues across this, so let me turn off everything completely. Let's just export it as a PNG instead. So we just do a PNG exports, and then we should be good. Let's say PNG PNG exports. So I'm not going to select PNG for this. Let's just name this trib mark tribal center mark. Type in PNG at the end. Okay? All right, that should be fine. I can just use one that is in here, let's just import it instead. So select these two, turn on a black. Okay. Turn this back on. It should be good now. This I can delete. Let's bring in something that do not have any weirdness in there. So this is fine. Okay. But I can see some let me get close. I can see some black edges to it, so I need to erase that. Let's erase the black edge we have in here. So to do that, you don't need to add a stroke to it. So I need a stroke to it should work just fine. So let's go to stroke. Take this down. Let's Let's do outside, inside, be inside instead. So inside, so that should fill up that edge. That should be fine. Okay. Let's shing this down some more. I'd like to position this in here. Let's get close. Get in close. Okay maybe too close. Then I just need to properly position and center this. I can undo that. Let's just control. Let's do shift and oats and just shing this down this way. Okay? I think just to make better sense. Alright. You see around here should be fine. So let's turn this off. Let's keep the black. So we're going to export this out now. So let's save this out as an Alpha. Let's go back to fabric. All right, let's do let's just do V skates instead. And that makes better sense. V skates Aha. I'll see if that. And let's go back to SubtansPainter. Right now we need to duplicate this. Let's duplicate this because we need this except for the pattern we add in this. Let's duplicate for it. Come on. All right where we duplicate now, I'm going to add a black not a black max instead. Let's delete Okay. All right. So I think I'm just going to delete this down. Okay? Then open up this red fabric. We need to make some corrections to this. There's quite a lot of correction we need to do in here. So let's just go down and then change this to red. Set this to red first. It's a dark dark red tone instead. Okay. Something somewhere around there should be fine. They need to be applied. Let's say black maxing needs to be applied on let's use mesh fill, select select the rates do that. Selecting something else add the black marks again. Let's use UVhunk instead, select what is going on right now. Okay, I think I know why I know why it's not working. So for this, we need to remove the marks, yes. So once you remove the marks, now we should getting something working in here now. Okay? So that is fine. Let's make sure we go back in here. Let's do mesh fill again, select this mesh. Okay. I think the colour should be fine. I'm not trying to do anything too extreme in there. But I would like to make some modifications to it as well. Let's go in greases greasy is fine. Et's see what we can do in year we need to tie this a little bit more. Or just generally take down your positive. Let's start with the tiling. Let's do tiling first. Tiling is not from years from what is applied to the max. Okay? Let's increase the tiling for this. Okay? We have 18 let's go down to the same also here as well. Do the same similar eating. Okay? That is fine. So, the wave, let's go to the wave. Let's increase the tiling for the wave. Let's do something quite smaller in there. I don't want it to be too visible, so let's take it down a little bit more. Okay. Something somewhere around there should be fine. Then, for this now, we need to bring in let's bring in exported out this is in her ish skates Alpha, let's drag and drop this in here. Then set this to Alpha, basically repeating the same process like before. I was going to drag and drop this in. Okay. So something pretty much like so should be fine. I feel like this crisis might be too much. Yeah, this crisis is slightly much. I think we need to take that down from the ites. We need to use from the eye channel in here, let's take it down take it down a bit more thei fiber material looks way too rough so need to take that fiber down a little bit small as well. So it's not too intense in the Okay. I'd like to make this a little bit red dish as well. Let's find okay, this is it. This is it here. Let's go back to base color. Should be able to change the color for this. Let's try something towards the red. Okay. I think I need to take down the general past. Let's say this back to where it was before. Then go to the base colour itself. Dark in this a little bit more. Probably that's way too dark. Let's find a good value for this. Okay. I think this should work just fine. So the other thing you need to do now to test this out would be to bring in shadows in here. Let's bring in shadows. Let's see. Let's see how this works with shadows in there. I think this is a good one. This work just fine with some shadow in there. Awesome. Yeah, this would work. I'm just thinking that maybe we have too much good in here, maybe. But I believe this should be fine. Let's check this form distance. Let's see if you are capturing the essence of this a lot more. I'm looking at this distance just to see if it feels good. I'm trying to check just so I know I'm doing the right thing. I'm not feeling over clouding the entire ceme with too many designs. Let's go over to the gold. Let's dam this to fill pattern instead. Let me take down the opacity of the gold. Maybe I don't want it to be too shiny, shiny as the one underneath it. Just so we get good contrast in between. One should be a bit brighter. Once you feel like once you feel a lot neater than the other one, so I want this one at the back, the skirt itself, which is black material should be a bit newer. But this red one should be slightly used. That's why I'm kind of tuning this down, so just to get a feel of, this is fine. This will work just fine. You always want to kind of zoom out a little bit more just to get a feel of how everything looks like. I think I'll do the same also. I do the same also too for this cross chess strap. Let me just take this down a little bit more. Let's see. So it's not too not popping up popping way too much on our faces, so I think this is fine. You should be star in there, not too aggressive in, this is fine. So just a int of gold in there should work just fine. Yes. Awesome. So this is our kind of great contrast in between. So in the next lesson, we'll move on to this shield piece. I'll see you guys in the next lesson, bye for now. 27. 130 Shealth In Substance Painter: Come about, guys. The previous lesson we worked on finalizing the fabric detailing. Okay? So this lesson, we're going to work on the sheet, so let's isolate that. Let's get that isolated. I'm going to be working on these bots, working on both the two D and the three D at the same time. Just get this as accurately as you possibly can and put it to the side. But first, let's start with a leather material, black leather material. So let's do that. I'm going in here and then let's go to Smart material. And type in leather in there. So we have this leather, Chris. Think I like this one. Let's use this instead. I'm going to drag and drop this in. Delete this layer we have on top. Yeah, interesting. This will work just fine. So let's upscale the texture resolution for this so we can get good previews out of this. Okay. Yeah, this is fine. Yeah, this defaults will actually work just fine. So now we need to start painting in closes. So if you come in close, you can see various things happening in here. So let's start by painting in the should we call this white or grade out version of this. W's obviously white ou not completely white. So let's get in there. Let's get in there. I'll I'll create a new few layer. Turn on roughness. I'll turn on height also. Then we would claim turn off height for now. Roughness, let's get this quite rough. Then we have the black marks, but it's not going to be a full white color, so let's do something stained. Something somewhere around here, so it should be fine. To go back in, we need to use our brush now to kind of paint in. Let me start by painting. Let's see where this is supposed to be. Okay, so anyway, it is nice, this piece. S here. I'd like to paint directly on two deve, use the Bose size. We're using the Bowe size, now I need to use use the default bros Let's come down. I think we can do this here, increase the hardness. Then we take down the Bose size. Said this here gets even close. So I think we can get a better result from painting this directly in our to DV because it's just flats. So flats. Okay, DV, I think we have lazy mouse for this. I believe we have lazy mouse. So let's increase this a little bit more. Okay. No, that's for distance. So let's take this down. Okay, so the airports create something straight in there. So I want to leave out the edge. As you going to make some modifications to this. We have to make modifications to this later but finally just leave it as it is. We do cleanups later. I think around the edge should be fine. I'll reduce the bro size, create another one just below it. Somewhere around here should be fine. All right. Then we move down. So we have reds and whites in between, so let's go and create another one. It's going to be whites. I think it should be, let's just paint the next shaping here so we don't get to sidetrack, so you can see, like a hill mountain kind of looking here. So I need to turn this off and just manually paint this in and do that, reduce the brush size some more. Do that go up a bit higher. Okay? Yeah, something more or less like so. Yeah, that should be fine. That should be fine. Let me redo that again. Let me do that again. Undo that. I want to get this as perfect as I possibly can. Undo that. Okay. Here, something like so should be fine. Can close a few of this no, do that. That should be fine. Increase the blood size a little bit more. Some more. Pre a set lane. Most of this actually going to modify a bit small later on. So I'm going to reduce the browse size now. Use the bro size a little bit small. We need one more. One more somewhere around, do that. Like so. Reduce the brow size. Then we have some disparities in here. So let's just use the brow size, create those in so I believe this should be done by hand. That's why I'm trying to do this by hand, instead, undo that. Use the bro size. Undo that. Okay. Okay, that should be fine. I can also introduce a few of my own creativity in here as well. Okay. All right, so I'm intosing some more creative freedom to it. I'll at on the keyboard to erase a few of this by creating some interesting patterns to it. You can take your time and just create something unique in there as you please. This is not look unique enough. Let's create a palo distinctive shape. Maybe we can do something like so. Yes, that's fine. That makes better sense. All right, that should be fine. So I'm going to do a duplicate of this or the black marks. And I'm going to change this to a more reddish tone for it. Let's go towards red, okay? Then we can start painting in regions where we didn't painting before, so for one around here. I think this one needs a little bit of metallic metallic property to it. Light metallic property to it should be fine. All right. As one, they will need another one also around the brush size or drag just beneath the white layer. Let me name this to whites. Let's use our caps for this. White layer. All right. So now let's paint in. That should be fine. I think this we can work with her. This is part we need to kind of erase it from. So I can put these two in a group and group them, do that at a white max instead. Then we select, let's go to mesh field. That's wrong one. Let's go to UV chunk and select X on the keyboard, select this. So that should properly cut out where it needs to cut out from. That's why we separated out the UVs just to have more control over it. Alright, I think I need to make this slightly shiny. Should have some reflectivity to it. It shouldn't be completely and entirely rough. Okay. So moving on. Let's go back into the whites. Let's go back into the white. So you need to paint on the opposite side. Now, where is that supposed to be? Let's try this on here. Let's see if this is where it's supposed to be. Here, that's where it's supposed to be. So we'll go in introduce the major whites. Try and do this as carefully as I possibly can okay. This white should be. Let's be a bit more straight on on this. All right. On do that need a smaller bro size for this. On do that, let me get this quite small. List should be fine. Erase the middle parts. Alright. Moving on. Here, like so. Then we have another one that goes this way, if it's sharper, like so should be fine. Increase the browse size. Undo that, let's straight one in. That is fine. I'm going to reduce the browse size now. Then we have smaller white line that goes across this. Okay. I think my browse size is slightly too big. Let's reduce the browse a little bit more. Okay. I'll do this. I think I need to increase the browsz a little bit more. I think I need to use this separate layer for this. A the black make name these two whites. Should we even use, let's use white just paint this bond instead. So white tricks. Strip instead. That's fine. Let's go in and then just undo that. I think we need to go all the way. All right. Undo that. Let's do well. I think this one goes all the way down. Should be fine. Let's introduce some reds. I've filled up the entire. I need to erase a few of the undo that. Ease a few of this. Let's introduce red in there. Undo that, use a smaller bro size. Yeah, well, undo that. I think we went overboard, clear this out. Okay. So this was still going to modify a little later, but I think I might need to increase the call a bit more. Let's just carry on. Let's carry on. So for the opposite side, let's just go in and figure out where this should be rotator lights on that angle. All right. So I know where it is now, let's go to the whites. This butler one looks more like draw let's first draw the white shape in there. Do that, use the broad side some more. No. That should be fine. Then we have white dots. White dot also around the. That is fine. We have usually bus size, we have white lines that goes around the this way, do those. That should be fine. We do a straight line this way. Then we have a shape that goes in this way as well. All right, that is fine. Then let's go back to this white strip. We have some white strip that goes in across. Get that's fine. We have also are around there as well, introduce the red. Back to the white strip. This rose size. Undo those toward the end. I think it should be fine. I think the ones are way too thick. Let's raise them out a little bit more. Shouldn't be that thick. Undo those. All right. Undo that. Yeah, this should be fine. Okay. That is fine. Undo that, undo that. Just introduce on the edge, that's fine. So what else can we do to make this better? We need the last final piece. It should be this. Let's go in and begin to create some shape in here as well. Let's do X Oh come on. Then X to bring this out to make this white so we can paint something in. Go to the red. Let's do a bit more red in here actually. We use the brush size. Let's do something like soak. All right. Eggs, create some gaps in between these. Undo that supposed to make sense in a way. Yeah, that should be fine. Let's go to the strip now to bring out the white, make it paintable. Use the brush size. Okay. We can paint something in as well. Increase the brush size. Something like soap. Let's do something across here also, that should be fine. We'll use the bros size. Oh, I will painting on this strip that's fine. Well, that's fine. I think this should be fine. So let's now deselect it from Regions. We don't want it to appear. So let's go to Mesh view. Let's do UV hunk. It should be on black. Then we can deselect it from this. All right. Yeah, that should be fine. That should be fine. Let's go in and add some It information to this. Let's get enclosed. We'll add new whites on this instead. On the white layer. Let's add It information. You should come out a little bit more. Add height to this as well. I think let's add a little amount of bevil. So let's do filter. Let's do Bvl instead. Bvul As were too extreme. Okay. Add some small sets. I'm just going to copy this effect. Paste on the paste effect, paste effects, paste effects. All right. I'll do the same also too. In here, let's do paste paste effects. All right. But I think the art information we have for this is a little bit too high, so let's turn that down some more. Okay. Not sure if I'm seeing anything though. Not much happening in here to be precise. Let's go down here. It's supposed to be on the opposite side, so this even affecting it at all? This supposed to be working. Why is this not working? It's working but not intense enough. Okay. Something's oddly wrong. A few of them is actually working for others not so much. You can see how la di is here. Can see how flare this is. So it's not working as accurately as Oh. I remember the wrong thing. So it's working if you are not working on the others. I'm not sure why that's happening, though. Definitely bug. So let's select this. Oh, we didn't have IT information in there. Let's introduce IT information in there. Oh, my mistake, we didn't add IT information in there, so it should be working now. I want to do between be too intense. Let's just find a good value. A good value for those. All right. That should be fine. This should work just fine. Maybe we should sting the color up a bit more let's make some of this a little bit more whitish, but not too white, though. I think we can do this. You can get some variation of color in here like so. Let's go back to our three D view. Okay. Yeah, this work just fine, so I'm going to duplicate this, bring that out of the group, add a black max to it. I'm going to do a a generator in a let's do coater generator. Okay, precisely what we want, but I need to make some corrections to this. Reduce the balance, go into cover to, take down sharp, take down the fine. Should just be somewhere around there like so. Let's go to large. Take down the large. Okay. Low contrast, increase that a little bit more. This will work just fine. This is what we need it for. Let's bring everything back out. Alright. This is fine. This will work just fine. No need to do any extra extreme bit of working there. This is really looking good enough. So the next thing I'm going to ta would be the sander. So, so I'll do that next lesson, so Bye for now. 28. 131 Leather Sandals In Substance Painter: Pocumb guys. So in the previous lesson, we worked on this shield piece. So I think I'd like to make some modifications on the shield piece as well. So I'll go over the isolate. And then I would like to I think I'm supposed to put a few of these into properly actually. Okay, I see. Alright, that's fine. I'm going to name this to painting Let's use all caps in here. Let me just name these two pints instead. Right? That's fine. Let's see, we should be able to Okay, this one should be white edges. I believe that's set for the white edges. So name this also, too. So we know exactly where they are and edges. That's fine. Then I would like to do some breakup in here. So we should be able to add a few layer to this. Let's see, add a few layer to this. Let's use the clouds. Let's use clouds in here. So let's use Class three or Cloud two instead. Then I'll send this to triplanar mapping, triplanar mapping. And then we can use increase the tiling first. Let's increase the tiilen Just to get some breakup in some interesting breakup in this doesn't look too clean. So adding some breakup will work just fine. We can increase the contrast. Contrast is way too much. Let's see on the keyboard so we can see the mark. Let's see the marks for this. This is the max for it. Take this down more Alright need to use a different kind of cloud. Let's use Lou three instead. I think loud three is the better one. So you should have some kind of feed into it. But the feeding into it should make better sense. You can increase the balance, reduce the balance ever we want. So I'm just trying to find a good value for this that should work just fine. Okay. Let's see. Let's just check this from a different camera angle. Let's see. Yeah, this should be fine. I need to look at this from a distance also. Let me everything back to at this from a distance. Let's see. That's fine. Also, for the garment, I would like to reduce the gold, kind of make it slightly faded a little bit more. So let's go over to skirts. So let's get in here selected now. Let's go into it, isolate. Yeah, that's fine. Then we would go into the layers, close this. I should probably name this also. So let's just do red red fabricing. Red, gold fabric. Alright, that's fine. This will work just fine. Then Okay, what just happened? It's kind of gone. Oh. Okay. So those loading notes. Let me go back in. For the gold. Okay, I would like to take it down some more. So it's not too sharp in there something slightly faint should be fine. So somewhere around 50 maybe take it down a little bit small. Let's find a good balance for it. No down completely, though. I think 49 should be fine. Here, also let's do the same value Thus going in between that 40 range. Okay. Okay for this around there. Let's go to the back. Take this down as well. So I don't want it to be too obvious in there. So taking it down some more should be just fine. Okay? Alright. The, Okay. Supposed to look for the M in here. Where did I drop this? That is the M. Take that down as well. Okay? Yeah, I think this should be fine. We have a better contrast in here for the wave. I feel like I should take down the wave also too as well. So it's not two of you in there as well. And I'm going to duplicate this and let's tie this wave some more. Let's do some more tiling. Let's make it quite smaller. Now let's visualize everything again. Yes, N, we have a somewhat proper balancing here that should work. For the sake of experiment, we can bring in some let's go back in isolate this. We can break it apart a little bit more. Can do some slides do some slight breakup in there. We can go in and add a fill. Let's add a fill. Let's use the Cloud three. Okay. If we increase the balance, let's get in close. Let's see what we have. Let's do triplanar mapping, triplanar mapping. We have something interesting, increase the tile. Put the tie in a little bit more. So this is kind of breaking this up even more. We have good breakup in here now. Just make it look like it has been used to kind of add some age into it to be fine. So I'm going to copy effects come in here Bseffc base effect. Okay. Is for the back. It's not for the back. It's for this piece here. Okay, that's the one that's fine. It's still copied. I'm going to come in here and past paste effect for the back as well. Okay. Yeah, this will work just fine. Let's start some interesting breakup to this. Then I stick copy also so I'll do this. Let's get in there. Okay, that's for that, is it loading up at all? Et's open up. Let's see what we have in there. I'm not sure if this is working, though. Open this up. Okay, this is in here. This is it in year. I don't think we need this ti top, so can you eye that? Alright, then I can do let's see, Okay, there's the entire outin there's the entire outin. So let's see what we can do I need to bring this out. This needs to come out or I can just paste that effect there. Paste effects, paste effects. Then I'm going to use multiply. Let's do multiply. Okay? It's a bit too extreme. Take down your pasity and not to be too obviousne. Since something around here should be fine. Okay, let's bring everything back out. So some nice aging should be fine. I'll give you some aging. Alright, so let's save this. All right? Moving on. Let's move on to the boots now. So for the boots, I would like to use this color type for the boots or rather for the Sanders, whichever one you prefer to call it so. Let's go to the Sanders. That's what we named it in here, isolated that. So I'm going to be using my let's go to Smart material first. I'm going to be using my own leather material instead. That one tends to give better results in. Let's say this to fork a resolution so we can get better preview on here. Alright, then I'm going to those drag that in C leather, drag and drop. Let's see what that gives us. Okay, India now, but we need to make some or quite a lot of adjustments in here just to get this right. Right now it looks too stand up. So let's open that up. I'll hide this. I think what we have in here is actually good enough to work with. We might go back to this to use our stitches later on. Okay, that's fine. The dark shade is fine. Dark tone is also fine. Dark tone is also fine. Okay? We can Let's keep that. Let's just keep that for now. But we're still going to adjust that a little bit on later on. So the main thing we need to do now is to adjust the bastone color. S adjust the By stone color and then give you this color we have in here. But let's make sure I'm kind of checking all of this. Check just to make sure this is working fine. I select again. You always want to kind of check and then check the contrast for it to see if you need to adjust the colors. Let me hide this for now. Let's go down here and color pick. You can use the code of the color pick. Let me pick the brighter darker shade in here first. Okay. So be more darker. Let's put it much more more darker tone. That is fine. We turn this on. Now this color is actually off. It's a more light tone. Let's find the lighter color ring tone in there. Then we need to go back down here and darken this some more. Let's find the darker tone around there. Getting somewhere now. Okay, we have so much white in here. No entirely sure where that white is coming from. I'm guessing from from one of this, let's try and find out whites. To find out white and eliminate that. So much white in here, not entirely sure where the white is coming from. BW. Let's hide everything for now. Let's figure out where the white is okay, White is coming from this. Let's open this up. Let's see if it's from here. Let's darken this some more darken some more eliminate the white as much as possible, turn this back on. Okay. We're still having that white. There's definitely no darts. Though we might be able to keep it, though. Just might be able to keep this. Okay. Let's see. Go up. Let's see. But my best guess is that's coming from let me hide this for now. You exactly see this eyelight exactly from this material in here. We turn this back on, we remove that. We have this broken up. I'm going to do duplicate of this. This one that's where the letter piece is coming from. So I'm going to turn this on and then go in and remove turn of the eight completely. I don't want any light information in. To reduce the heights, come back to this lower lead up, take down the height range as well. Take down the height position. I don't want this to be too grainy. I think somewhere around this should be just fine. Okay. For this, for this, I'm going to pick a different color. Let's pick a different color for this. Let's find something darker around here should be fine. Okay. I'll hide this for now. Spot lawn, I'm going to add a black max, and I'm going to add a few layer. Then let's use the cloud three. Let's do Tripena mapping. Then increase the Tripena mapping for this. Okay, increase the balance. All right. This part lower now using more darker using are slightly darker tone for it. All right. Let's turn this back on. We're going to do something different for the soul. But let's try and get this collaton in. Let's see it still looks slightly broken up. You need to add a blow filter to it. Let's add a filter. Let's add a blow filter to this. Blood blood is some more so we get more spread out, soft out look to it. Okay. Let's see the difference in here. Let's add a duck tone on top of this. Yeah. Awesome. Then let's bring everything back out. Let's compare the contrast we're having in there. I keep telling me to kind of darken this even more. I think somewhere around there should be a fair deal, except for wise. So let's go in and then let's bring the other layers back out. Let's turn this one. Let's don this and this on as well. Alright. Yeah, we're beginning to get somewhere now. This is looking more interesting. Okay. Yeah, this will work nicely. The colours we have in there will work just fine. I see. Yes. Awesome. So you're adding some red dish on the top tone to this that kind of give it an int of should we call it a bleeding of red on top of the entire s which is also looking cool. Well, let's see. I think this noomal I don't think I need to keep. Do I need to keep this normal? This nomal is making it feel slightly too aggressive or actually the right amount. Mm let's keep it. Let's keep it. Okay, so now we have this but I don't I don't need this anymore. I don't need that. I don't I don't need that as well. Maybe this we can tune down some more. So it's not too aggressive in there. Can take this down. Just a faint amount should be just fine. Okay. Yeah, this is looking good. This we can definitely work with. We can definitely work with this. Now, let's do something for the soul. Let's isolate this again. Let's do something for the soul. So I'm going to add a black max in a Okay. Then I'm going to go into the what is it called polygon fill. Let's do mesh fill instead. But let's do a white max instead. Let's do white max. Then mesh field sues to black. We're going to exclude the soul. Yeah, that's fine. Exclude the soul. So for the soul, we can we can just grab what we need. We can know let's just use a different material instead something that's a lot cleaner, more more cleaner leather material for it. So looks interesting. I also love this. Let me drag and drop this in. So this would be just below. I should apply just below this, then we need to adjust the colors a little bit more, but we're still going to have something a bit cleaner in there. I think we still need to have something let's give you a moment to just load. Taking so much time to load up, though. And we also love dust on top of that. Quite a lot going on in there. Nope, no, I don't want to use this. This is way too way too rough. Let's do something cleaner. Yeah, this stylized leather should be fine, 'cause this one is quite cleaner. Not so much happening in there. That should load a lot faster. Okay. Kind of like this edge is given to it. Which is cool. So let's go in. Okay. Let's see what we can do in there, the material. That is fine, surface detail, edge bump, edge bump. Edge bump, should we keep this so should remove this I think you can keep this. I would just add that extra level of detail to it. But we need to reduce the height, so let's take down the height information down a little bit more shouldn't be too intense. Something like so it should be fine. The one thing we need to do is to make this quite dark. Let's push you towards a dark tone. Let's pick a dark shade in here. Then pull this towards a more darker shade. Okay. You should work surface detail. Let's go into the surface detail. Let's do some more corrections in there. What's it applying? Nothing. Let's put this ton on roughness for it. Seem surface, it is actually messing things up for us in there. What we have in there's already looking good. Why didn't you just make its way too whitish. Let me clear this out. Open this up. What is in here. Let's say this as off and on. Let's see. Okay, yes, we're getting something better now. Yeah, this is fine. We can definitely work with this. This should work just fine. Okay. I work just fine. This we can work with. So next lesson, we can let's be everything back out. Let's see. Yeah, this will work just fine. This will work just fine. So next lesson, we can begin to add some interesting detail into this. We can add. We can add a face maxin. Let's add that now. Let's add that now. Let's open this up. I'll create a new let's go up here to the boot itself. Okay, we can use this. Yeah, this we can use. So I'll open that. Let's go back into base color. I'll open this up. Let me duplicate this actually. Hide the one on the bottom, add a. Add a black marks to this, then add a fill. Let's do two D and three D. Act more pacing here. Okay, I believe let's add a black marks again. Let's just paint Let's see where we're painting in. We paint in painting here. The painting here, a 29. 132 Sandals Stitches In Substance Painter: We come back, guys. So in the previous lesson, we started working on the layer Sanders, so we're still on it. So let's continue on with this. So now I need to add like a pattern in there, to add the pattern in. So let's do that. So I'm trying to figure out where I need to add the pattern. So we cut the layer already in here. So let's just paint in Let's see where that is. Painting here so let's see where that is okay down here on Opia as well. Okay, do that. So let's add the mark in. So let's do a few layer. Then let's cancel this. Let's go over to Alpha where we have our marks in there. So we name that triba mark. So we have a few of this. Let's figure out which one we can use. This one looks interesting. This one also looks interesting. Let's do. Let's try this one. I'm going to drag and drop this in here. Okay. Zoom out. So I'll go in and take of repeating. UV projection should be fine. Then we need to scale this down. Okay. On shift and scale this proportionally. Let's get close. On shift and O. Come on. Con do that. I think I rotated that in a weird way. Let's rotate this down shift back in orientation and do that. Oh, great. I wasn't completely I completely rotated the entire outing off. Let's get this back in place. Great. So I'm going to clear this out again, add a new few layer. Let's bring that back in. Let's drag that back in. All right. Then let's turn off repeats. Okay? Now, let's try and be as careful as we can in here. Shing this down quite small, get in, bring these down here, get in. Okay? Scale this down. We also need to add information in the Let's go and check. T out on this off. We need a natural layer actually. We need a natural layer for this. This will not work. I completely forgot This was like a material, not a regular fuel layer, so let's just copy this actually. Can we copy facts? Create a field instead at the black marks, name these two Max. Let's do a caps in here. Let's do tribal Max. Okay? That's fine. And I'll paste that in. Let's past paste defects. Yeah, that's fine. So now I can delete these two. Okay, I can delete those two now. Then we can go back in. I think I'll squash this slightly this way, bring this down here. Scale it down some more. Do some slight rotation. Alright, you should be fine. I'll copy effect. Let's do a paste effect in here bias effects. Now, we have a copy also. Now, the issue now is can we get this copy shown somewhere finally? Initially before we're not getting this to work, but now we're getting this to work. So we can just nail this once and for all. So let's just put this here, rotate this. Okay? That should be fine. I think you are roughly in the same place now. Okay, so I want to make some corrections to this tonal roughness, increase the roughness. Okay. Then set this to more dark darker shed. More darker shed should be fine. They also need some light information. Let's do te. This should dig in some more maybe that's way too much. Just slightly on the surface should be fine. Slightly on the surface would be just fine for this. Okay. This is cool. This is cool, though. I feel like I should use something else. I feel like I should use something else. But I think this is fine, actually. We don't need to go. We don't need to go too extreme. Don't need to go to extreme and make the entire design too busy. Is to work just fine. So let's introduce a block filter to this. So filter, block, way too intense. I just soften the edge. Just trying to soften the edge in here. Okay? Yeah, this should be fine. But we need to put some variation indie so it doesn't feel too new. So let's do some breakup. Before we do some breakup, let's drag this down. Let's put this on a low on a level low, somewhere around here. So you get some things and breakup on top of that something precisely like so. Yes, I think it should be fine. Let me bring this down one more. Then bring this down. No, that's the wrong layer. This is the one bring this down here instead. Look, that's completely getting hidden. Yeah, I think somewhere around there should be fine. You should be fine. The normal map, we have a number normal map in here. Let me see. Meure I don't have any animal map without a normal map on the lower out on the so material. This, I think I might need to make some I don't want this to be affecting the antioxin so I might need to erase. Maybe generally, I think, generally, it we kind of highlight some parts of this, but I don't want it to be too intense, so don't it back on. Let's go back into normal and take down the intensity down a little bit more. Okay. That will be fine. This will work just fine. So the next thing we need to do now will be to add some stitches to this some stitches. And this will take a while. So let's get right into it. So I don't think we need the two dV anymore. Don't need the two DV anymore anymore. So let's just fix it on the TDV instead. So for the stitches, let's do let's open this up. Let's create a new fill layer. For this, let's give it stargy red. I'll add a black mark in there. Okay, then let's go over to pencil, move this aside. I'm just checking the roughness for our mesh. I think our roughness is might be too extreme. Let's see whether we have roughness, roughness for this. But before we go any signs, let's make sure we get this looking slightly shiny. Let's get a more shinier material to it. So slide this mid tone. Roughness. I don't want this to be too rough. Okay. Move this out. Go to the next one, make some adjustment to this, add some more shine to it. Let's try and introduce some more shine so it doesn't feel too dry. Introduce some more shine to this as well. Move up. Okay. This one controls most of this. So I think we have some shining here now. Let's see if this shine should be fine. Or we need to make some corrections to that. Introduce some shine also in here. Okay. Probably with too shiny let's add some int of roughness in there. Yeah, this should be fine. It should be fine. I work just fine. So let's go back into these stitches. Let's name these two stitches. Okay. Put this to the side, and let's go back to the Part two. On the part two, let's turn on symmetry, move back. And then let's draw india now. Let's make sure what's left in the max. Set this to base color, go back in increase the heights, positive value, that is fine. Okay. Now let's go in. Let's change these two stitches, change the Alpha two stitches. Yeah, this is the one we need. Okay, Bros size, take down the bros size. So I'm doing all of this before I start painting, so I can get this done once. Okay. We're going to make modifications to this letter. Let's just get the shape in Before we start doing any edits, let me see realize what on the opposite side, it is. Continue on. All right. We need quite a lot of tissues across this, quite a number of tissues across this. Let's close our gap. Okay? Awesome. Then let's go in and make some adjustments. So let's go down. Let's adjust the brush. Spacing, increase the spacing. The size, take down the size, orientation. Okay, merge this as accurately as we can, getting close. Yeah, awesome. I think this should be fine. This should be just fine. Okay, that is fine. Get some more spacing in. Some more spacing in. I think this should be fine. When it's closer, this should work just fine. Yeah, this work just fine. This we can definitely work with. Okay, and I'm going to duplicate this. Duplicate this at a black mark. So slow departs too. We still have symmetry is still on the, that's fine. Then let's start creating symmetry working I believe symmetry is working. Yes, symmetry is working. So can carry on. We have symmetry working in the get this around, plastrmPut a bit more space to it so it can release a lot faster. So I'm just following that part we created inside of Zbrush. So the part is going to give me a good idea where I need to get this in. Okay. Follow the parts. Alright. We can close this. Okay. Then let's make adjustments. Oh, this is fine already. This will work just fine. Don't need to do any additional work in there. Alright, now let's duplicate this layer, add black marks in What should we t? What should we tackle? Let's tackle the back parts. No, no, I'm going to, let's start with the back parts. Let's do this instead. So let's go in. I believe symmetry should be working there already. Let's check, symmetry is working there already. Let's continue this on. So I'm basically following the depth we created instead of Zbrush. That's going to be like our paths for it. Get a good angle on this. Okay. Yeah, that is fine. Yeah, then we can just close this down. This we can close down. All right, and continue on with the parts. Yeah, this makes better sense. Move this a bit faster. All right. Go down, rotate our lights. Okay. Orientation for this seems a little off. But we'll go in and make some adjustment to it. I think somewhere around here, we can just go down, continue this downwards. Down here, all the way down here as well. Then we close the gap, continue on the opposite side. Okay. Yes, I think when you right track, routes are lights. Ruttes keep moving this up. Yes, I think when you write, please. No, no, I think I missed the mark. Did I? No, no, I did not. I did not. I did not. So right? Still on the right track on this? Okay. We can continue this on a rotate, then close this. That should be fine. They will need to make some corrections to this and change the orientation and spacing as well. So let's go in and then do that. Change the orientation this way. Yeah, that should be fine. That work just fine. So I think I'll just duplicate this now at a black mat. Let's go to the next piece. Symmetry is still very much turned on for this, so we can just continue on. Go down falling that part we created for ourself in Zbrush Okay. I think I can just go up. I can just go up. Get in closes and do that. Okay. All right, that should be fine. Let's look on the opposite side. I think this we can work with. That we can work with. So let's move on to something else. So I'm going to duplicate this at the black marks. Let's see, this piece. Yeah, this piece down here as well. So I've added the black marks in the like I said, quite a lot of stitches, quite lot of stitches. Okay. In here as well. We can continue this on this way. Okay. Move up. Up as well. Then let's close this gap. Okay. Let's take the opposite side. If this tt is correct, yes, that is fine. Do duplicate of this. Let me even see if I can we even do a continuation? Is it possible to do a continuation? I've not really tried a continuation, though. Let's see. Oh, we can actually. Oh. Oh, we could have done continuation. I thought maybe we couldn't do continuation, but that's fine. That's completely fine. We can just do continuation. I was trying to try to be as careful as possible so I don't mess things up, but I think we can do continuation. So long we close the gap, we should be fine. As long we close the gap, we should be just fine. Okay. 30. 133 Iray Render In Substance Painter: Okay. Welcome back, guys. So just took a moment to just go around and then grease stitches around this since we're just repeating the same process over and over again. So I took my time to go over the entire outing and then just add stitches to it. So let me just show you guys the stitches we added. Okay, that's fine. Now, what we're going to do would be to just change the color for the stitches. Let's start with where derivative plays. This should be at the back. It should be at the back. Okay. That's the one. So let's just use the color that fits. Then we're going to use the same color for the entire outing, drag this up. Okay. So let's pick a brown colotn. Let's look for a brown coloton and push the brightness for that tone. We're not that strong. Somewhere around there seems just about right. Yeah, I think some around there should be fine. Maybe darken it a little bit more. That seems fine. I'm going to copy that coloton. Let's copy the X code, copy the X code. Then we're just going to start pasting the X code in here Okay. Just pick the X code in and then we should be good. Here, as well, here's the X code. See a few more to go. Quite actually a lot to go, so that's between the same ten actually, pasting the code and then we're good. Yeah, so this kind of draws, this is the last thing we need to do, I believe, for the texturing, except we need to kind check around and then test some lighting on it and see how the lighting affects affects the entire general overlook of our textures and see if we can introduce a bit more contrast to a few parts. Okay? That should be fine. I need to put all of this in a group just to keep things a lot more organized. So put this in a group and I'll name that group to rim that groups stitches. Okay, so everything's a bit more organized now. All right. The one more in I'm just looking now would be the height. But I think this height should be just fine. From a distance, we can still see the stitches in the is fine. Let's bring everything back out. I think we are good in here. Alright, so let's introduce some shadows. Let's see what we get. Let me do a quick sieve. So let's turn on shadows for this. So I'm going to let's turn on shadows. Okay. Yeah, that is looking good. So let's do some Let's kind of go into render I render for this. Let's see what we get. Let's go into Iray and do some renders for this. Let's just get a preview of how it look like in Iray. So opening up Iray now. Okay. All right. All right. So I need to change a few things in here. Let's go and set this to hours. Then let's go to display sets. Let's say to clay colo. It's actually floating. W to a jo I believe I need to apply for the floor. That's way too much. To is directly in the suites. Some italia which too far down. Still to fold do down if you ask me. Let's do 15 instead. Let's type in five. Let's pushing for di Complete for dialy. I'll show where the CMO. Okay. Come on. Push towards the negative five right? Yeah, perfect. Work with this let's just leave this as it is. Okay? So I need to go back to render settings. I'll do override votes selection. Just adjust t is way too much for us. Let's w 1,000 instead. Yeah, this should be fine. So now let's just start figuring out something that some different lights in in to see which works best. This seems nice. Yeah, this one seems nice. He's like panoroma for this. Let's go to the places unless there's some other light here so we can go over some miner. Let's use the black soft. Let's try there. Okay. And let's rotate our light a little bit more. Let's rotate our lights. All right. This is just testing s outing to see how our light is affecting viral texturing of Yeah, I think this is looking good. This is looking good. Let's test. Let's test in light also in here. Let's see Tomaco studio. Let's try Tomaco studio in Tmacos more bright general shadow cast on ti out. Let's try different light as well. Let's try this. This completely brightens the entire outing. So you need something that has some shadow to it. Let's try the garage. Yeah, B garage actually highlights most of the good here. It lights most of the good. Is cool cool. But I would like a more neutral light setup. So let's try this studio wide. Tries to wide in here. Okay. 31. 134 PC Colour Contrast: Welcome back guys. So I would like to talk about an issue you might encounter when working on your PC, most especially when you're kind of texturing and then you want to start adding those colors inside of your model instead of photons painter. So one thing you need to keep in mind is that on different digital gadgets, you might have different color variation or depending on how the AlgB tone is being set on the screen display. So one thing you need to keep in mind is that you always want to set your PC color contrast or algae to to the original default colors. So that's when you kind of texture and the spot out or Sasus as an image and you send to your phone. You should be having colors actually matches that with Softnspnter. And also, also in most cases, like 90%, it's going to match any screen device you send it to. So that's something to kind of keep in mind. So to kind of find that, all you need to do is to go into Windows and then search Intel. Then let me see if I can show you guys in here. So just go in and type Intel in a then let's go to Intel Graphics Command Center, then select display. Then you need to do is to come in and click, restore the original colos. So once you do that, you should have colors that actually matches that of your device also too when you kind of save us an image. So not that I have done that. I let's make some adjustments in here. So like I said before, or I've been saying during the entire course, at least for the texturing process or texturing stage, you want to make sure you have good contrast, good color contrast on your entire model. So some things doesn't blend too much with what is in your background. So for now, since we're working on the garments in our background, our background model or backdrop, per se, is the main character body. So we want make sure there's a contrast between the character body and the garment or texturing in here. So that's something to actually keep in mind. Actually very important, so not about just that because I was encountering some issue with the coloring. So the colors I see in here in substance painter was completely different from what I see on my phone. When I spot out my when I spot out my rendered texture or rendered rendered model. So, in previous lesson, we kind of render some test rendering instead of iris so this is what we have. So my screen was looking quite bright. I'm sure if you go back and look at my screen it looking quite bright, but when I spotted this out to my phone, I was having a dull overtone around the entire outn and I don't want that. I want a bit of a richer tone to it. So the issue to fix that to fix that issue, all I needed to do was just come here and then restore to original. So now that I've restored this to original, I can go back to Soft and spin and begin to lift some of the color contra a bit more. So in this lesson, what we're basically going to be doing is to lift up the color contrast some so it's nothing too complicated, we can just use. Let's start with let's start with the head bid instead. Let's do the head bid instead. So for this, basically, what we need to do is just to create a new layer and then add an HSV to it that layer. So putting a new layer in here now, then I'm just going to add a filter, heart filter. So on the filter to affect just the color alone. So we don't want it to affect the metal channel, roughness channel, normal channel and eye channel. We need this to affect the color channel alone. So we just need to go back to so with this now, we just need to go and type in Hs. Not Hs, we act called HSL, so let's select that. I think the only thing we need to do in here would be to increase the saturation. It's not going to work well because we need to set this normal to pass through. You want to say that normal or pass blending more rather to pass through, you should be able to see the color pop out a little bit more. So this is basically what we are going to be doing for the entire just lifting up the colour some more. So I can copy the same effects. Let's copy effect. Let's copy the entire layer instead, copy the entire layer. So click out say Let's Control C. Then let's go to let's go and select the jaw bead, and then just paste this on top. So you can see how this leaves the color even more. Okay? I might still need to go. I might still need to do the same for. I think I would definitely need to do the same for they Stan spina filers, but just to uplift everything up. Okay? So let's move on. Now for the metal for the metal, I think this metal should be fine. Let's go in there. Let's go in there, select that space this indie as well. So you should don't see too much happening indie because it's a metal material, so you might not see too much happening in there. Let's go to this year ornaments. Okay. I think I'll drop this at the top. Okay. So now you can see how it kind of leaves the color a little bit more. So precisely what we want as well. Let's select theonselet the on, paste that's on top. Okay. So we get more richer colors there as well. Let's come down to this as well. Let's drop this on top. So we get more brighter tone precisely what we want. We already have something in here already. We already have something in here already. Let me solo this out. Low part. Let's just paste the new one in then turn up the one that is down. I think this is way too bright. Let's just use this Okay. This is actually too bright. Let's high this for now. Let's work with what we already have in here. Let's just increase the contrast a little bit more, increase the lights balance a little bit more. Okay, I think this should be fine. So I'm going to copy, this is fine. Let's go down to the low pad skin also for the waistband. I think, yes, we can increase increase the lights a bit more. Okay. Yeah. This is quite better. So that's moving on. Let's see the sums. Let's go over to the spare. Let it spare. I'm going to drop this on top. So let's just piece that on top. Yeah, awesome. That will work just fine. Let's go to the metal tiger max. I'll drop this on top. Yeah, awesome. That work just fine. So should get more vibrant colors now in here. So let's go over to the For this pot la, I like to grease some more. It's a bit too shiny. It's a bit too shiny. Let's start by dropping the layer in here first. Then we go in and make some adjustment to this. Let's darken some colours in there. So it's loading up. Let's give you some moment. I like to icilty so it can work a bit faster in here. Okay. That's fine. Now let's make some adjustments in as necessary as we can. Okay, this paler one, let's do this out some more. Yeah, it's pretty mot liight so it should be fine. Should be quite dull. It shouldn't be too bright. It was way too bright. Okay. Yeah, this is dark shade. Let's increase the visibility some more. Okay, increase the balance some more. No, that's way too much. Let's blow this out. Let's go to filter, add the blow filter to this. So let's add a blow filter. Increase the blow intensity. Okay? Then we take it down, it shouldn't be too obvious in there. Let's just do something slightly fence in. Take it down the blow intensity. Okay. Yeah, that's fine. This will work just fine. Let's bring everything back out. Okay, I think, this one is fine with. Let's go in here to these b splits. Go to the b splits, pace layer on top. So we're getting more vibrant color in here now. Okay. I'm thinking of this blue now. Probably I should take out this blue. If I take out this blue, let's see what we get. So we have this gold. Let's go to mesh field. I like this mesh. If you use this color, let's see how this looks. I think this is a lot better. This is a lot better. Let's leave this as it is. Let's move on to the next piece. Let's see what else you need to move on. Yeah, yeah, the glove, let's go to the hanglove. Let the anglove layer. Then piece that layer in Okay. Yeah, yeah, this is fine. I think we can work with this. Probably maybe a little bit too red. So let's take down the saturation. Tie saturation just a little bit more. This will be fine. This will work just fine. Okay. Moving on, let's look for something else. Okay, let's go down to these skirts. N to slide the bit also, let's let this curry bit. Let's do for the curry bit first, and I'll drop this in. Okay. Yeah, that's a whole lot better. That looks way more better. So now let's go to the skirts. Lady cat space this on top. Okay, now we'll get more redness in precisely what we want. But I think it should affect the entire out sin, yes, it should affect the entire out sin. So I believe this is a good contrast. It's a good contrast in here. You can go in here and then increase the good some more. Let's increase the gold a bit more. 82 82 seems a bit much. Let's do 75. Let's set this to 75. Okay. Let's come down. Close. This is for the red. Let's go to the black gold. So you need to increase a little bit more. Let's do 75 75. Se this also 2275. Okay. More brtle overtone should be fine. This also two to 75. Okay. Awesome. She gets a proper color variation in her. I think we have more mod one more piece two more piece actually. Let's let the shots also passed out on top, it's interesting, that's fine. This part longer on this foot, I think I need a bit more contrast to this. The color we have in here, not really digging it. No digging it blends pastes, it blends too much with Oh. Yeah, I think this is a better one. I think this leaves the color a little bit small. Yeah, I think this is a more better variation. Let's go in and then make some adjustments with Okay. Add a bit more saturation because I want this to kind of get a separate color. If you use something else, way too bright, way too dark, I think a perfect balance should be around the bright and it still has some saturated tone to it also. Yeah, I think I can I can live with this. This I can definitely live with. So I'm going to save this. I'll save this. I need to do the same also too for the body texture just to make it up a little bit more. Okay, so awesome. This work just fine. So now we can comfortably explore this out now, but we can also details just to see. We can do some lighting variation in here, so we can see how this looks. Let's go to panorama. So Panoroma is looking good, actually. It's looking good in here. So we have good contrast with Panoroma as well. Okay. Awesome, this will work just fine. Yeah, awesome. So now let's export this out, so. Just put this out. Let's go over to file. Let's go over to export text shows. So now we need some more control in here. So I need to export out Fok resolution. Yes, this should be fine. Okay, we can also do diet infinite if we want to padding no parting pass through actually should work. Folk resolution that's fine. Let's specify where we're spotting this out too. So let's let's the correct folder for this. Into final files, let's create a new folder. Let's name these two XP assets. Okay, that should be fine. XP assets let's open up the folder, select the folder. Now let's turn everything on. Check all. Then let's go into each individual plate. Okay, awesome, we have some settings in here we can work with. But there are a lot of things actually going on in here. So metal metallic materials. So don't have metallic material, so I need to go into them individually and then specify I want to export, so this is the split. You know what the split is, R split needs Bcl metallic roughness, ton of this normal, ton of, we need open G. We don't need a hole so to that off. All right, so amo. Amo needs base color metallic roughness, to of normal ids and AO, ring. I think I'll just, let's just give you the texture instead. Let's give it the texture because we've been neglecting that for a while now. So let's use Let's use this good color instead. So I'm going to select that. Let's select the gold damage, copy that, go over to arm rings, isolate it, delete. Paste that in. Let's remove. Let's say this to white. So you should apply here. This is not even good. This is not good. This is not good. Go back to the plates. Did we copy the good at all? We turn that off. Yeah, that's the actual good. Let me copy this again. Copy it. Let's go back to the arm rings. Except I'm missing something I would just go in the check. So I said this to white marks. I think we are missing some. Let's go in. Oh, I think is this. Let's tour this off. Turn this off as well. Let's turn on the scratches. So for this thing, to go in and adjust this adjust this take down the balance. Let's take down the balance. Don't just to be too intense. Then we go in and change. Let's use the more good material. So for this Okay, so we can go back in if we increase the balance. But I don't want it to be too intense. This is way too intense in there. This is quite too intense. Increase the balance. Let's see if we can adjust this in here. C voture. Yes. I think this is from the Cvoture instead. I think something like so it should be fine though we might not necessarily need this, but I think it should be fine. Okay? We can take down take this down some more. That should be fine. The god, let's push this push these towards a more brownish tone. That's fine. Okay, so we have something for this now. So let's go back to export textures. So check, we need to do this again naturally. I did not save the previous setting we did, so a split tone of normal heights. We need to keep the normal open geo. That's what we need. Generous open, let's do no padding pass through. Specify the folder again. Okay, select the folder. Go to the next phase the armor. Armor, we have gold in here. And we have to met that material in there, so let's turn off normal is A, arm ring, ton of normal es and A Coury waste bead. Cori waste bid, I don't think we have any metallic material in here, because that's the cur cori piece. So ton of metallic. Tn off this normal ton of ice. Turn this A off, cross chest strap. Cross chest strap. Let's see. Cross chest strap. Do we have Amaya flood up in here? Okay, we don't don't want to go back. I don't want to go back, so Cross chess strap. Then we have the cross shoulder beads crosshoder bead. I think we have metallic in the, I think. Let's just leave it in less turn off normal. So anyway I'm not completely sure of, I'm going to turn that off now. I turn that off let her go back then I'm going to check. So back to this cross shoulder B, ton of Ids, ton of A O, chain rope. Oh, since I'm not entirely sure, let's go back to it. I'm not entirely sure. I'm going to keep metallic ton of eights. Ton of this normal ton of A O. Okay, back to ye chin. Ye chin chin, bed roupTh one has metallic also, too, because the chain. So let's turn off s. Ton of Ao ton of this normal. That's fine. I mean as leather material also to India and metallic material also India, too. So let's turn of the normal eights and A. You rings will turn off normal eights. This also too. Okay, and leather leather, doesn't have any metallic property in there. So I'm gonna don't have any metal property in there. But like, mostly leather. It's mostly leather, so turn off no heights. Turn off this normal. Turn off also. So Center bid, a center B does not okay, have metallic material, slightly slightly metallic material. Le turn off it and normal and A O. AOs lead out bone and metallic materials, so it's less of normal ites and mix AO. It is body ignore that completely. Job has the same metallic materials e don't offi the orders instead. Low part, low part chest strap. So leave metallic low patch let's leave, also does not have So does not have any metallic property in this. Let's turn that off. Okay. Metal is bid. Obviously, metal is in there, so let's turn off normal I and AO Outer eye, no that for the leather, I think layer is a little bit of metallic. Let's leave that for now. Ton of this ton of this ton of mixed AO shoots a no metallic property in there, I believe. So just mostly layer e ton of metallic in there, normales AO scatters definitely has metallic material in ton of metallic roughness. None of this of this normal open gel on. Spare is as metallic, so to lesson of normal eight and A O. Tiger ma is fully metallic to lesson of normal eight and AO. So waist bead, ton of waist waistband. Yeah, we bound metallic property also in the tone of normal heights, tone of AO, I believe, I believe we are good in here now. So let's just exports. Let's export this out and I'll come back when this is done. So next lesson, we're going to open up aid this body measure and then increase the contrast of saturation a little bit more. I'll see you guys in the next lesson. Bye for now. 32. 135 Export Textures In Substance Painter: Welcome back, guys, so it's going to make the same correction we did for the previous file or asset file, to make the same correction here too by lifting the color contrast up a little bit more in here. So let's do that. So I'm going to do this on the body. Let's start with the body. I'm going to create a new layer. I'll set that layer to pass through. The layer to pass through, and I'll add a few tattooed. Okay. Then turn off everything apart from the color channel. Then let's do the HSL percentage or HSL perceptive. Strange name. Anyways, I'm going to just adjust this saturation. This is obviously way too red. I just need to lift it up a little bit more. If you compare it with or without it now, you can see some slight difference in here. I think some more redness going on in here, which is precisly what you want. So let's go and set the light into. Let's do pan aroma instead. Panoma, pan aroma, pan aroma, okay. All right. So I don't need to add any lightness in here. If you take down this, it's going to darken this a little bit more. I don't want that darkness in here, so do back to default. I think it should be fine. Let's bring everything back out. Yeah, this collaton should work just fine for what you need it for. Doesn't need to be too extreme. Alright. Yeah, this is fine. So we don't need to do nice to export this out. We just need to export this out, and then we should be good. So let's go back to export text cancel the export text shows instead. So let's exporting the texture for the body, and we have all of this all set out already, so that's fine. So let's just export just the base color alone. Export. Okay. So I suppose I completely forgot to tone of the orders, but that's fine. It's going to it's just going to basically replace what was there before. So if you go back in the SP body, so you should have replacement for all of them, so we should be fine. Okay. So this will work just fine for what we needed for. Let's clear this out. So this should be just fine. Let's go in and check Check for the asset also. Yeah, asset is also fine. I work just fine. Ignore the web stretching at the edge. I work just fine. Though I told you no padding. I supposed to kind of ignore any padding in here, but it just kind of stretch everything out, unfortunately. But anyway, that's fine. It's still going to work just fine. We want it to work. So let me save this. So in the next lesson, we're going to bring in the stem closes out. So I can show you guys what I mean. So the next lesson is going to be about bringing the final accessories into the body into the final Idris body. I'm really ping to get a small single piece, and then we can now puse a character and put them out again and then prepare them for Eigen. Okay, so I'll see you guys in the next lesson. Bye for now. 33. 136 Merging Files In Zbrush: Welcome back, guys. So in the previous lesson, we exported out subtnspna textures for the assets. So this lesson, we're going to try and set up a 54 pose and instead of Zbrush. So let's jump right in. So what would like to do would be to export this out as a Z tool and then import and import that Z two file into the body Zbrush five. So let's do that. I'm going to use the save us. So this time around I'm going to save us Z two. I'm giving us a Z two file. Let's go to final Ps. So I'm going to name these two assets. Let's use a capsule. These assets Z Z two, okay? I'll probably put a dress in front so I know what it is. Here, I think it should be fine. I'll save this. So I'll give this a moment. That really saving. So successfully save that out. Let's go to our folder and find that in here should be in here, so risk Z two. So that as at 2.8 gig is fine. Now the next we need to do will be to open up the body Z two file. Let's open the body file. So double click on that. You want to save no so let's give you some moment to load up our file and then I'm going to import Z two asset file into it. Here bi in here now, so let's import the asset files a Z two, so let's load Z two file in here, load two ZTFFle. I'll go in there. I'm going to select this. You can open. So let's give you a moment to load. Senior now do need to F on the keyboard to frame into it. I opened up in a different canvas. This is here, a completely different canvas. That's fine. So once we need to do, one thing we need to do would be I'm getting close. Be to delete this. I don't need this anymore. This body plays with our lives, I'm going to delete that. D the outer eye also. This is precisely what we need. Then let's go back to this Z body Idris body instead, open this up too. I already to put all of this in the folder and then I'm going to copy that folder and then paste where it needs to be. Let's set this up in the folder. Let's create a new folder. Let me name this to Idris body. Okay, put everything inside. Drag them in. Then to copy this entire foold I would just to go to a Z two under sub to master. Then we will do I cat fold in There's no coat fold here, but let's do copy folder. Let's come in here. Then let's past folder in here. There we can paste the folder in here. Not sure why we have this outside though. Let me so this out. Let's see what that is. Okay. No, we don't need this. I'm going to delete it. Let's delete that. We already have the original piece in here. Okay. The original piece we need. So moving on, I would do Let's pace the folder in this up to now. Let's go back to Zip login. Then we will do Pase folder. Pase folder. So let's give this a moment to paste in here. Okay. Awesome. So you paste that in here successfully. So what we need to do now will be to go back to the order Cats, where we are on the body and then we need to delete this need to delete this in here. So let's delete folder. Delete folder. Okay, let's delete this. Okay, delete this as well, delete, delete. Okay. Let's go back to that Canvas instead. So everything we need to do in one single Canvas. So let me save this out. I'll save this out to say different different file instead. So let's do final. Final let just put let just name this to pose instead at the front. So we're going to be posing this so pose final address. So I'll save this. Save this. Give us a moment to save. So roughly our entire files should be roughly almost should we say maybe around a nine, maybe six point something gig now, which is fine, at least for everything after optimizing and clearing out any mesh we don't actually need for it, so I think we should be good. Awesome. So we're in sit F. So everything is in one single file precisely what we want. So if you go and check the five size now, the five sides should be poo, 5.3 gig, fair enough. 5.3 gig is actually a good value. Not too bad.This is fine. So this is f we're going to be working with now to do our pose. So in the next lesson, we're just going to start the posing process. So I'll see you guys in next lesson. Bye for now. 34. 137 Arm And leg Posing In Zbrush: Welcome back guys. Now, let's jump right into the posing process. So let's do this. Okay. Getting close. Just check if everything looking correctly, I believe it is. Let's bring out our reference. We have a few referencing here that we can use, but this being our main reference, obviously. So there's a little pose around here. Then there's more pose in here. So the closest reference I could find or something like so. So we're going to be using that. Also, we're going to be using that just to get good reference in here. We also have another reference in here as well. Okay, so let's jump right in. Put this somewhere around there instead. So to kind of start posing this one we need to do would be to go over to Zip login. Close this, then go to Z Transpose Master. Okay, we're going to transpose master, create low res mesh for working with transpose. The pos is selected, press this button to save to dig. So it does to function actually. Let's select that first. So it's going to kind of run through the entire sub too and create and go to the lower subdivision level and then send that lower subdivision level to a different canvas where everything is meshed together as one single piece with each individual sub to having its own polygroups. So it's running through just give the same moments. Give it a moment. As is done, we should have something. Okay. I think it's there now. Let me just pull this here for now, right? Okay. Thank you. It's done. So if you do Shift F for this now you can see each butler Subtool has a different poly group for it. Precisely what we want, precisely what we want, so we can work with this. Not next we need to do to save this pose. Go back in there let's save this pose. So if I select it now, it's going to tell us if we want to save this pose. Imagine this correctly or not. So now I ask you to save this pose. So this is going to be a default pose, so we need to save a default pose. So select it. Then let's save that in the same foold Let's save this in the final pise. So let's lim this to headdress default pose. Let's just look out for this. These any tie weeds of work in here by saving your default pus, default pose, delete this as at the end. Okay. Save this. So if we go back in there what we need to do is to turn on layer. So in the sense that do anything we're doing here and then we transfer transfer the pose is going to be stored on a different layer instead. So precisely what we want. So yeah, so that is fine. Let's see. Now, let's go in and start our posing process. So the first thing I'd like to do will be this yes, let's start by making the actually, the first thing to do is actually working on the major forms in the sense that each butler, each pose that is actually very symmetrical to themselves, we need to get them in first to get those in first, too. For example, the arm. So for us now we're having more, more or less, almost like a T pose, it's not really pose yet. Let's get this one A pose. So I'll need to then put this side. Shift F. So I'm going to use the mark lasso instead. So let's do the max lasso. So let's grab son symmetry for this. So let's grab all of this around here. Okay. Yeah, somewhere around there should be fine. Then Shift F. I will need to exclude this clear the marks for this bring everything back. Do that. Clear the marks for this. Come on. Okay. I like this, don't of symmetry, clear the marks for this, I should still be having this smell of previous marks. Why aren't have any previous marks? Okay. Ship turf. Okay, let me draw an extraction for it. It is working now, so I don't need to draw an extraction for it. It should be fine at the max. Then blow some more Ibn not too much, don't do that. Then let's bring out our Gizmo. So I'm going to position my gizmo around here. Turn on symmetry. Then pose this Oh, do that. I think I need to exclude this I need to exclude this for the spare. Exclude this. Oh, do control exclude this.Exclude this. Let's do this as well. Okay? Let's go back to our Gizmo. Move this around here. Move this in around where the should should be. Come on. Oh, yeah, I'm supposed to mark this actually. Let's mark this. Yeah, this is fine. So we can undo that ton on symmetry, symmetry tone on. You can't do this with symmetry on. Okay. So I need to check now if this is working fine or not. Maybe I push this in way too much, extend it out a little bit more. Yeah, this should be fine. Should be fine. So now we need to get the posed down a little bit more, as well. The lower part of the arm. Let's look at this from this angle, yes, we need to bend these down. Okay? So what we can do is just to control and max out this part also. No, that was a bit too extreme. A good angle for this. Let's do some good angle instead. Nope, that is not looking good. Let's see. I think this should be roughly fine. Let me exclude this a little. Mark this completely. I need to mark this completely, let's grab mark this out completely. I think roughly around should be fine. Blow the mark some more. I want to very careful to make sure you're not posing anything that you're not supposed to pose, blow this out again. This time around, I'm going to drag this somewhere around J rotate this way. This should be fine. Okay. Let's start by rotating this down. Push this down. No, undo that. What isn't looking right. Yes, I think I need to move this up a bit. Yes. So there should be fine. Then I will rotate it this way. Okay, I can bring this down. Bring the down some more. That is not looking great. Let me move this down this way. Yes, then straighten this out. But you don't want to completely straighten it out, though. I don't want to completely straighten it out, so it does a little bit a little this way, this way as well. Okay? Yeah, this should be roughly in the. Let's just check this around and see if we are in a good place. Okay. I think this should be fine. Clear this out. But I need to bring the entire arm even closer to being the entire even closer. Let's go and then max that again. So let me just isolate the body first and max out this region. Okay. Blow out some more, bring everything back out. I'm going to add this in. Then I need to Undo that let's invert the mark, this is fine. Then select this, isolate it, and then max it out. Okay? That should be fine. So we need to rotate, get this back up, do, get this back up where initially do that put this in. I need to bring the entire um closer this way. Let's bring this closer. Okay. Yeah, this should be fine. So let's check. So was one kind of zoom matter and then just check you know if it's working correctly. Okay? Yeah, I think this is fine where it is. Then I'm going to grab undo that actually. Then I'm going to grab max out this region again. Okay? Undo that. Cycles do it again. Okay. Blow this out. Bring back our gizmo, see if can send de gizm roughly where we needed to be or to jack this up. Bring this in, bend this down, put this in. Let's see for now that is deforming the entire ship, put this down instead. Do that, I think we need to add some marks in here as well. Blow the marks. Okay? Bend down some more down some more. Okay. And it's down this way. Let's see that's looking a bit odd. Bring this down, compensate for it down pushing it down this way. Okay? Undo that. Bring this down this way, undo that. I isn't looking completely right yet. I'm still need to grab some we still need to grab some more piece. But for him also for him also on the reference is not completely putting his hand down and touching his garment. So I would like to maintain that essence in here also. Okay, clear this out. Let cut this from a distance. Okay. Yeah, this should be fine. Okay. Then I think I need to what I need to do to rotate this so if you rotate it this way, you can bring this closer. Yes. Awesome. Just ele rotation, actually fix that. But we have some minor issues in here also so that I might need to fix. Much after rotating that we don't want it to look too hard. So let me put it, no. I need to put my gizmos and orientate orient my gizmo properly. If you can orient your gizmo properly and inset it in your right points, especially on the joints, and then you do rotation or whatever translates option you're using, should work just fine. Let's poses this way down slightly. Okay? Take this down some more this way. Okay, clear the mark. Let's look at this from a distance. Okay? This is making better sense now. So we also want to make sure the pose is kind of relaxed, not looking a bit old. I think we have some old ness at the top now. You know, undo that. I think I need to grab a bit of this, blow this out some more. Undo that. I need to relax this a little bit more. I also need to use my move brush just to fix some things a little bit more. So as much as we are doing this, we are still going to use our move brush to compensate for regions that looking a bit old. Okay. Crazy brow size. Let's look for a reference, the back view reference actually gives us a good idea. It's a good reference on the back. So I see I'll need to pull this up. Symmetry turned on. So let me just mark this part alone. Mark this part alone. Symmetry to, the asymmetry is turned on. Just leave this up. I it's a bit more. So it doesn't look a bit odd. Move this up some more. Okay? Yeah, this should work just fine now. Yeah, we have a bit more relaxed pose now. Okay. Yeah, that's fine. Clear this out. Should most likely put this spare somewhere else. T of symmetry, invert max and put this space somewhere else for now. So it doesn't distract cause any distraction in here, so that should be fine. So let's just focus on the body alone. Okay. They could see. See I think is in a good place now. But still have a lot of work to do in here though. So let's carry on. Just look for another major symmetrical form that we can get or block in there. Now one thing is, this is the axis is one of the actual pus, slanted in a way, because this one is also slanted, but slanted in the opposite direction instead. We can use this as a good reference to get our slanted body pose. Well let's make sure let's see if there's any major symmetrical bend we can get to this. Okay. I think it's near good, please. I think I'll do this last, the entire major pus. I'm going to do that last for the shoulder form. Also, I have the leg pose also last as well. So let's get the leg pose in. Let's get the leg pose in. So, okay, clear this out. So 1 ft is in front of the other. You get this in. Should be able to do that. So I'm just going to isolate the body and then isolate this isolate also the boots. Is like two major things we actually need to kind of get disposed right. Okay. So let's see what we can grab in here. So I'll grab this foot to be where it is. But then this left foot move this aside. This left foot is what we need to actually move. So we need to move this from the hip region actually. Okay. Grab this as well. Maybe too much. Blow this out, int the max. Okay? Center this in. We don't want to work with symmetry in here, so let me get this in like so. I'm going to move this forward first. Okay. I don't want it to be too forward actually. But just a good amount should be fine. Okay. Yeah, this should be fine. Yes, we have secretions in here, now, that's fine. Let me get close. Okay. Then I would like to rotate it this way a little bit. Get a little bit of rotation in. Okay. The other thing I'd like to do would be to clear the marks. I think on this partner, the thing I need to max out would be from the ankle region actually the ankle region actually around somewhere around the ear and blow the mark out. Blow the marks out, soften it out some more, invert the mark. Let's get the gizmo. Okay. Get in there. And then let's put this here actually. It's supposed to be on the ankle, on the ankle who reents. You should be on the floor as well. Get this on the floor. Okay. Move this back in some more a slight move back like this should be fine. Clear this out. Now we get good pose out of this now. This is a good puse. Look at it from the side. Yes, it should be fine. Yes, we can work with the part of the ankle to of rotate. Let's get a good max in here as well. Blow this out, inverts Okay. I need to rotate get this ankle point in the right place. Like, so I'll rotate this way. I don't want it to be too extreme, though. But I just do something like so because the ankle that's supposed to be rotated. So let's see this. Okay. I think that should be fine. Okay. I'm going to max this uncle region bloody max, and the max. Okay. Move this up around here, rotate this a little bit, just a little bit more. Undo that, undo that actually. Okay, I would like to mark out from the p region or instead. Then mark out this as well. Blow the marks. Okay. I feel like you should gentle ties from the hip all the way to the sole of the fit. But this right hand side, you need to rotate a little bit more. Okay? Just rotate that a little bit more. Like, so Okay, clear that out. Let's look at this from a rotation standpoint. Let's see how this looks. If this is fine or not, I think this should be fine. Then I would like to mark South ankle region as well. Get close, blow the mark out, invert the max. Let's go to Agizmo center gizmo. This the back, move this up. I think our rotation is really fine where it is. Maybe just bring this forward a little bit more. This is fine. So we can bring everything back out or do that, Max everything, bring everything back out, inverting max. Then we also need to compensate for it invded mark by moving this out. So with the move brush, I will just move. Let me make sure this is marked also. So I don't accidentally touch that. So I'm just going to undo that. Their the skirt first, let me clear all of this. Let's move the skirts out. I think this seems like it's not moving. It's moving now. I'm just going to move this out. Move this out out as well out this way, that should be fine. Okay, select this with a more brush. I'm just going to move this out a bit more. Yeah, that should be fine. Okay? Yeah, that should work just fine, so that should fix any issue we have in there. So the next thing I'm going to do now will be to work on the finger nails. Whoa, whoa, whoa, whoa. You see issue my encounter in here, actually, where you have issues around here. Because I kind of maxed out something else I'm not supposed to max out, so issues like this can occur. So you want to be extremely careful and then try and fix that. Okay. So once you're extremely careful, though, you can just undo a few steps and then see where this issue came from and then fix that. So I'm not going to do that off recording and then come back when I'm done, so gonna continue on. I'll see you guys in next lesson. Bye for now. 35. 138 Finger Posing In Zbrush: Okay, come back, guys. So kind of fix the issue of the finger nails. Allowing the to scroll back a few times and then find where I missed it and then just repeat the same process again just like we did for the posting of the fits. So let's carry on. So I'm going to go in and select the body itself, and let's just work specifically in here instead. Okay. I'd like to move these fingers out some more tonal symmetry for this, actually. Okay. So I'd like to move. Let's get this out some more. She doesn't look too slim. Let's just get some eight to this. Okay? Yeah, well, it doesn't look slimmed out. She doesn't look slimmed out. Okay. Yeah, I think this should be fine. Yeah, that's fine. So now let's do some pose for this to. Let's off turn off symmetry for this. Let's donurn on symmetry, actually, because this first pose we need symmetry to be turned on. Move this out some more. Let's bring everything back. Let's see if we're messing everything up, we're not. Okay? That's fine. So yeah, let's go in. Do we need to? Yeah, I think we need to I'd like to leave this up some more. Okay, bring everything back out. Is there any issue in here? No issue? Okay. That is fine. So now let's fold the finger nails in. Okay. We find a good angle for this. Okay, I'm using the max lasso. Let's do a max lasso for. Now, for the finger nails, you want to be very, very, very careful. So you really want to max out regions where you need. So this time around I max now the knuckles. Top of the knuckles. Okay. Grab a few more around there. Okay? Blow the marks, blow some more. Okay. No, no, undo that. I think I need to exclude a little bit more. So let's clout a little bit more like so. Then blow, blow invert the max, blow some more. Okay? This is fine. Let's bring out gizmo. I think gimo should be in this part instead. So you need to find a good angle for this rotate this will move this up. Okay. Can we orient orientation for this? Now orientation, but this is not correct. Think what was there before was fine. Hold on, rotate it this with some more. Give this up, then we can fold this in now. Let's see it is on the opposite side, do that. Move this up. Rotate in Nope. No looking good yet. We need to do some mating. Need to do some mating in here actually. To do some mating in there, so I'm going to grab if f of this as well. Blow this out. No, undo that. Undo that blow. Come on. Let's add some more marks in all the here. Blow this out some more, okay? Move this up. Fingers your fingernails fingers, call it. It's a tricky one, actually, so you want to be very careful and then moving this from the right bon. If not, you're going to make host lot of mistakes that looks very, very unnatural. I think this should be fine. Okay? And I mark this blow some more at the mark, get this down, rotate in some more. Okay, rotate this way. Let's see the natural round nuts. So for this part, this one looks good. This looks good. But on this side, we need to kind of do something quite unique in here because it needs to be building a spare. But I think this part should work just fine the way it is to bring everything back out. Let's see. Okay? Yeah, that's fine. The pose actually looks natural in here, so we can leave this ton of symmetry in this instance. Maybe just make some minor modifications to this by just lifting this up some more, more out some more. Okay. I also leaves out some more. Yeah, that should be fine. That should be fine. I still maintains that natural look to it, which is what we're going for. Okay? Now let's work specifically on the opposite, but let's hide this entire body alone. So we need to do this with symmetry ton off, your symmetry is torn off. Okay? So for this instance, I would like to grab. Let's do let me grab all of this. Is a separate pulley group, bring everything back out, isolate this. This is the only piece we need. Okay? So we need to do quite a lot of work in here. First we introduce to fold the knuckles in. So let's mark so these bits this way. Okay? Don't do that, this selects all of this. Okay? Yeah, they should be fine. Let's bring gaviting but let me make sure I'm not selecting max, not any other piece. Okay, I'm not, so this is fine. So I'm going to blow this some more okay? Invite the max. Blow some more. Let's bring back our gizmo. Okay. Now, this part gets a bit bit trickier because I dealing with a lot of fingers in here, five fingers to precise. So you want to make sure your angle is spot on. So this is the angle I need. I'm going to rotate my gizmo to that angle stay this year. Okay, rotate this way, set it this way. Okay. Now, let's fold this in. Okay. Yeah, that's fine to begin with. This would work. This would work just fine to begin with. Okay. Then I'll need to let's find this finger tip properly. Let's get the max in for this. Now I need to grab these bits. This is the bits I need. Select this thumb int max, blood out some more. I'm not sure I'm this correctly, though, let's see what that's the wrong place. I need. Let me find a good angle for this. This is a better angle. It's a better angle, so I just max out something like, so Okay. Blow this out some more. Go back to our Gizmo, bring the Gizmo down. Okay. Undo that. Oh, bring this closer. You need to undo that. I think we need a bit of blow. Let's blow this out some more. Let's fold this in. Do that, do that. Getting close. Okay? Yes, we still need to go in and then individually move them in place, but I think they should be fine for now. For now, they should work just fine for now. Clear the marks. This one looks a bit old so with move brush, we can move and compensate for it. We still need to always use move brush to kind of compensate for a few things. Okay. So I think I can start max doing them individually now. Okay, do that. G in the blood the mark, invert the mark, blossom more. Get this way it needs to be. Okay, rotate this way, rotate this way. Then also do the orientation for the gizmo, then fold this in. Okay, that should be fine. That should be fine. Okay. Move rush, move this back in. Yeah, that should be fine. Let's move to the next piece. Grab this undo that. There is a better angle, grab this in here, invert blow this out. Okay. Move, move this forward. Undo that wrong place, wrong axis, put this here. Look, wrong axis. I need to mark some more Blow the max. Ends. Okay, move this up. Get this even closer. Move this up some more. Okay. Yeah, that should be fine. Okay, let's move to the next one. Clear this out. Let's move to the next piece. Undo that. Let's mark sits around here, like so invite the mark, blow out, Gizmo. Let's drag that Gizmo in here. F this in. Okay, it's not in right, place. Set this here, rotate it this way. Alright. Undo that. Still not in the right place. Our marking is not correct yet. Okay, we're grabbing parts that we don't need like so. Blow just once and undo that. Okay. Do that, rotate this way. Then food this way precisely, that should be fine. Food in some more, put this back down. No, that looks a bit unnatural. You need to use more brush now to compensate for some oddness in the Okay. Here, that should be fine. Clear that out. Okay, let's move to the next one. Find a good angle for this. Do our mark in this way. Okay. Clear some of these marks. Blow invert the max. Go a gizmo. Move this forward, rotates this way. All right. Put it this way. Okay, that is fine. Now for the thumb, for the thumb, I think I prefer to do the thumb on last though. But before we do that, I see an issue around there. Okay, I need to move this closer. Let's grab this. Okay. Let me do this for here instead. From here instead. V mouth, blow some more. Mark this part out. Okay, on do that. So looking a bit old, rotate it this way, bring this closer. I also need to bring the finger closer to themselves. Let's bring this closer first. Okay? Clear that out. Let's mark the next finger. This should be fine. Okay. Invert marks, blow out some more. Okay. Bring this closer. Okay. That looks a bit odd. Maybe tat it this way instead. Bring this closer. Okay. Clear that out, go to the next finger, select this way, invert the max, blow this out some more. Or I see I'm moving something else. I need to smooth this down, okay? Marks this part. I'll do that actually. Lay this out, let's do this from this angle instead. So we know we are doing this accurately enough. Here, this way, invite the mouth blows out. Get this in place. Let's see this ang from a different angle. Okay. I move this closer, rotate. Okay. Now, this one is a bit of pink is just completely off Okay. Invite the mark, blow this out some more. This will need to bring closer quite much. Okay? Rotate this way. Okay. Yeah, that should be fine. Okay. Well to use more brush. Oh, to use more brush and then compensate for this a little bit more. Some compensation that should help. That should be fine. So one thing I'd like to do be to put this spare in. Okay. Yeah, I think, I think we're getting something now. Except we need to foold I think we need to fold this in some more, okay? Now, all of this should be quite folded in a bit more. So let's grab like this around here. Okay? I think I need to blow this out and to compensate for this more. Okay? Invite the mouth, blow some more, go back to our Gizmo. Let's say this in well, it should be in the center of the entire outne, move this down some more, bend this in some more. Okay. So more oddness in here, so let's compensate for it. Clear the max. Okay. Let's select utagim and control drag this down invert the max. Move this out. So more rotate it this way. Okay. Bring this up some more mark this out some more. Baal give more for this. Move this undo that. I think we need to grab a bit more so we move out correctly. Okay. Should be fine. Load this some more. Leave this up some more. Okay. Let's see where we oh. We had pinching in here that we don't need. We can fix that by just doing a smooth, I believe. Take down the smooth intensity, smooth this down. Okay. Yeah, this would work. I was thinking to make some modifications to this, though, smooth this down. Do that. This is looking a bit off. Okay, use the mood brush to compensate for any weirdness in there. Clear the marks gets in. Okay? Yes, this would work just fine. So let's see some few issues we have in here that we need to fix, no doubt. But I think for the most part, issues coming out just fine. Especially around here. We need to fix this weirdness we have in here. So let's go in. Max. We lost that sharp angle we are supposed to have in here, so let's bring that sharp angle in. Okay. Flatten this down. Okay. Extend. All right. Let's go to the next one. Invert the max, get that flat angle in here. Extend this out. Okay? Move this in, push this in. Make sure we get that sharp angle in, invert the max, get that flat angle in here as well. So it doesn't feel like some kind of rubbery kind of skin. This nor is not rubber. It's an actual human skin, so we need to make sure those angles are in the Those flat angles is what make it look a lot more realistic and not look sloppy. Let's get those flat planar changes to it. Get those flat planes, we should be good. Okay? As well get those flat shape and get that angle in. Okay? I think I would like to grab all of this. Okay? This select anyone we have in here. Okay. Invite the mark, blow this out. Okay. Bend these this way. Alright? Undo that. Get our gizmo down. Okay. Blow this out. So more. All right. Yes, looking a whole lot better now. Let me use he polish actually to just do polishing, polishing it as well. I don't lose that angle we have in. That's a bit too much. Get some more in. Okay? Yeah, that's fine. Let's bring everything back out. Now, let's get this in there. Okay? Invert the mark. Center it on the spare. Okay? Okay, I think they were not completely dear yet. On the fingers are not completely dear yet. Not completely de kind of rotate this a little bit more. So let's just do rotation before we end this. So I'm going to select this and then grab this as well. Inverts. And I'm going to mark south. I'm going to mark south somewhere around the wrist. Blood is out, invert the mark, blood is out. There's a gizmo. Make sure our gizmo is in the right place. Then to say the gizmo on the wrists. Somewhere around there. Rotate it this way. Okay. So we need to let's rotate it this way first to begin with. Undo that. I actually need to grab all of this actually. Over the mark blow this out. Okay? Then we can rotate this all at once. I think we still need to grab. Let me undo that. Let me max this part out some more blow, then rotates. Okay? Rotate some more. I think going to rotate. Oh, undo that. Create a very odd way. I think around there should be fine for now. Okay, play this out. I'll grab all of this. Okay, invite the max Blow rotate this. Okay. Clear this out. Let's grab a bit more, all the way here, blow this out, invite the mark, blow this out. Move this all the way around here. Blush root. No. I think slightly like so it should be fine. Okay? But the camera angle is almost almost like around here. But we still need to rotate this wrist a little bit more, okay? So we'll do that in the next lesson, we'll continue on with this B for now. 36. 139 Finger Adjustment In Zbrush: Welcome back, guys. So we still are still very much on this trying to get this as accurate as we need it to be. But I'm still need to make some modifications to it, also, so let's carry on. So I'd like to pose trying to pose this wrist a little bit more. Okay? So I can see this is kind of pose almost front facing kind of so. Let's go in and grab all of this. Okay. Then invert the mark blow this out some more. I think the spot linest I need to rotate this quite more. So let's get the angle in right. Let's make sure we have the right angle for this. Set it this way, rotate this way, get this this way. Okay? Now, let's rotate this. So Okay. Probably a bit more. But not too extreme. Lose it doesn't begin to look a bit old. Okay? Yeah, so it should be fine. Let's see. Clear the marks, then marks the wrists Undo that. Let's do this a bit mark correctly around the Okay. Let me grab all of this and do that, actually. I need to do this for mini. I need to do this for Mia first. Next marks all of this. Bring everything back out. Select this as well. I mark this, bring everything back out. Nowadays we still need to modify and then get in place. For now, let's just make sure we have this working correctly. No, no, no, let me do this all at once, actually. Let me do this all at once. Okay. So let's grab this grab this. Grab this as well. My No, I think I'm lost right now. So let me do this again. What I need to grab is this okay? Yes, then I'm going to max these bits, do that. I'm going to max these bits. Don't do that. Nothing is correctly, let's max these bits. I symmetric to down. Itimes actually off so why is it max another region? Odd. It's rather od. Bring everything back out. Let me just grab all of this. Symmetry is o. Why is it selecting this? Okay, we raise that. Raised that quite well, common. Marks everything in common. Odd. This is rather odd. Oh, it's still not in place. Still not in place. I think the best to just move this past, then. Later we'll come back to that because it feels like we're missing. We're having a lot of I'm having I'm a bit of an issue trying to mark that out properly. So let's just do this in her first. Let's do this in your first. So I'm just going to mark this way, blow the marks, invert the mark, blow some more. One of the issues may be having is just to get the proper maxing for it and get the right orientation for your gizmo before rotating it. So let's rotate this way. Okay? Yes, this should be fine. Yeah, this should be fine. I can't rotate it this way because it look weird. The next piece of rotation we need to do would be let's do around the. Not even there to be precise. Let's hide this for now. Grab do that wrong place. Grab this around. Here the rest to be precise. Okay. Blow this out, blow this out, invert the max. Once you get this right, then we can do that because you can just move the way we want it to be moved. Okay. Let me select this. I'm going to grab this as well. Okay? No. I think I'm doing this in the opposite direction. I need to grab this instead. Okay. Grab this as well. Mark this as well. Yeah, this is what we need. Blow this out some more. Let's get the orientation properly where it needs to be first. Okay. Whoa. Great. I need to max all of this. Okay, I think now we can do the work we need to do in here now. Bend this this way first. Okay. Then bend this this way. I don't want to make this so weird, though. I think that is looking a little bit weird now. I don't want to make it bending too extreme. I don't want bend to be too extreme and a bit awkward. If you do it this way, you can move this back in. Whoa. I think ignored. Great. Let's mark this as well. Totally forgot about that. Okay? This will be the extreme version of what you needed to do. That's obviously too extreme. But we need to just get this to look good and realistic at the same time. We don't want to completely deform the shape. Something there were excluding. Okay. Do dots. Just something new that's not selected. Okay. Clear this out. Let's add this. Okay. Fair enough. Jean ship is slightly fair enough. Just a little bit more modification and then we should be good. Okay. Smooth this down. We'll use the move brush compensate for the wetness weh. Come on. Compensate for the wetness we have in there. Smooth this down and do that. Come on. Need to get this right. There may be some issues that we need to just fix also as well. Okay. Move this down. That should be fine. Okay? So I need to mark these bits. Invite the mouse, blow this out. Blow this out. I need to rotate. Move this back in. Okay. And to grab all of this, inviting make blow this out some more rotates. Okay. I think the wrist movement might be slightly much. And I'm adding some weirdness in here now, so do that. Do that. Grab all of these wrists, clear the mark, grab all of these wrists. Blow. Come on. Invite the marks. Move this up some more up some more. Okay? So we look as natural as we possibly can get this to be. Get close. Okay. Bring everything back out. Max this out. Let's see what we can do in here. Move this down. Okay. Okay. I see the other piece to the last piece of the puzzle would be I think I would like to grab claim this from this angle instead. Let's grab these bits. No, wrong. Let me grab these bits around here this way. Okay? I just select this blow the mark, invert blow the marks, get a gizmo. Okay. Out it this way. Okay. Yeah, I think it should be the final piece of the puzzle actually. Load some more out it some more. Okay, bring everything back out. Okay. Okay. We have a deformation in here, so we need to compensate for it with more brush. I think went too extreme. Okay. Let me grab grab a little bit more here as well. Bloody marts Okay, say it this way. Okay. Mark this part out. Do that, actually, add some maxing in here. Blow some more to get very soft edge out of this. Rotate this with some more. Okay. Did I move? Okay. Rotate some more, pull this up. Okay. Rotate some more, bring this forward, up a little bit more. Okay? Okay. Bring everything back out. Now, I need to move let's move. Let's select these marks out. We just need to move them in place. Non Oh, whoo. Careful, though. We don't want to mess with the piece also, so let's just max that out. Okay. I was going to use the move brush and then try and compensate for it. Alright, move out. Now, this one is going to be slightly tricky because we did not select it alongside. Can we just max this part out? Okay? Yeah, this is fine. So we can do the right movements in here and get it to look right. Okay. Come on. All right. Move this in O. This I need to push in some more some more in It's actually quite tricky process bots. Once you kind of piece them together, more like having pieces of puzzles, you just kind of one bit at a time until you kind of get everything to look. Need it to look. This one I need to move down. Extend this out. Okay. Move this out. Get in close. Okay. That should be fine. We need to move this down. Get this down. Get this down, reduce your brows size, at this up here as well. Sin we're roughly in there out some more Okay. Bring everything back out. Next bis to work on will be this I don't necessarily need this, though. This is the one This is the one I need to work with here. Let me select this and this varimax undo that. I need to grab this alongside v max. A Okay? Let's just rotate this. I think I need to rotate this now. One more thing I like to do to give this two separate poly group. Let me mark this separate poly group. Icomes a lot easier for me to just work on just one bit alone. Stop moving. Stop working on the entire bit, so grab this as well, grab this as well, inge max. Okay, I can use that gizmo now, select just this alone, shift F. Then I can just rotate in place. Okay. Move this in. Take out move brush now, compensate for a few of this. Okay. Move this down. The discloser. The bring, I don't I don't necessarily need those. Okay. I think we can live with this. Yeah, I think we can live with this discloser. Alright Okay. Yeah, that should be fine. Bring everything back out. Maybe just for the sake of getting this working on, let's give this a separate poly group. So select select the SAS word, grab the SAS word, and this inverting max. Okay, more select this. Roughly get it where it needs to be. Okay. That should be fine. Okay, let's bring everything back our ship type. Now, let's position our spare where it needs to be. I think I messed. I may have messed with the shipping of this spare. Okay. Root. Come on. Take this straight up first. Okay. I think this should be fine. Yeah, I think there's there's an issue around there. Get it straight up. I just trying to compensate for this. Okay. Shift F. Okay. Isolate this. Now, let's get this in place. Let me get you look at the reference. Let's see how we can make this work. T this down. Okay. Now, this, I feel like the spam might be too thick. Spare might be too thick. Let's sing this down some more. It's a tricky part also just to get this on the um okay? Route it down some more. Okay. Let get this to sit well. Teats. Move this up. Okay. Let's see. Move this down. This is a reference. We still want to make it look as realistic as it needs to be. On the way it is right now, I think we need to rotate this way. We still need to make some slight modifications on the fingers just to get this look right. Rotates Okay. Is there anything you need to adjust to be the fingernail just to match it make it match? Now, think myo, the spa is long enough, actually. If we just kind of ignore the pulls of our fingers and just try to get this this way. Okay. Actually want to just forcefully get this where it needs to be. Move this back some more 37. 140 Finger Pose Forms In Zbrush: Okay. Back some more. I know on to start now, we need to move the back some more. Okay. Alright. Yeah, for one, this is fine. So let's select. Let's select Let me hide this for now. Side that. No, I invite them, Mark this out. Invite this. No, let me ping this out first. It's just kind of distracting to have these two at the same place. But let me mark what I need first. Let marks what I need first. Okay? She want to make sure there's no issue in here. Yeah, this might be an issue in here, so let me just use the Gizmo instead. Okay. This will not work. I think the best option we have right now is to go to a poly group and then do No. I can't even find my UVs in here anymore. Can't find the UVs. I think, let me say let's lay this out first. Unles's use my z, let me use my is more just to grab the portion we need. Okay. So Control W for this. No, no, need to grab a little bit more Ship F. Let's see if I move this out. Okay, I think somewhere around there should be fine. No, undo that. Let's this spare for now. Okay, then I'm going to grab undo that heaped F. Let's see what it gets. Invert the max. Let me grab grab all of this. Okay. Undo that, in come on, undo that. Get enclosed, grab a little bit more. Now, it's coming extremely streaky here, just to grab the arms alone. Just to grab, just to grab the arms. Extremely streaky now. This, L see if I can use the gris more and grab the tsu itself. Control W. Nope, nope. It's just a tricky part. It's really tricky part. I think I have to do this. I just fix any issue might encounter in. So all I need is the, okay, load the mark, invert the max. Bring everything back out and max this as well. Bring everything back out, invert this. Basically, what I want to do in here would be to go back, go in around there, move this back some more like so, maybe a little bit more. That's way too much. Somewhere around there should be fine. Okay. I don't need to rotate this down this way. I think that should be fine. Okay. Yeah, something pretty mode like so. Then let's grab the spare. Save this orient. Move this back some more. Okay. Route, let's see, get orientation facing the same direction. Move this way. So more. Okay. So more. Okay. Get this down. Move this down, get this down. Come on. Get this into the arm. Okay. Yeah, we can work with something like this, but we need to just need to make some slight corrections on the arm, and then we should be good. Someone around there should be fine. We just need to move this up some more. Maybe where it was before should be fine. Let's move this up some more up some more around there should be fine. Getting something now, just a few modifications should be good. Okay? In some more right Okay. Let me rotate it this way. All right. Get enclosed, move this in some more. Okay? Maybe the last that thing I need to do be to select this grab this portion invert the max. No. Blow the edge some more. Then use the GizmwEtend this out some more. No. Okay. Extend this out some more. Okay. So now we need to go back into the arm and then make some modifications to this. So let's grab this and this invert the max. So this is where we need to make a bit more correction and then we should be good. So I'm just looking for the right thing to do here just to make this look right. I think I have an idea. I'm going to grab all of this. Can we see if I can exclude that without the mask, lady marks. Come on. Invert the mark. Is there a way to just separate cause if I try to separate this out. Let's just do this instead. Let's do this instead. Invert the max, blow, get our gizmo in. Let me just do what I need to do first in the Okay. There's something like this is what I need to do. Okay. Then there are some corrections you need to do in. Come on. If I can just grab, play the marks, Okay. I think we can use our gizmo now, grab these bits. Come on, undo that. Come on. There's not even marks in these bits. Let me just let me just look at what I need to do first and then just select that pieceon and then just do it. Okay? Come on, do that. Marks these bits. Okay. On mark these bits. Okay? Smoothing is another blow this out first. Let's do Smtone here. Okay, that should be fine. The bring everything back out. Okay? Yes, we can now blow this out. Come on. Mark this as well. Okay? I think we can come on. Mark this as well. I can't usually just stap out a mouth. I have to manually mark them mouth by draining lot across it. That's the only way this works. Okay? Okay. Yeah, I think we can make this work now. So I'm going to select this rather max them out. Okay. Can move these out. Okay. Like, so come close. Try and do this in a better way, make sure it looks right. Check this formal go look too stretched out on these bits. Clear the mouse, bring it back out. Make some fixes in here. Make some make sure we fix any issue might encounter in the air. Do some gentle smoothing there as well. Okay. Add some more smoothes down. Okay. The knocks are actually too high, so we need to fix with a more brush. Bring these down some more. Okay. Get in closes, move this down, move this down. Okay, bring everything back out. Just Move this down some more down some more, bring everything back out. Select this. Move this out some more, rotate it this way, down some more. Okay? Okay, yeah, this is a little bit better than it was before. I think some corrections are still in order. No. Okay. Fix on one part, then it feels like on the other part, it's not looking good. Just to find the right orientation for it, and then we should be good. If you have it this way, then it won't rotate on the oposie side. I won't be able to see it on the opposite side, but we need to see it on the opposite side. Okay. We're just in. We're just done. I think the next thing to do would be think I need to grab the wrist blossom more invert the marks. Let's make sure I'm not selecting the other parts, okay? S this way it needs to be rotate it this way, this way upward. Okay. Is the closest this can be. Okay, this is the closest this should be. Let's see if there's another correction we need to make. Okay. Okay? I think nest now needs to do a bit to this pair itself. I don't want to move the yard too much anymore. And I I I do that, it's going to mess a lot of things up. So next thing you can move with this pair. I need to get this pair to also align properly. Yeah, I think we're getting this quite better now. Okay? Just a bit more modifications to do, and then we should be good. Mm. Let me isolate the arm. This is the bits I need to adjust. Let's extend this out this way and extend this out this way as well. I think that's probably a bit too much. Like, so let's bring everything back out. Let's see. Yes. I will work just fine. Okay, other correction, we need to do again would be to fix this. Let's to fix this. So let's get back in there and try and compensate for it. Okay. All right. Move in, move this out. Okay. That should be fine. Move this down. Undo that use the bros size. Compensate around these bits. Okay. Almost there. He also get this down. All right. Okay, in here. I think at this point, we need to do an auto group for this. No do that. Let's select this auto group in here alone. Select the inward parts. Move this out. Moves out as well. Okay. You should go in. Not in way too much though, but at least in enough. Okay. Clear the mark, select, select, select. Nope. This is the only bits we need to move. Okay. Use the pros size move this in. Okay. That should be undo that. This should be fine. In some more In some more in some more Ar that should be fine. Okay. I'll move to move the palm bat in somewhere, as well. Okay. I think this will work just fine. I don't think there's anything now so you need to do any I think for them. Oh, okay, do we, yes. These bits. Move this in that. Okay. Pull this out. Yeah, I think that should be fine. Check again, just to be sure everything's working just fine. Okay, bring everything back out, clear maps. Okay. This is roughly where it should be realistically is where it should be. All right. So now let's transfer for transfer this. Let's save. Let's save this fire and then save the polls as well. Now let's save our pose. So let's go to Zi login. So let's save the pose first, select this save pose. Let's save it in the same Z file. So I'm going to delete default and just put main in there. Min pose, save. Okay, that should be it. And then let's transfer our pose now to the subto. So let's select that. Let's give you some moment. It's going to transfer pose. So he's doing this thing he's trying to transfer apples into individual layers, also, too. 38. 141 Exporting Posed Model To Maya: We come by, guys, so we have kind of transferred pose to our main character in here. Okay. And everything seems to be working fine for the most part. So now we need to export out the mods that were actually posed. I end up mode that is not actually posed anywhere and going to completely ignore that because they are precisely in the same position, so we don't need to export what was in his original position even after posing this. So let's export the main body. The main body actually pose that obviously. So let's export that out. Soon export this at the lowest subdivision level. Okay? So I'll scroll down on the lowest subdivision level already. Let's go over to preferences, Zimport and export exports. Ton of group. Ton of group, yes, for this leave merge on ton on smooth normal. Let's export this out as an OBJ. So I'm going to be exporting this into a different folder. So Put a new folder. I'm going to name this to pose exports. Okay. So Idris body, I'm going to save this in as an OBJ. Next one, we need to export to be despair despair. Let's go to the lowest subdivision level for this. On lower subdivision level, seven K should be fine. Export as well. Export this to the same folder in your post spots. I'm going to export the armor as well. So let's done export for that. So this at 15. We're exporting the lowest subdivision level. Three k. Let's see this subdivision level. We exported the base mesh we use for texturing, select this now. Let's put this out at 15 k. Let's export this out on subdivision level too as well. So I on the keyboard go on subution level higher. Spot this as well. Okay, that is fine. Glove. Let's see if subdivision level, exported this as 11 k. I also has 11 k. So let's export this leather glove as well. Okay, that's fine. Okay. Put out the spare the body glove armor. Now, let's spot the skirts because we modify the set a little bits. Okay? Spot this out as well. Z final pose skirts. Okay. Here's the shot also, too. We modified that a little bit. Exports, final fries pose, *****. Now, my only fear is that while exporting this out, I just hope we don't have any don't run into any UV issues. So let's say spot out. Oh, I see issues in here now. Is that we need to fix. So let's go in and then make adjustment for it. So let's turn off dynamic. Take down the brush size. Okay. Move this up. Move this up as well. Check this around just to make sure you don't have any weird issues anywhere. Okay. It's important to actually check. Let me check this also. Make sure there are no interceptions anywhere. All right. Yeah, I think it should be fine now. So export this out as well. Export this to finalize Po's exports Sanders, okay? I believe this should be everything. Let me just check again, if there's any issue anywhere that we need to fix or adjust. Okay? This is the fine anti where we exported everything out. I'll save this file. Save this file. I think this is good. Let's go back to Maya is the five we need. So these are previous five we give them different default texture just to export into substance printer. So I'm going to using this fib. I want to save this art as a new file instead. So I'm going to save saving us. L to save it as a different file. Then I'm going to delete anything I don't need in there. So let me just save this indians directory, copy this. Okay. Directory in here. Oh, no, not the Ps directory in here precisely in here. Okay. Then this I'm going to name this as posed final Idris. I'll save this. Then any duplicate that is in here, this duplicate we have down here, I'm going to delete that delete that. So I'm going to leave my UVs on for now because I want to check if my UVs are not distorted after inputting this in. So let's add the models that were put out of zebra that's already pulled Okay, so select this. Select this as well. Let the scales, let the sheets, select the Sanders as well. Okay? I think this should be pretty much everything. Okay. Yes, then this spare as well. Then I'll do Shift P to send it out of the group, and I'll group this. I'm going to name this to composed. Let me name this to composed, high darts. Then let's go into folder directory. Let's go over to the Fold Apples exports let's drag and drop them in here dragon drop Okay. Awesome. Okay. Now, let's start checking the UVs for this. Objects move. Select the skates. Good UVs are in place. UVs are in place, z issue. We have an issue in here. We have an issue for this pair. Check the body. Okay, the body came in accurate as well. Okay? The Sanders came in accurate as well. The only issue we having here is the spare. Is the spare. Okay, you check the glove. Glove came in awesome. No issues in there, ammo came in awesome. No issues in there as well. Seems like it just a spare. The spear we have issue on. I can do one or two things. I can either keep this spare, or I can just use the imposed version and then just orient the imposed version and then just fit that in here where it's supposed to be. And then we are good. So we might not need to do anything extra in here actually. So I think let's do that instead. That's the safer bets. That's the more safer bets because this pair, we didn't really do any serious posing here. We just rotate this and then just kind of got it in place. Okay? So let's do that instead. Cause the others pose, let's go in and duplicate the spare duplicate for the spare, Control D, and I'll send that downshift P. Okay. So this one has accurate UVs in there. And I ask you to make a little modifications to it, and then we should be good. Okay? So let's do that. Instead, Okay. I would like to them give this the actual material, so we can go to modeling standard now. You these are not going to be any issue in there. Okay? So let me just give the actual material. So sktktk should be the one. Okay? Existing material, I believe this is the one, as the one. Okay. I think we are good. M All right, select the sandal swell, existing material, sandal the body itself, existing material, Idris, we name this as Idris body. Murmur leather glove, leather glove. Leather leather strap. Okay? That's the one. Okay, we are good. All right, so now let's position this way it needs to be. Okay. I'm sure there's a more faster way to kind of rot it and get this in place, but let me just do this instead. Okay. Of this in place. I feel like I might need to extend some things out a little bit more. This other one at the back looks feels like it's extended out some more. Let's face gets it directly in place. Let me select these two actually and then isolate them. You can actually skip this part in the recording if you want to because I'm just basically trying to match the direction for position for both spare. Okay. Shift control. Let's do object orientation. Okay. All right. I'll move this forward. Okay. I'll shing this down. Shing this down. Okay. Move this in place. Try to if possible, absolutely march them. Okay. I think I'll need to extend a few things out some more. Okay. Seems like I'll need to stretch out. I'll need to stretch. I think let's move this in in as well. Okay. Think I rotated this way too much. Okay. I need to shring this down some more. Move this up. Okay. I should be like roughly in there. Okay. Almost there. Check this, okay? This is fine. Then face move double click on this face. I would like to extend this out some more extend this out some more. I think I went overboard. Turn it a little bits, move this up. Okay. Scale this out, stretch this out a little bit more. Okay. I think roughly around there. Let's select this spare the second spare. Here, this is it. I'll hide this for now, bring Eptin back out. Then go in and then check if I have this in the right place. Just need to move this in some more Okay. Let's see. I think I need to scale this down some more. Okay. Okay. I'm going to do a little bit of rotation and Let me get included if I can get better rotation out of this. No. Almost there almost there. Almost there it to correction and should be good. Okay. All right. Move this in this way. Okay. This week, let's pull this down. Yes, this work just fine that seat that seats. Okay. Yeah, this should work just fine. We can decide to orient this down some more if we need to. I'm not sure we need to do, but Let me give it a try. Okay. All right. We can even move it back some more. Okay. Yeah, I think this should be fine. This will work just fine. If you compare this to our reference, let's compare this to our reference in here. It looks something more like if you kind of look this at an angle this way, it feels a lot more like what we have in here. I know completely extremely there but close enough. Close enough. Yeah, this is fine. So let me do a quick save. Yeah, this is fine. Then let's delete or bring this back in. Let me drag this one we imported in back into the group. This butler one has the UVs we need, which is fine. UVs in here is actually accurate enough to work with. Just say we go in and check again because this UVs actually fine to work with. So everything is imported correctly, and then we have our UVs where we need them to be save this again. Let's do proper naming in here closer group. D this weird naming at the edge. Okay. Weird naming. Then I'm going to pull them into the group it needs to be. Okay. Almost done. Why? Yeah, this is fine. Let's drag this into the Idris model group. And I'm going to name this to Post Idris model. Okay. I should be fine. Yes, we have this now deposed version in here. Let's check our camera again. See if our camera is right. Please, everything is correct in here. Save this. All right. I will work just fine. So the next step would be just to start naming things in here. I'm to start naming things a little bit more in here now. And preparing start preparing this up for, there's something I need to. I think there's something just here can find it for the ornaments. These bits. Double click, double click. Rotate, rotate it this way out. Move this out as well. I don't want to touch in. I need to rotate this out even more. Move this this way, that's fine. That's fine now. I've very textured it so it shouldn't be too much a furnishe just to adjust as they want. Okay? Let's see I think phase. Move select this entire phase. Move this forward some more. Okay. Yeah, that's fine. Will work just fine. Okay. Save this. All right. All good. This will work just fine. So I'm not going to check this one last time to see if there's something. Something you will need to fix. I don't think I pull that out completely. So you don't go to be major issue, I can just re export that out again and we should be good. Let's go back to Zbrush and then pull that out. Let's see if there's something else. Or better still, I can just do this in year since we exported out every act we need, can push this out be major youse pull that out and then we are good. Like our final piece, check in again. You always want to kind check around just to be sure everything is in place. Okay. I believe this is in place as well. We have texture for it. All right. That's fine. So the next we're going to be working on would be egg gen. So we need to kind of start creating some egg gen has for this. So we do okay. The bids, our bids are not in here. Anyway, it was important to kind of check around just to be sure everything's working correctly. So now we can't really find the bids, and we need to make some adjustment to this as well. So all of this, I'm not going to do instead of Z brush and then bring this back in. But for the bids, the cross shoulder bids, we need to bring in her. I think I can just go into should be in under Yes. No, exports exports X because the exports family, so you show down that show that show that Which name give did we give it? So cross shoulder, this is this cross shoulder bid. Somebody's going to drag and drop this in. Okay. Oh, was it India already? Was it India already? Oh, we have some India already. I'm doing the wrong thing. I was completely looking at it from the opposite direction. This one is not supposed to have anything, so we just need to fix inside of Zebush and reimport that back out again. So I'll see you guys in next lesson, we will start working on the g gene. So bye for now. 39. 142 Xgen Scalp To Maya: Okay. Welcome back, guys. So in previous lesson, we kind of set up the entire mesh instead of Maya. So now we need to start extracting out scap for generating our eggs and hair. So initially, what that basically means is that we need a model, a mesh a cutter mesh for where we're going to generate our hairs from. So now we know definitely that we need hairs to be on the head, so the head hair, and then we also need hairs for the eyebrow and the eyelashes. And we also need hairs for the lopez in four and we need is coin also too. Also generated from this as well. Also need head generated from the little parts down her, too, so separates that mesh, whereas are going to be generated out as a completely different mesh entirely. So how do we do that? So let's start with the head. So for this, I'm going to do duplicates. I'm going to send that duplicates down. So Shift P. Okay? Let me select this also. I'm going to let you know the models we're going to be generating a from. So so I think this pretty much everything. So let's duplicate Control D, Shift P, send that down. Okay? Control H to I, this entire others file let just work with that duplicate alone. Okay? Yeah, this is pretty much pretty much all we need. Let me see. I think. Am I missing something? Oh, yes. Okay, this is supposed to be on top. That's fine. Okay. So I'm going to hide this. Select the entire out and hide that fold itself. Let's start with the head. So for this one, I'm going to do our model does not have beard. There's no beard for our modem. It does not have any beard. There's the reference for that, okay? There's no beard for him. He does not have any beard, he only has some Afro hair going on in here. The Afro hair we have in here is a bit old. It's quite old. But normally supposed to be let me use. Let me show you guys a different example. Supposed to be having see if we can find this in here, this is it. It's more or less supposed to have this Afro hair to him. Then where the bead is going to be. We're going to separate that out. That's pretty much what it's supposed to have in a separation, like a pattern in between. Okay? But it's going to be generally here is going to be like an Alpha for him, keeping that in mind. Okay. I have preset. We can use kind of generous Alpha, which I'm going to explain in a bit. But first, let's get out the scalp for him. So let's do let's give you a new material. First, let's give it a Lambat material. Take down the Lambert, take down the diffuse. Yeah, this is fine. Then I'll go to edge mode. Let's go to face mode instead. Let's grab this loop. Let's see where that loop ends. Let's go down instead. Delete deletes. Okay, this is fine. All right. So now the idea is to grab more than what you need. If I'm working with A here, you need to grab a little bit more than what you need. So let me go. I'll go all the way somewhere around here. I'll slide this loop. If I delete that, let me make a duplicate of this again. I'll hide this. Face mode. I'll delete this. Delete this. Okay. Select delete delete this as well. So for the head a scalp, this is what we need. It is a little bit a little bit more than what we need. I believe. Let's check this out again just to be sure. Okay? So if we are pens in the front part of the head here, then we have here, then we have this down. I think I may have deleted more, deleted portions we might need. So let me do this a few times. Bring the back out. Let me go all the way here instead. I think somewhere around there should be fine. You need a lot more space in here. Whoa. Okay. I'll do that. Let's do from around here instead. Okay? Then we'll do around here as well, delete Okay. Deletes, that's fine. Then we can do around here deletes as well, delete delete this. Okay. Yeah, I think this is good enough. This will work just fine. Yes, this will work just fine. You can work with this. Okay, so I'm going to rename this to Afro. Let me use your caps for this. Rename this to Afro head hair. Yeah, that's fine. I'm going to hide that. Let's go and bring this duplicate back out. So for this, I'm going to be generating the extract out the scab for generating the eye lashes and the eyebrow. So I'm going to do this all in one single mesh itself. So let's go to phase. Let me go all the way up. Okay? The leads the leads. Okay. Delete, delete this as well. Let's do around there also deletes deletes. Okay, I think we need also let's see, we leave this as it is, though, but I think we have, I don't want to delete this. I want to keep that. So let's do let's see a good region we can delete from no. Definitely not. I think we can actually work with this. So let's see Okay, delete this. Let's go closer, delete this. Okay. This will work just fine for the eyebrow, eyebrow and eyelashes, so this will be just fine for the eyebrow and eye lashi. I'm going to rename this to. Let me rename this to scalp instead. All right. Let's do eye scalp. That is fine. Save this. We have scalp now for the Afroy and the eye. Let me drag and pull this close to themselves. We can ye that now. Let's go down. Let's do the next piece. Put this the side so I can actually see where we need to extract. Okay. So for this, we only need the outer part, we need the inner part, actually, so we can do getting close. Let's give this a different material. Let's give it a normal regular lambert material. Okay. Face mode. So like I said, grab more than what we need, you. Okay. Delete delete this as well. The outer part should be just fine. Do the same for this face mode. Okay? Delete deletes that is fine. So something pretty much like this should be just fine for what we need it for. Yeah, this will work just fine. I'm just checking just to be sure. I'm going to bring this back out. Then I'm going to just try and confirm everything is visible here, okay? All of this is visible. All right. This is fine, okay? Hi that. Then come down here, give this Lambat material as well. Now, we don't need this, don't need this. We don't need this, we don't need this, delete. Okay, this is pretty much all we need. Let's go into face mode. All right. For this butler, we need to be a bit more careful in here because we don't want to delete what we need. Nope, setting a loop across that. We don't want that loop. Okay. Yeah, this should be fine. Yeah, well, like I said, select more than what you need. Okay. Move this along, I believe around here. Okay. And let's go up, up, up, all the way here. Let's see where where the other one actually is. Okay. Sin I'm going to select this. All right, keep moving this along. Yeah can do that. That's fine. Come on. Phase mode. Get back in the Alright. It should be fine. I delete. Then we delete in our phase. It's pretty much what we need. Now, we don't want to manipulate or just the at least miss butler around the textures in there. We don't want to manipulate or tweak or in any way move the UVs because we see the textures for the fours being generated and giving a skin color. Butler color based on the texture we painted instead of Stan spinter. So let's come down to the next piece. Let's do from here, yeah, yeah. Okay. Let's do well we can come down. Okay. Yeah, that's fine. Would we move this along. Come on. Come on. I was in wrong, please, let me deselect this. Think I need to continue this on this way. Okay. That's fine. Let this look up up as well. We should be fine. Then continue this on. Okay. Here as well, gets in. You're well. You are well. D select, this select, select the deletes inter phase deletes. Yeah, it's pretty much it. This is pretty much it. Let's bring everything back out. Let's see if we have any issues across that. Okay. So right now, we have two piece in here now. So we have the inward piece that is actually in there. Center piv to drag this out. This is the main what is the original. Then the other piece is actually in there. Which is fine. I is precisely what we want, so. If we add this again, it's directly in the same place, which is what we want. So now we need to rename this so let's just add scalp in front. Okay. Alright, that's fine. Put scalp in front as well. Okay. So now what basically I need to do now would be to let me make this visible and I let these three up, put them in a group, and name these two eggs scalp. Okay, that's fine. Let's get everything back out. So now I let that scalp, I know what I'm selecting in here now. So it's pretty much all we need. Okay. So it looks pretty much like so down here also as well. Is there any other parts we need a generated out. I don't think so. That's very everything. So I'm going to save this next, yes, we motin. WarmtinV important. Since we are going to be using we don't have any parler texture paint for the afro hair and for the eye eyebrow as well. So for that, we need to make sure our UVs are kind of spread out a bit small Eggen uses your UVs to kind capture more textile density for painting density marks inside, inside of Maya. So let's make sure our UVs occupy more space in there. So I'm going to hide this, select this. Let's start with the head Afro head scalp, select the scalp, bring out our UV two kits on fold, arrange and layer. I'll introduce to Don on fold on a fold will work just fine. Then we do a late in here, so it spread abroad. We have a lot of space in here. Okay. Now, this is fine. Yes, I believe this is fine, or we can just do a cat in the center. Cat and so do cats. Okay, select this unfold, unfold. And then let's orient this. Let's go to transform, rotate this way, rotate this opposite direction, select these two. Let's do it layout. Yeah, so we occupy more space now, which is what we need. Precisely what we need. Et's go to the high scalp for this, select the entire outin let's down on food. Let's air. Not sure what this is, though. Okay, I what parts? I don't think we need this. We don't need them. We don't need them, so I'm going to delete those. Everything we need is actually in here now. Of food out. Okay? That's fine. Now for this, I'm going to leave the acts. It's ready occupying enough space in here. So I'm going to leave the CTs.This is fine. Okay? This is fine. This is fine as well. I don't manipulate this because I have textures in there. Let's go to the next one. Okay? This is fine. Occupye enough texture resolution in here as well. That's fine. Okay? I'll save this yeah, that's fine. I think we're in a good place now, so we can go back to, let's go to Egg Jen instead. Let's go to Egg gen tab. Okay. Save this. This is what we're going to be working on in here. So we're going to start our egg Gen journey in the next lesson. So you guys in the next lesson. Bye for now. 40. 143 Afro Hair Xgen Guides In Maya: Welcome back guys. So in the previous lesson, we work on the scalp. Let me just change the background O B. Okay, let's do this instead. I think this should be fine. You should be fine. So yes, previously, we created the scalp. So in this lesson, I'm going to start working on creating the actual hair with Eigen now. So this is like our main reference for the hair. So I done something something similar before, so I was going to use the same guides to kind of process to kind of create the same thing also in here. This is the one I created a few months ago. What our main reference is going to be Is going to be the other one? Let's get to it. So to start working on this, we need to create guides and to create guides, we need to kind of separate things apart a bit more. Also, before I do that, I would like to get the bids strain in here so I can actually know where I should place my guides. So I'll need to bring out my bids. Let me make this visible again so I can just select what I need. So I'll select this is basically what I need. I want to shoot this out Shift P to shoot that out of the group. Hide this again. Okay? Yeah. So now we have something that should give us an idea where our guard should be so we can create a pattern in between. So that's the general idea for this. So also, I'm going to go to the Asian scalp. I'm going to hide I'm going to hide these two lower parts for the four generations. I'm going to hide those scalp for the four generations. So let's talk on the head A for now. This one goes all the way. Let me hide this also. Okay. Yeah, this should be fine. This is pretty much all we need. If we don't do that. So the should be roughly around here. So let me hide this. If I need to bring it out again, I would, but now I'm just trying to eyeball where the air should grow out from, okay? This should be fine, right? Okay, now, so let's let the scalp. Let the scalp in here then I let's go over to Xgen. Make sure you work space on Xgen. Then click on create description. So need description now. I'm going to type in afro afro space, head, no, no, no, afro. Am I spelling that correctly? Yes. Okay. Underscore afro underscore, head, underscoe head. All right. And I'm going to change the name of the collection also. This collection is going to be like our group folder. The new description will be inside our group folder. So I'm going to rename this to a head he underscore COL for collection. Then on this also, I put under scoe DESC for description. Now, splines on generates using splines Wir to generated randomly across the surface, then we need to kind of use placed N shaping gas because we want to control where the gas be placed in also. So splicing and shipping guide. Oh, one very important thing to do. One very, very, very, very important thing to do, which I have not done yet, is to create a folder for your project where all of this setup should be in. So let me close this for now. Find that let let me copy the naming for this. So what you initially needed to do was to come in here and then click on Project Window. Then click on New. So let's create a new project for this. I'm going to name this to African let me just name this to Idris Idris, African warrior. Okay. Now let's specify your directory for it. Let's specify directory for it. So I would let me go back to IFinee. You should be in here. I want it to be in this folder. So I'm going to Create Alpine here to begin with. Let's Kriton A folder, lik on New, and I'll just name this to address Maya projects. Okay, that should be fine. Open that up. I'm going to go in and copy these five parts. So you need to paste the five parts in here, paste the five parts in here it Enter. So then I click on accept. Immediately on accept now, if you go back to that folder, you see it in here now, so you do African warrior, which is precisly what we want. So now we can quite easily create a description no exam because x needs a folder or a project file to actually work with in here, so it's important we create that folder for it. Alright, so now let me select this carp again. Go to create description, pace that replace that with something else. Let's just type that again. So afro underscore, head, underscore, underscore DC for description. Description, I'm going to name this to head underscore. Let's add underscore CLL for collection. Okay, Spline, want to use Spline for use for longs, random Lacrosse office, plisener shipping guides. Is precisely what we want, so we can now click on Create. Immediately we do that now. We should have set up in here. We have set open here. Then we would have the collection created in here as well. The next thing to do is to go to gen tab. I'm going to middle mouse crew and drag this convert primitive to polygon. The middle mouse crew press that down, drag all the way to the end. I don't accidentally told that. Then I'm going to create guides in your Let's plus sign to add or move guide, select that move this in here. Now let's create our phase guide somewhere around in front here. We have our phase guide created now. I'm going to go and scale that up, go to the scale two. I want to scale that out. Scale out some more. I used to be quite long. I'll rotate this backward some more. Scale it out a little bit more. I think somewhere around there should be fine, I guess. Rotate this backward. Okay. So now I want to kind of manipulate or change this. So I want to select it, and then I want to make some modifications to this. So I'm going to use rebuild, so I want to type in ten in there. Let's type in. Let's do eight instead because I'm going to use coins for this. So for the guys don't necessarily need too much CV points for it or CV count for it. So let's just use the value of eight. I think eight will be just fine. So I'll click eight. Applied in here now. So how do we check that. Let's go to our scope guides. Our scope guide now, I'm going to increase the bro size, O, B, and minimize screw left to right, to increase the scope two. Let me decrease that tone of caps. I would like to add I would like to add a little bit of bend in here. Is adding a little bit of bend to it actually helps make it a lot more realistic. Okay? I'll just pull this out a little bit more like, so that should be fine. Now, let's continue and create other guides also around this. Let's go to add guides, add and move guides. So usually, I like to work in a diamond shape formating here by creating guides in form of a diamond shape, so. Basically, what I mean is this if I have points here, I'm not going to go to another distance at another point roughly around here. Okay. Scale that out. Yeah, that should be fine. Get out a little bit more. Okay. Okay, that should be fine. Now, we want to check if this has the same CV counts. It doesn't have the same CV counts. We just need to input that also in there. Okay? Then let's use our scope guide scope some shape in here. Now, let's let's use there's something we have in here. Let's use the reference in here. Kind of shape out a bit more. Okay. You can see now the guys or rather the airs on the left hand side, it kind of swapping or bending towards the left hand side, on the air on the right hand side, is bending towards the right hand side, so want to use the same ideology for it to increase the broad side a little bit more. Bend it this way. Create a little bit of shape in your air as well. Okay. All right. That should be fine. Bend that this way. Move out, bend it some more. Okay. Okay, do that. I think this should be fine. Let's get a little twisting. That should be fine. Let's continue on the go to the plus sign. So the diamond shape is to come down now, so we point here, points here and I'll come roughly around here and crytano points. So crypting that point now enables Eigen to kind of interplay between the closest guide to it and then form that shape automatically. From the shape, including the length also, which is cool. More precisely what I want in here. So this is how I'm going to use to kind of create my guides across bending down already, which is fine. This I can work with. And I can go to the scope guide. I'll bend this this way some more Okay, bend this down this way. All right. Then we go into the plus icon. I'll create another guide. Another guide around here. All right. So I'm going to scale this out. Okay, have some more than sculpting guide who first need to select it. Let's go to object mode. Object mode selects selected already. So let's rebuild, type in it there. So also keep in mind that once it's interps in between and the encrypt takes up the closest guide between it. You're also going to take up the attribute for it too by adding its civic count along the spline. So that's something to keep in mind. So we continue on. Bend this down. Should bend down some more. Okay? This way, bend this down backward. All right. So we're still kind of creating trap that diamond shape. So you have a one point here, so you need another one around here. Scale this out. I think that's a bit too much. All of this we can still adjust later on, but for now, scale that out. Let's rebuild, say this to eat. Then food this down. Food is down this way. Food is down this way. Give this up some more. Yeah, I think the should be fine. Let's go points. Like I said, diamond shape, so you create one yes that should automatically inapate between. I'll increase this up some more. Okay. Yeah, this should be fine. This potter, I'm going to move up a bit higher. All right, that should be fine. Okay. So moving on. Let's go and then create another guide. So I click on the plus sign. Okay. Let's create one around here. Okay. No undo that. That should be created. Let me go back in there around here instead. All right. Rotate. Save also my file. Okay. I think I scale I need to scale this out some more. Select Object mode. Scale this out. Okay. That is fine, let's go in and then move this. I want to move this down some more. Okay. But not too much. I don't too much bend in there. Let me straighten this out some more. Okay. Yeah, that should be fine. Going to the plus icon again, let's create another one. So like I said, diamond shape. Okay. Move this up some more. All right. Let's create another one down here. So it's already entaplating in between what we have. Move this out this way. Then go at another point. Do one around here. Okay. Then I'm going to bend this this way. Tilt this down some more down some more. All right. Add another point. The diamond shape, put this diamond shape around here. All right. That should be fine. Let's get a little bit of bend in there as well. Let me move this down even more. All right. That should be fine. Okay? So now we can add some more. We definitely need one around here. I think I'm going to scale this out some more. I would like to rotate this also, rotate it this way. Go to my scope tins. Let's go to the scope guide. Let's make sure the shape is flowing in the correct direction. Bend this this way. Shred it out. Okay. So I see now this one should be flowing in this opposite direction this way. I is supposed to be flowing in this direction o. Here, Lxo should be fine. Sot create something around here. So the same diamond shape, let's go down here. Okay. So this part a one, I'm going to rotate up this week. All right. Use as cup two, push this way. All right. Just a little bit of curving there should be fine. All right. Let's add another point. Add one ear. Scale that out some more All right, go to Ascot. You kind of flown the same direction, which is precisely what we want. Okay. Let's create another guide. Somewhere around here. This part lava now need to get some good bend to it and move this backward, some more backwards, some more. Move this up this way. Stretch this out some more. Yeah, that should be fine. Around there should be fine. Okay. Add another point. Let's add one around here as well. Okay. I think around there should be fine. Let me give this out also some more. So great variations on the height of them. Okay, now let's come to the middle parts. Let's come to the middle part. Let's create. Let's put some guiding here. So let's do one here. Spot. I'm going to scale it out some more bend this this way. Live this up some more, get the C bending this way. Okay. I'll come in, add another one around scale that out some more. And I'll just rotate it this way. Okay? I'll add another point around here. Scale out some more, rotate it backward. Okay? Add another point somewhere around here as well. Okay, rotate backward, scale this out. Scale this out some more, rotate down some more. Okay. Add one at this ep at this edge, rotate out some more. Scale out some more. Thin part one, I'm going to tip to this way. Okay. Let's add a few that's supposed to be on this part. Let's do one here. Scale this out some more. Rotates this way. Spot lan should tn be flowing down. Let me bend this this way. This should be folding downwards instead. Let's do another one down around the egg here as well. This I'm going to rotate rotate this way, rotate this way. Then use a scope to scope this down. Okay. Let's create one last one around the egg. This one should be towards the midpoints, rotate this way. I use our scope guide and bend this down. Now we need to select the entire outin and then mirror to the opposite side. So I'm going to select all of this guide. The less mirror to the opposite side. To mirror this we just need to use I believe this is the one mirror selected. Okay. Awesome. So now it has been mirrored to the opposite side, but we still have some gaps in the middle point that we need to fill up. This pot lament shouldn't be an issue. We can just do one guide. Let's give one guide here. One guide, here, scale this out. Scale out. Create another guide here as well. This part la I'm going to scale up. Okay. Let's go in and create another guide in these parts. This butt lava is flowing in the opposite direction. Let's give this out. This butt lama should be fine where it is actually rotates. Okay. Add another guide around here as well. Add everything in the center and the center here also. Scale this out. Use the scope to sculpt something. Yeah, I think they should be fine. As far as this goes, okay, we need one around here also. N one also at the back, let's not neglet the back parts. Let's do one here also. Do, one year as well here also. Con do that. Let's do one here. That should be fine. Let's do one in the middle. Scale that out some more. Alright, so I think it should be fine for now. Now let's generate some as out of this. So generates first thing you need to do is you go to previous not pos, turn off all the primitive in view. Okay? Yeah, interesting. So we have something interesting going on in here already, which we can work with. Looks interesting. But there are some modifications we need to do in there. So let's go to primitive. Let's increase the guides. I'm trying to figure out if this is too long or this is fine the way it is. Like it's actually fine the way it is except we'll decide otherwise. All right, so now there's some modifications we need to make for the wets 41. 144 Afro Hair Xgen Density Mask In Maya: Come back, guys. So in the previous lesson, we started blocking all the guides in here. So in this lesson, we're going to carry on and then continue working on this. And see what we can get out of this. So let's move on. Okay. So what now I like to do is to adjust the settings in here. Let me start by setting this to for now, let's just use a value of 20 for the CV counts. This DV counts exactly specific to the two but lie a strand. So we're going to manipulate and adjust that little but for now, just study at 20, then we go over to our wit in here. So let me bring out my I have an idea of the wit I'm supposed to use let me bring this out first when you start down here. So let me use my call hatchet it's not really Hecht though. But basically, I have some setup I usually using here, so for the width of the air, I'm going to using a value of 0.000 0.01 naturally, so 0.01. Okay? This kind of create some scanty as in between. That's fine. You just gonna thin out the. Then the taper, I'm going to use 0.71. Let's go to taper. Let's use 0.71. Then for the taper start, I'm going to use 0.76. Okay. I use like set set up I can use for most of my generation here. Most of it, so. So now we have the kind of slimmed out. Tough in case we need to take that out, we can always go in and then taking that out, however we want. But for now, I think the way it is now should be fine except otherwise, because it's pretty much pretty almost similar same setting us except with a little modification to it. So it's like this piece we're going to be using for generating the Afro hair, just to make sure we're kind of following it as accurately as we can. Alright, so is in here now. There's something else I like to do. I like to go into the ambient seclusion and antisen. So don't know this antesen want to know the antilysen she gets better looking transnia so have better transnia now, which is precisely what we want. Okay. So we have something in. Oh, I think we need some guys around here. Some guys around let's temporarily hide the for now. We need some guys around here, so I'm going to go in and then create one here, one also at the edge. Yeah, somewhere around there should be fine. So do all and as well. Yeah, that should be fine. Okay. Let's go and then refresh this again. So I'm going to slightly increase the density of the air so we can see more in here. Okay? So I think, at the end every day, destity for the air I used was 80. I just leave it as 40 for now. Now you can't really see the shape of the e coming through Y because there's no clumping in here. But before we had clumping in here, we need to create a density marks. So this things to create a density map y because we need specify where we want our eggs to be growing out from. Very important, so how do we do that? To do that, let's the guides for now. Let's this for now. So the guys give us an idea, I need one more guide in the center. I think I'll need one guide in the center. How do we actually Okay. I think that should be fine. So at least I know where my eggs are going to be generated out from. So I'm just going to paint a mark for where I want my eg to be generated out from, because I know the e generated out across the entire housing. So yes, I think I would let's bend this with some more. Okay. So now I would go into my max. So these density marks, all we need to do is to go in and then click on this drop down arrow icon, then click on Create Map. So I'm going to start in with black. I want to paint. I want to start with black and then paint white over it. Then I'm also going to say this two. Let's do 14 instead. Then for the max name, let's name these two Afro let's use caps fronderscore. He underscore DN, S for density underscore MAX. So I know specifically what it is nucleiconcreate. Okay. So now, that's created something for us, but it's not working yet, why because if we should run this again, it's working w because our feel is completely black. I can't see it white because it's gonna go to our paints mode. So if we go to even bring out and bring out something here. So I can actually see or know where to paint this on. Okay. Let me say this here, it should be fine. Okay. Then I'll go to the pens. Let's click on this paint brush icon select that, so she jumps into her pins jumps into her pints mode. So now in the pints mode, I click on the pen setup. So now we want to use solid brush for this. We don't want to use soft brush. Don't want solid brush. We are painting with full white for now. The n we scroll down on the scroll. I want to paint with symmetry ton but for this, need to turn on reflection. So now we should be able to paint symmetry in here, symmetrically in here, okay? I think it should be fine. Let's close this for now. Move this aside. Okay? So now we paint brush in here now, I think I would like to reduce the brush down a little bit more. I like to paint the outline first before doing any singal paint around here. Around the should be generated out from around there. Okay? So this kind of CDA, to see the that's going on and then turn on wire frame and shaded. Don't know wireframe and shaded give us an idea where DA should be. And I also paint the side side also. Something like so. Okay. And I'm going to connect this this way. All right. Yeah, this should be fine. Then go all the way to the back, continue this spins on. All right. We can collapse this around here. It should be fine. Gotten the shape we need for this, I believe, except otherwise. But I think this would actually work. Now I can increase the broad size a little bit more. No pin so more in. Serious pet in this shape or guide with those blocked in. Okay. So let's just fill up the inward parts. Fill up the inward parts. All right. We see to make some modifications in here, no doubt. Let's fill up the inward part first. I want to be careful on the center point because it tends to act a little bit weird. Tend to get some weird center points. So I'm going to ignore the center point for now and just paint somewhere close enough then turn off symmetry and then paint very well the center part. Okay. F of these parts. All right. Okay. Here as well. All right. Then I'm going to turn on ton off symmetry for this. Let's go under strop. Let's turn off reflection. Then we can manually fill up the center points. All right. Fill the parts up. All right, that is fine. Now to apply this on here, all we need to do is to save Let me close. Let me leave this for now. All we need to do is to close. I just to close. Let me see. I think I can paint. Let's see. I think you need to kind of give make him look like he has some kind of bold outline to him? Yeah, I think this should be fine. Yeah, I think I need to paint something. Let's paint something in there. So reduce the bro size because we're painting on the outline now. We don't mess things up in there. Okay. Yeah, this should be fine. All right. Now we can move, set this back to compete black, and we can paint this in. You can move some of this if we need to. Okay. Let's create. Yeah, this is perfect, perfect. I work just fine now. So now to apply this what we need to do is just to save the paints. So save texture. Let me save that now. We should have a green directly on that region. Let's turn off YF and shaded. Okay? So we should have now constraints to grow on that region where I want it to grow out from. But there's also modification you need to do. For example, let's don't know where I shade it again. For example, I would like to clean still on full block. I would like to clean the so more. I like to clean this part of the so more. I don't want it to bleed into the air. Okay. Yeah, that should be fine. So now that we have this in here now, there's one more thing we need to do that, I need to clean. I need to clean this up some more. Okay. Yeah, this should be fine. Now I'd like to blow out the edges. I'd like to get the edges blowed out. Let me come close, clean this some more. Now let's get the edges blowed out. Let's get some of these edges blowed out. I think I'll need to paint something around there. Yeah, so it should be fine. Okay, now let's blow this out. Let's blow out the edge we need to go over to set this to blow Okay. Increase all the way up. All right. The intensity is that intensity for this. Okay blow intensity is at eight. So I will need to reduce my brow size down some more. Then let's start in here. Let's just blow this edge. Yeah, I think this is a good amount for the block. You just blow this edge like so like soap blow the edge. Also want a soft transition on the edge. So you want to be careful on the middle part, or the middle part tends to act a little weird. Let me show you guys, if I do this, I can see this weirdness on the edge. So you want to be careful about that. So let's continue on. This edge. On the center part, I'm going to oh, I didn't even realize I was reading the center parts. But that's fine, though. Okay? So I'm going to increase the blo size a little bit more. So on this front part, I would like to add a bit more block on this front part, the edge of the front part. So we get some softer transitions in there. Okay. So I'll need to turn of this reflection, let's do proper blow in here. Okay? I think I need to go back and then paint this in again. Let's paint this in again. All right. Then I'll go back to the blow. Blow this out. Alright, I'm going to save this. Okay. Now to so that transition on the edge. Most of that transition on the edge now. Let me turn off the hair for now. I'll go to the back with the blow, increase the intensity of the blow a little bit more. I'll blow this out some more. Blow the back of the hair some more. All right, it should be fine. I can also introduce a little bit of blow on the top part of the edge, do something a bit random. You can see we have this weird center points. This middle points edge a bit weird. I'm not going to do something soft in some parts at the top. We soften this out some more, create some variation of softness in between that. You can't really see much happening indo, but this should be fine. Okay. Let me go back and then pins the center points. All right. Yeah, I think this will work just fine. Let's do a sieve again. Turn of this wire remoned. I think this we can work with clear that out. Let's go back and let's see what we have. We have soft transition in the center is cool. Is precisely what we want. Now we need to pins another extra, let's see. We want to paint something for pints black, where we have the beads in. So we don't want airs to be kind of green in this region, ok? So let that what we want to do now. So to do that, I will just let's go back to paint mood, open this up, so our paints in full black. So let's turn off the air, let's turn off the air for now. So I'm going to painting black in here. So I'm going to using a bigger Bod size. Let's turn on I want to see symmetric unit because I'm not sure this is completely symmetrical, so I'm not going to paint this this amount, I'm using my mouse instead. Increase the brode size some more. So I'm just going to paint. This is way too big. Do that. Wedcee the brlous size. Yeah, it is a good value. Do that. Let me with a bit more precision in. So I use my mouse w because the mouse tends to give me clean edge, really really clean edge. Okay? Then you saw the way down. All right. All the way down here should be fine. We'll do the same around here also. Move this along. What's it going to blow out the edge, do? We still want the edge to blowed out so we can get some softer transitions around there. Okay. Like so it should be fine. Then let's move up You should be fine. U as well. Let's make sure we're getting the angle just right. Let me do this from the top instead. Alright, around the egg. Continue moving this along. Almost the egg. Yeah, this should be fine. So let's save this out. Oh, we need y also need to do also. Okay. That should be fine. Let's do for the opposite side also. Yeah, that's fine. Let's save this. Let's see what we get. All right. So you shouldn't see so much generating along those parts. So it wasn't the solid brush. You should not generating so much on those parts. So now let's I need to kind of start blowing the edge. So I'm going to use a soft blow or a smaller brow size to blow this out. Let's use a smaller brush size. Okay. Yeah, I can use my pen now to do this, increase the blood sat a bit more. Because I don't want the edge to be too hard. I don't want to add edges across that, so let's soften it out. Get some softness in there. Okay? Like, so, let's go around there as well. No, undo that. No, that you should keep in mind that you should be very careful with the undo button because sometimes it tends to just make Ma crash Okay. As well, it should be fine. Get in the blood out. Now the reason why we have so more definition on this pins painting in here is because we kind of UV and wrap this and then kind of make the UV fill up a lot more of the space in our zero to one space. So we have more textile density in here for us kind of get more definition out of our paint brush out of a pints to win by creating a density max Okay. Move this along. Okay. Okay, that should be fine. Let's move upward. All right. That should be fine. Get soft transitions on these parts. Because the idea is that I want to assume while they are kind of growing this off road, they are kind of shaving saving me probably in their tradition in their culture, they're kind of shaving off where their should grow on creating an empty gap for the bid to actually be in. Okay, move to the opposite side. Get the edge. All right, blow out the edge. Be quite close to the edge some more. Okay. It should work. I don't need to do we can actually do a parting for this, but the parting will look a bit old. I don't do any parting for it by using or painting the mask that kind of pat them separately on their own. Kind of pat the air. Why? Because I think in this case, we need to have a green nut in there, but want a softer transition on the edge. O softer transition on the edge like this. I think, okay we're not done almost. I mean, these bits so we should have good transition in here. If we need to make any correction in here, we can. We can clean, we can repaint. However we want, we can make modifications to it. So let's save this. Okay? No, they are actually obviously has generating in between, but now we have some kind of gap in between. Not not but we have some gap in between now. So we just save now, save this again. Then I like to come in here to assign texture. Let's say this to fork a resolution, assign texture. Close this, then save texture. Alright. We're good. Okay. So now let's go save texture here also. All right, clear that out, clear the max, or clear the rather. Save this generally, save alpha generally. Okay, so in the next lesson, we're going to start adding modifiers to this and then see how we can make out of this. I'll see you guys in the next lesson. Bye for now. 42. 145 01 Afro Clump Coil Modifiers In Maya: Welcome but guys. We're still on this. We're supposed to add modifiers to it now since previously assumed painted a density marks. Let's go on that modifier. But before we do that, let's add our guides for now. Okay guys, I'm going to set this modifier Civ count to 100. Because we're going to be using COIs in here. Cos is quite a lot of civ counts in there. H should be fine for now. I'm going to set this to 80 Let's set to A, generate more s out of this. Okay? That is fine. Then let's go to modifiers. So usually, I have a preset actually. But I'm not going to be using preset. I'm going to kind of show you guys how to kind of build it up and how to kind of save that as a preset for you guys to actually use. But I'm still going to giving guys a preset also, too. If I come into this folder icon and I do load user, I have quite a number of presets in here. So I idea have a preset in year for long afro hair. But I'm going to build this from scratch. You can just show you guys what to expect even though you have some preset in there, there see some modifications you might still need to do for each individual modifier. You also get it to look right. Okay. So let's go in. The final result of M actually looks something somewhat like this, quite noice to do, but if you go in and then begin to break that down one by one, we can just reuse what is in here and then she gets good similar results. Let's get a start by adding the clump. Let's add the clump, click Okay. Now we won't work until we set up the clumping mouse for it. The clumping mark, we're supposed is for it to be the set set set no so in. I'm going to explain that in a bit. Let's go to set up and then let's set the mark to 0.9. Setting the mark zero point create a little bit of randomization where colon pin should be. So let's say it to 0.9. Okay. Now, the density actually actually controls how many clumping you want in here. So we should do generate in here now. So you can see how the clumping is going to be generated. You can see a lot of clumping guides in there, but I don't want too much, though. So that's where I need to kind of reduce this. So I'm going to reduce the value to something smaller because the general idea is to get something that looks that looks quite close to what we have in here, okay? So with that in mind, I'm going to take this down. Let's do a value of 0.5 instead. Then click on generates. So we have this in here now. You can't really see what's happening here once we apply this, click Congenerate again. Let me keep this here. Then click Save. So you should multiply your updates. All right. So now, this has been updated successfully. This is what we're actually working with in here. This is a working here. So we still need to make some modifications to it by deleting a few of these strands in here just to have that gap in between. But for the most part, you can actually see through and then see these bids in there. Because obviously, the bed is going to completely be hidden in there, but you go to the you should kind of see through them, something like so yeah, so now that we have this, this is a good base to start with actually, it's a good base. It's a good base to start with. Obviously, we need to make some modifications to this, but I think, what we're having actually looking good. What we have in here is looking good. I don't think I might want to make modifications to this. Though, we have modifications or kind of setup breakup in there, but for now, I'm going to leave it as it is because I still want to work with default as close as possible. I don't want to make too much corrections in there. Okay? So we have something like that papers at the edge at the top, or more. That's fine. Let's move on to the next clumping in here. Though you can make modifications to it as you please, but the default is looking quite good for what I need it for looking quite good. And let's go over to add clumping in here. Okay. Well, let me sure. Let us the preset. I just go to Local user and then click on anyone you want. So now we have clumping so in here. But let's build that from scratch. So let's go in and then add clump again. Click Okay. Okay? Nice part lump two. Set that up also. No some set up in there. So the maxim we need in there is just to break up the inward parts, the inner parts. So set. So let's do we already set to one. But I'd also like to break this up also. So let's just do 0.8. Generates. So this ni is at one. Let me move this aside. So the density is at one. I don't want to break this, so I don't want to break it up to more so let's just go a little bit lower. So 0.6. Let's see what we have in here generates. Just any breakup in there should be fine. Then click Save. So it's not to do that now. We should have something in here also to work with. I'm not sure if this is working, though. I'm not sure this is working. Put this aside setup, generates, generate generates again, put this to the side, run through, save this. Nothing seems to be working in here, though. This doesn't seem to be working. Not entirely sure why though. Nothing updating your Zero Pixl map since all points are disqualified. What is that even supposed to mean? Nothing since to be working here anymore. Eggen can be quite sometimes can be quite difficult to work with. I'm not totally sure why this is not working. Let's say we increase it to a value of three, generates, save. Still not working. One in Zoom, pixel since dot points are disqualified. No entirely sure what this is low. Go in let's say this to guide. Let's see if this is going to generate based on guides. Or we need to close this entirely and open the software, open the open this file leg in and see if that actually works. Still not working, though. Egging can be quite bug. Let me delete this actually. Let me delete this. Nothing seems to be Nothing seems to be working in here anymore. Nothing seems to be working. I can't even you guys. I'm going to close this up and then open it up again. Let's close this and open it up again. Hopefully, it works when we open this up again. Okay, cumber guys, so I've kind of restarted the file, so I need to go back to five set projects. Then I'll need to piece that five parts in there should be outside here. Okay? This is it. Come here, copy these five parts. Pase the five parts in there as important, we cannot redirect my abide back to the food that we set up for it. So the concert. We have ears all over the place now which we don't want. So set that up. Let's release again. Okay. Awesome. So now we have this kind of respecting we have already set to pack in there so let's go to modifiers and then delete this delete the original lump we had before. Okay? The original clump is working. Okay, good. Then let's go and add another clump it's supposed to at other clump. The second clump, we had issues. Okay, let's go. So I'll leave this at one. I'll save this to zero points. Let's leave the stat one, let's see what that gives us. Let's generate. Okay. Let's save generate again, then do save Finally, so it's working now. This is working now. So I don't really like. This is just way too much. We have way too much breakup in there. So if we compare this to our main reference, I don't think we have that much breakup in. Let's compare this in there so it's not too much breakup in there. It's kind of maintaining the shape in any way. So I don't think I don't think I would need this. Or we can just reduce how intense this is entirely. So under the mark, you can just take this down. Can take this down. Lumping I believe so not just the mark. Let's type in the value in the first lesson. Let's do 0.4. Let's see what that gives us. Okay? So we don't have the intensity of that way too much in there anymore. So if you turn that up, we shall see slide variation in, get close you just see slide variation. We don't want it to be too intense. I think a value like this should be just fine. I should work just fine. You can even randomize this if we need to. So we can randomize this mark if you need to think, so we can randomize this. You can just use this randomized value in there. Let me just type it out. Run open bracket and type in a value for the start point and typing in that value for the endpoint. It's more like an intensive slider kind of. Due to randomizing between that value so let's type that in. So let's do run open brackets. Let's start from a value of 0.0 0.1, comma, the value of zero points nine, then closed brackets. Then we So should have a randomized value for this now? This kind of randomized clumping breakup in there. So pretty much like so. But another issue I'm having is that the tip is just too sharp. We have very sharp tip. So let me talk one now. Let's just work on this clumping two. Clumping two is actually fine. Yeah, this clamping two is actually fine the way it is. Do you want me to modify? So if we remove everything in the lumping, I'd like to spread out the tip some more. So the tip is kind of way too sharp. So it needs to be a bit spread out. So we have roots, and we have the tip. So I'm going to lift the tip some more let's see if I Oh, wrong one, wrong one. This is the wrong one on the wrong one, need to undo and begin. Okay, supposed to be on clamping one instead. Supposed to be on clumping one. Close that should have something affecting in here now, then we can man need this to be want it to completely tighten the edge. It is down some more. You just need 43. 145 02 Afro Clump Coil Modifiers In Maya: A really good value for this. Okay. A bit more should be fine. Let's get this down some more. Let's see what we have. Let's compare this to our referencing here. Okay. I think we might need to tighten, no. Seems close enough. His looks close enough. I think I need to randomize this. Let's see if we can grab let's grab the randomizer in here, we can randomize the clumping for this. So I'm going to copy. Let's copy this for now, copy this. Pase this in here. Let's use the value of zero point. That's the value of 0.5 to one. If that actually does anything for us. Okay. I think I need to go a value quite similar. Let's do a value of eight. Okay. Then I'm going to push this step down s. Okay. Let's see what that gives us. I think I need to come in here also and then this down, add a little flatness in there. Si in there should be fine. Let's see what we get. I think this we can leave it to have some randomized value going in around there. Let me try a value of 0.1, let's see what gives us. Now, not looking good. So let's put nine. At this point, this is just where you need to just start making modifications to it just to figure out what you want for it. Let's go on 0.1. Okay, now we have a bit more randomized tip to it. So are closer, some a bit spread out. Yeah, this is looking good. This will work just fine. Now I cop in one. I need to probably clump in two rather for the clumping. So I'd like to make some modifications to this If I if most. Do I will need to I'm just going to check if I need to add any adjustment to this checking just to be sure. Okay, for now leave this at this like this for now. I need to come back to it, I can. So for now let me leave this like so. Let's add some more layers of modifiers to this, and then we can work our way in between them to figure out which one works best. So the next one I'm going to add would be, let's go in. I still feel like I still feel let me go back in there or is it. I like the clumping, so maybe I have too much clump in there much clumping in there because I want it to be quite tight. Let's go back to the clumping two, setup map. Let's do a value of 0.6 instead, generates, si. But also this doesn't mess these things up again in here. Even freezing to work now, we have the same issue like before. We have the same issue before. So I've gone to Donan Do. Okay, fix that. It doesn't want me to use a low value for it, but that's why I don't want to use a low value for it. Anyways, let's go in and add the next modifier to this and then work our way up. Probably it kind of set like a boundary or maybe like a bug or something, not entirely sure, but in the previous versions, we can at set a lower value just because you come down here, you see I'm using a lower value in. I'm using a value of 0.6 instead, and it's working just fine. Previous one was 0.2, and looking just fine. So probably this upper version, maybe just a bug. Like I said before Ag is quite buggy. So moving on, let's add a face called inner Let's add our first call in here. Let's see how this works. Generally. So let's go in and add modifier, coy modifier, click off. So I'm not sticking it using the values I have in here. Okay? So right off the bat, this is what we have, but we need to make modifications to this. So I think clo Qo one is what I need to start with first. Et's go to oi one. We need to have a large number of coins in there. So let's go to coin one. And I kind of randomize the count the count, actually, the count is just if I increase the count now, let's say, we use the count of five. It's going to more coins for us. Yes. So something pretty much like this. So we have more coils like this number. I don't want this value. This value is just way too intense, so this is not the value I'm going for. I need to make modifications to it to graph also. So let's random let's randomize the value in there. So in this instance, I'm using a value of one, two, three, because I want to randomize this let's space this value in there. So let's modify that. So it's a value of one intensity or count of one, two, three. So if you get something randomized in there typing in, let's see the updates we have for this. Okay? Now interesting, I'm begin to get something similar to an Afro in there, not too weird or too squally like it was initially so. And then weaving this also kind of randomize across the entire. Which is also cool precisely what we want, but we need to make some modifications to it. Like for example, we don't want it to be at the top. We also need randomized radios for it. You read controls how spread out each coil should be. I don't want core to the spread out. I want to make some we like to make some modifications to it. Now, let's get this root down some want you to affect the root a little bit more. Let's get this down. Want this count to be affecting the root as well. I'd like to know if it's uploading it way too much. I think I went a little overboard in there. So let's just selected some more some more fine. Because I don't want the root to be too affected in this. Now let's go down to the radios. So the radius is quite too broad for now. Let's randomize that. So let's pause the previous value we have in there. So copy and paste that in. Let's see we get. Then we need to start making modifications to it as well. Okay. Okay. I getting something in here, which is cool. Definitely getting something in here. I won't completely losing the bid. Deftly buried in there. We can see through this though. We can still obviously see through this. We can see the parts in we have around there. You can see this part and also in there, it's not completely not too obvious in there, so we might still need to go in and then probably add some more black paint in. Let's kind of go in first, and let's see, okay. We need to go in there and then create some more. Do a bit more specific working there. But for now, I think we're getting something good enough to work with. Good enough to work with. Now I need to make modifications to this. So I would like to go in there and turn off updates preview automatically. Tough of the bat already looking good, this we can definitely work with. But we need to make some modifications to this. So let's just modify our graph some more Okay. All right, so let's update what we get. Okay. No, I think I kind of like I kind of like the way it was initially. So we need to make some more modifications to this. Start by lifting this up. Wrong it. Also the tip to getting more of the coil. Tip should also be getting some coils to it. So let's move this tip up. So more Like I said before, even if you have to use the same setting before it needs to make some modifications to make it good enough to work with, at least good enough based on the reference you're working with. And I feel we still need more coil in you still need more still need more coil in here, but I think this value should be fine. This value looks fine for this. But I think let's go to primitive first. Let's increase this. Let's do 150. Initially, I used 150. So let's do 150 in there. Okay, now let's go back to modifiers. Let's see the second core we added in there not much difference in. I would like to crank up the value a little bit more. There's the value of one to five. So the value of one to five, let's go. This is what we have. Now we have more interesting coins to it, which is cool. I'd like to crank this up a little bit more. Let's do eight, or let's do nine instead. Let's see what that gives us. Let me zoom out. Yes. Since this is more like it now, we have a lot of coins in there. This is what I'm going to work with. So this is fine. So next lesson I'm going to work on the modifier, so I'll see you guys the buy for now. 44. 146 Afro Noise Cut Modifiers In Maya: Okay, Coconmba guys. So we're still on afro here. So we still have some corrections and modifications to this to make it a lot more better. So let's jump right since. Let's go back to modifier. So next now, I'd like to I don't think I'm need to add another extra coil in here, though. I'm not sure I want to add another extra coil in here. IT cost we have in here looks good. Just for the sake of experiment let's just add the coil and then just use the same setup in here. So I'm going to add a new coil, so coil, okay? So now if we should update update for this less we get. I'm moving all frenzy in here, we have some frenzy looking shape in here, but I don't want this to affect the entire outing, I would like to randomize the look for this. To do that, I would like to let's just type, let's just use the radio senior. Let's piece the radio Senior. I'm sure you guys already understand how to use radio we get. Okay. So this is what we have. It's a bit randomized though. But the spread is way too much. We have to more spread in here. I'm going to take down the values. Let's do a value of 0.9 instead, 0.9 for the radius. Okay? So that's going to shrink it a little bit more. I'll shrink it a little bit more so it doesn't look too spread out. Now, let's use this three set up in here because I don't want to affect the entire out, so let's use the I want a few percentage of this to be affected. Or we can just adjust the max in in here P randomizer in here as well, and the randomize is 0-0 0.5 instead. Let's randomize this from zero. Let me make sure I'm typing zero in there. So zero comma zero point let's do 0.6. Let's do 0.8 instead. I enter on that. Randomizing this 0-0 0.8. Let's see what that gives us. Okay. So would have a few of this actually been affected in here, not just the entire outing, so just be ferens is not noticeable though except you go into the zero and then change that zero starting zero to zero point. Let's say we use 0.5 instead. Then run this again. Let's get Okay. So I think this is fine. Let's do a quick sieve. Yeah, we can work with this. The next thing we need to apply in here would be adding a noise. I believe, let's add a noise in here. Let's bring in a noise. So modifier. Let's do noise, modifier, click, okay. Then runs let's see what the default noise gives us. So we might begin to get Okay. It's not in too much mess to this but we like to randomize the look for it. I'd like to randomize the look for this so it doesn't feel too noisy. So we can kind of take this down. So there are some values we can also use in here if we need to. Okay? So let's do a randomizer for the max. Let's put this randomizer in there, so zero points 0-1, zero to one should be fine. Okay. Now, the frequency also on the magnitude, I would like to randomize that also as well. So let's as the randomizer in there. Okay. And true, let's see what we get. Let's see if we see any major difference in, we should be able to see some differences in there. Maybe not too obvious difference, but at least some difference in there definitely. All right. Get enclosed, let's zoom out, let's car this from a distance. Okay. For the magnitude, let's add some randomizer also in here. So I paste that randomizer and let's do from a value of the magnitude kind of make it a bit more obvious to see a value of zero to five. So a value of zero to five, majorly on intensity from within zero to five. So let's see what this gives If you get some of these bits blown out now, you get some about look to it. Okay. It's not too obvious, but still in there. Not too obvious, but still very much in there. Okay? Zoom this out. Let's see. I'm just checking this around just to see what we have in there. I think this should working just fine. But what I like to do is to go to the coil two and turn that off. Again, let's see if there's any majors in there. Most most especially on the tip Okay. So that's going to bring it out. A little bit more. So let's go back in there. Let's see what we can adjust in. So the main issues like the radios for it. So let's see if we have we call it cool. Okay. So I would like to take this down. I don't want this to be affecting radio to be affecting the zip too much. So I'm going to slightly take that down, take down the zip down. Okay. Then again, let's see what this gives us. So you should not be affecting too much on the tip anymore. This is fine. This is fine. So another item we need to add will be the Cat modifier. So let's go in and add a cat modifiers okay. So the value is in there, we need to adjust the value in there. We need to kind of increase a little bit more. Increase a little bit more. But if you run this now, you should kind of create a more distinctive look to it by rating some variations in between the height of each particular strand. Now, we don't really see much happening in here though. We need to add something at the edge, something at the end of this code and use the lens. You should have a bit more intense results adding this steric dollar sine C lens. Steric let's copy this. It's steric dollar sine C lens. Copy that p at the end. Be apply this indian now giving us something that is a bit more intense. If you add this in here now, she gets a bit tense value to it. Should be able to see the obvious cena by adding this. You see, you can see the obvious difference in your null. So I'm going to crack the intensity null. Let's do a value of zero. It can be 0.0 come 0.0 or you can just use zero instead. So let's keep things a bit simplistic. Let's just use zero instead instead of 0.0. So I'm going round open bracket 00 comma 0.8, then put eight at the end. Let's put eight. There is going to be more of an exaggerated look to it. I zoom out, then click eight. If you up this this now should get more of an exaggerated look to it. Okay? And I think I believe this is a better way to go. So we have more variation on the tip. So the tip now looks a bit scanty. Let's compare this to our main reference. Let's see if you're on the right track or not. Compare Let's even use the CC good example in here. So you can see on your tip tip is a bit scanty but I think mine is way too scanty. So might need to adjust that coat some more, but let's come in here. It's not so let's look for a dark, she dark part, it's actually in there, but I think I went overboard on the coat, so let's take that down. Let's use the value of I think five should be a good one. Let's do five instead. Let's do five instead for it. Okay. Then let's. Let's see what that gives us. Okay, so we have a bit more depth in here now. Well, maybe let's see. I think. Let's go and make it seven instead. Let's do seven instead. Trying to find a really good balance for this. And I'm going to turn, let me save this first. I'm also going to turn on the ambient seclusion. So the im solution should add depth shadowing in between. So let's turn on this embient seclusion. Okay. That's the wrong one. I think this should be ETs. This is ETA. So now we see some more depth in here, Isis some more shadow depth in here that gives us a clear idea of what we are doing if you are used correctly or not. Then this. And let's see if you have the right tip cut in there. Okay, this is perfect. I should work just fine. I should work just fine. So one last thing I'd like to do is to kind of go in and then where our beads are. I would like to do some modifications to it a little bit more black in but I think for the most part, for the most part, let's compare this to our main reference. Let's compare this to our main reference. Let's see if we're on the right track or we are far from miss. Okay. Is exactly high. I think this is a good one.This is a good one because what we have here is not completely distinctive. I think the concept just did something random in there. It basically just did something random in there, and I don't want to do something random in. I want to do something that has a more realistic approach to it. And this has a more realistic approach to it except for the fact that it's going to create some more dark shading between the max and. Let's do that now. So I think this is fine for now. So I'll go back to primitive. Let's hide here for now. Should be able to move faster in here now. Okay. Move this out. Let's turn over this shadowing, save this again, and then we'll go into the mark again and then add more dark shade to it. So let's go back to our maxing. Let's go back to density marks for this. Then I'll be painting. I'll be painting full black. Let's say this to solid brush. So I'm painting full black in here. Make sure reflhon is done off. Okay? Let me reduce the bros size a little bit more. This looks a bit too extreme though. Let's save this let's sieve. This will work just fine, or not. There's the quick sieve. And again, let's see what we get. If it's not looking good, then we can just undo. Okay. Yeah, this one is a bit too extrat too extreme. Definitely too extreme. Let me hide this again. Undo that. Let's see if we can undo that a few times and get that back. Okay. Then I'm going to reduce the bros size some more Okay, I think this should work. They should work now. This is a better This will work better now. So I'm just painting across the edge. I don't so much where the beads are supposed to be. So we just do some more cleanup, and then we should be good. Okay. So this time around I'm need something a bit sharp. Need something a bit sharp in there. Alright. On this part, I think we need to do something sharp also in Okay. You should be fine. Let's move this along. Okay. Play this out. All right. Move this along. Do some more clean up in there. Move this along. Okay, here as well. Move this along. Okay. That should be fine. Do a little bit more around here as well. Do some sharp clean up. Then we go up here. Do some cleanup. Let's just one a better angle instead. Okay. Rotates. Do some crinpsiaswll. Gets close. Alright. Do some cleanup here as well. Create some more gap in between. Look at this from a better angle, create some more cleanup also around here. Move this along. Some more cleanup here as well. So it used to be a bit movio on your fronts parts. So that's why I'm kind of making this a bit cleaner around here. Okay. Alright, so let's save this now. Save. Save the texture as well. Let's zoom out. Let's Let's see what we get. Bring in so we can see what we have in there. Okay. I'll close this for now. Let's go back in here. Yeah, I think this is way better. This is way better. So if you get something cleaner in here now, it work just fine. You have something a bit more cleaner in there now. Same more so on the side. Okay. Oh, I'm not sure I'm not sure I painted here properly. So let's go back in there. Hide here. Let's go back in there. I'm not sure I did painted here properly. Okay, yeah, I did not. So you need to do some more cleanup, also, as well. Okay. Cleanup here as well. All right. Save this, sieve. Go down sieve texture. Close this let's make it I think we should have something better should have something we better now to work with. All right. Yeah, this is fine. This is fine. Okay. So now let's add the cow. Let's hide this scalp. Let the scalp hide this for now. Let's bring the other model. Let's review this. And let's compare, let's see. Let's see if the air is long enough, or we need to increase the length. Okay. I think this will actually work for B. Check this out again. I believe I believe this we can definitely work with. Or we can even adjust the length if we need to, so we can come to the lens in yellow the value of 0.5. 0.5 this true. Let's say once we give him a heirs in there, so we can take down the lens. I think this is roughly where it needs to be. Okay. This looks good actually, but let me just increase a little bit small, Let's the value of six instead. Let's do 0.6 round this tree again. Let's see. Alright, I think this is the perfect balance for it. Seems like the perfect balance for it. Okay. Okay, so I see regions where we need to actually fix. I see regions where we need to fix, for example, you guys in here, we need to pull those guys out a little bit more. There's a lot of corrections we need to do. Since we are in here now, so let's do that. Let's do that now we're in here. So let's go and make this scalp visible. So I'll go to Egg gen scalp, get afro, make it visible. Okay. Let's D for now. Let's bring out our guides. Let's make our guides visible. Is a generated dented out from this. So let's select this. Make sure not letting anything else. Okay. Go to Egan, move this out of the way. Okay. So now let's cope this. Let's cope this guide. So I'm going to increase the broad size some more, and I'm just going to pull it out. I don't want it interfering with the hairs in there, so I'll pull it out, put out some more. Okay. So I also need extra guides in there to redirect it to direct it out. So let me use this one guide in here. Okay. I'll rotate this out this way. Select this guy. No, select this guy. Come on, select this guide. Make sure I'm not selecting anything else we select this. Okay, out this out. All right. Yeah, this should be fine. It's no less what we get. If it's not giving us a good result, I completely clean it off. And complete raise that part out some more. Okay. It seems like we still need to make some modifications in. But I think this should actually should be fine. I shouldn't be too much of an issue because s are supposed to be in the kind of intercepting with this not complete intercepting mai though, but at least creating a shadow depth for that part actually so I think this should work just fine. Let me hide the s for now. I will select this and do that. Come and pull it out some more, pull it out some more. Okay? On this side, I can select these two. Select the to delete delete them. I'll select these two. I'm not selecting anything else. We'll mirror it to the opposite side. Let's mirror it. Okay. So we have it in here now, that is fine. Also that I like to do to select the two on both side and shrink the size actually. So I'm going to shrink the size. Undo that, select this at the back. I'll shrink the size by lots. I don't need to be too high. Let's bring back the hell weg. Okay? I think we can work with this. This we can work with hire the guys. Okay. So I would like to go back to the modifiers. The guys, I would like to update them. Since I cannot make corrections to the links, let's update the guides. Let's update our modifiers rather, turn this updates. Let's see what it gets. Okay? This is what we have. Let me turn of the I pair, see if I need to keep the Co two or not. M is like a back and forth process just trying to find the trying to find the right balance for it. Okay. I think the main issue is the radios for the Co two. Because I lost my a little modification on the 02, the radius for it. So just instead of nine, I set it to four. So I think this will work just fine, so I'll see you guys in next lesson work on the eyebrow, bye for now. 45. 147 Eyebrow Xgen In Maya: Welcome ba, guys. So in the previous lesson, we finalized on the afro hair. So in this lesson, we would like to move on to creating the eyebrow, then continue that on by creating the eyelashes also, too. So let's get down to it. So I have my reference sing here and let's put this to the side. So I'm going to be using the scalp. Let's use the calp scalp for the eyebrow. So let's turn off, we can leave that on naturally. You can leave that on. Let's just turn on the eye scalp. Okay. Give me a good idea of where I need to place this. I think I can hide this. Let me just leave it for better better visual of the proportion. Now I need to get the sizing of the eyebrow in there. Let's select the eye scalp, then come over to Xgen I'll go to description, click on Create Description. I want to name this to I eyebrow, schair underscore description. All right. That should be fine. Then I'm going to create a new collection for this. So everything that's do with the eye lashes and the eyebrow should be in here. So let me name this to eye. Yes, I under scoe scalp, collection. Okay. Then we have these splines. Then we have random n cross surface. The lets use place n shipping guides. Okay, this should be fine. I should be fine. This work just fine. I car collection, description, okay, random lacrosse surface, Prisna shipping guys. Awesome. So let's Lc create Okay. So this should work just fine. So we have this in here now. So what we need to do next to start by creating some I don't have any place that are in here, but I know at least based on the reference in here, I know how we're going to get the eyebrows in. Okay. So let's do that. I'm just going to move to the side. Opie should be fine. O should be fine. Let's go and turn on Egg gen. I'm going to middle mouse glue rag all the way to the end. Okay, close that because we're not going to business this part. We need to work on a few of what is in here. Right, let's create some guides for this. So let's go in, coming close, looking to wipe ball this and then get this to work. Okay? So I know the lowest points, I'm going to pick the lowest moot and the highest points to begin with. So let's start with the lowest point, the lowest point to be somewhere roughly around let's do down here, okay? Okay. Then the highest point should be somewhere around up here. All right. Yeah, it should be fine. Yeah. This will work just fine. Now, let's continue this on. So I'm going to move this way. So I'm kind of creating large gaps in between. Draw another one around here as well. Do that. That's way to Hi, do that again. Let's do one around here, one around here. Then let's pick the endpoints. Let's do under one here first. Then the end point endpoint should be somewhere roughly around here. This should be fine to begin with. You still have control to make modifications to this. So let's block out the top parts as well. So I'm not going to pick here. Let's say peak around, let's pick this peak. Then it goes down. Then from that peak falls down around here, okay? Yeah, this should be fine. Let's do one more round here as well. Yeah, this should be fine. So now we need to start shaping this. So let's go over to our scope two. Select this to begin with. So I need to push this down. So let's go to our scopes. Let's tilt this down this way. Should be flowing down this direction. It also needs to be quite closer to the skin. Yeah, it needs to be quite close to the skin. You're like, so it should be fine. Okay, that should be fine. Move to the next one. Scope this up. This one should be moving upwards. Like so. Yeah, that should be fine. Move to the next one. Bend this this way. Okay. This way, this should be fine. Let's make sure it's closer to the skin. All right, that's fine. Move up. Bend this way. Make sure it's moving closer to the skin. Okay. Push the flow downwards? It's a flow downwards instead. Like so select this. Let's cope this down, move this down. So there's a particular directionality to it. I'm trying to flow down flow of directionality for this. Okay? Look at this from the side, let's see how it gets. All right. Move to the next. Move the flow this way. Okay. Move this down, down some more. All right. I think I need to move this down as well. Okay. I should be quite close to the skin. Oh, I see a few down. I need to also pull pull down, select this. That's why I need to kind of check this on various angles just to make sure you're doing this correctly. Move this down towards the skin. Okay? Select move this down. Okay. Here, this should work. Move to the next. This is going to move down, kind of pinch these down in this direction, set this up, wie nicely, pull this down. In a swell down your swell. Next, pinch these towards a common points. So I'm pulling these towards the same points, has this down. And Okay. I think most of these guys are managing to shrink down a little. But for now, let's just get the general shape in there first. Select this as well. Move this down, move this down, bring it closer to the skin, move the tip out some more. I'm not even sure if I will need this anymore. I'm not sure if I need this anymore. I'm going to let's just leave it there just for it in control and tightly hold the edge. So you should also pull the edge. Move this down. Okay? It should be fine. So I'm going to select. Let me select this for now. Shing them down. Okay. Yeah, this should be fine. Select this at the end, Shing down as well, shinging down even more because this one should be quite smaller in length. Shouldn't be as long. Yeah, that's fine. Then let's create additions in between, additional guides in between. For example, this on the middle around here should be fine. Okay. I think this should be fine. Let's do one here, here, or here, well, here, well, here, also. Okay. Then we'll make modifications to a few. Like this, for example, I need to pull up. Put this up some more. Select this. Put this up some more. Okay. Select this. Put this up some more. Select this as well, lift up some more. Select. We can no not rotate. Let's move this in. Okay. Yeah, I think this should be fine. Let's generates. Let generates for this, increase this let's adjust the values in here. So the weight 0.01. So I'm not basically trying to luce the flow for this. If I have the flow right, then I can just paint in and then it should be good. So for the most part, I think I have the flow, right. So we have the right flow for this. Let's go in and adjust the taper. I think this should be 71. Then the taper start should be 0.76. Okay. I should be fine. I'll do a quick save All right, I think we can work with this. Now we're going into preview output, turn that off. Then let's flip this to flip this to the opposite side. So select all of these guides, and let's flip it to the opposite side. So let's do Mirror Okay, then we can generate as again. So I notice now that it's not updating immediately, why? Because, start this off already. Let me turn this off because I want this to update. Okay, let's leave it automatically updates instead because we're not having too many as in here, so it should work a bit faster should work a bit faster in here. So I think should move a bit faster in here. But let me just kind of get the C five, the flow right. Increases a little bit more. Just need to make sure I have the right flow to this, which I do, which is fine. Now, let's paint density marks for this. Grits Let's fill this with black. S let's do 50. Then for the map name, let's name this. Let's use eyebrow, eyebrow, underscore. Then underscore Max, should be fine. This will work just fine. Then we can create right. So now we already have a guide. So our guide is like this. Yes, our guide is the guide points we have in here or the guides we have in here, so I'm going to using that kind of paint over where we need this to be. So Turn that off. It's supposed to be. Okay, okay if you save this now, you don't have any hair generating here because you kind of save this black now, so you would have any hair generating here. So even if you try to update, nothing is going to work because we have saved this full black. Now let's go in and paint what we need. Let's just a solid brush. Painting on full whites. Okay. Then let's paint with symmetry on reflection. All right. Reflection is fine, so it should be painting on both side. Move this to the side, get close, reduce our brose size quite well because we want to kind of capture the outlines the outline we want to paint in now. So let's go I think I need to reduce the bros size even more, reduce that some more. Okay? So we're just going to follow these guides. All we should be fine. Then we can go up also. Bend this down. All right. Bends over, paint in kind of fill up the center points. Okay. All right. That is fine. I feel like I should, I think you should be fine. You should be fine. So now let's blow the edge. So let's go to a blow. Okay. I think I might need to increase before we increase the blow size, let's just blow no, undo that. Undo that. Okay. So I want to reduce the blow size a bit more, and then I'll just blow the edge this way. Okay? Going to do a small blow on the edge. All right? Something like so. Continue this on. Alright, this way as well. I think I might need to increase the blow size. I'm going to increase the blow size for this blow. I might let's just see what we get with this. Let's see what we get with this paz. So I'm going to save. Okay? See, we have a generating this way, well a who number of as in here though, but I think for now, we're getting something good enough to work with. Okay, let me increase the density of this some more Let's see if we can make this work. Increase this to 20. Let's see. I can see on the top part, the top part is quite blowed out some more so let's increase the bro size for this blow. Increase the brow size. Then blow the top some more. Okay. Around there. I'll blow this out some more as well. Okay, let's save this. Yeah, this should be fine. This will work just fine. You really need to do just to increase the density of it because we need at least a lot more hair in there. So assign texture, let's do four k, assign texture, close save texture. Can close this now. Alright. Then let's go out. Let me save this again. Then we'll go out. All right. Let's add our guides. Let's see what we have in here. Awesome. See if we have something good enough in here, this would actually work just fine. Yeah, this will work just fine. Yeah, we did a pretty good job in there, so this should be just fine. We don't something so there's too much guides in there. Even as like you said, we can even leave it as it is without even adding modifiers to this, but we need to add modifiers. So let's just go in and add a few. Let's go modifiers, add. Let's start with clumping. We will start with clumping first, setup, generate, let's see how many clumping we have. We need to crank this up some more. Let's Let's do four to begin with. We need a bit more. Let's do ten. So add winder I need a bit more because I'm looking at where these lumb guides are actually in. So you might need a little bit more. Let's do 15 instead. Generate Okay, then save. Let's see what that gives us, okay? You can see the difference in here now. Yeah, this should work just fine for now. Now we need to break this up. So to break this up, we need to add another lump also in this. Let's add another lump. Okay? Setup. This one, I'm going to double it. Let's do 25 generates. Save. Let's see what 25 gives us. Okay. We have something in here, but it's a little bit too intense, so let me start with the lower one. So I'm going to take down the maybe won randomize this actually can randomize this. Let's randomize this, so let's use our Okay, we can do this in here already. So let's just run open brackets. Let's do it from a value of zero, comma, then zero point let's do 0.5, then close bracket and enter on this. So you can see some of the some of them clumping and a few of them not clumping. So this is fine. Something this will work just fine. Then I'll copy this also as well. Go to the clumping one. I'll paste that in the clumping one Clompin two rather. So wet this off our non. So you can see slight difference in there. Okay, I think for this one, we need to reduce the randomizer. Let's say this to 0.3 instead. Okay. Yeah, this will work just fine. This will work just fine. We don't need to do too much. So this is good. So let's go in to modifiers again. You need to add a new noise. Let's ads. Let's see what that gives us. Okay. Way too noisy, no doubt. So let's place randomizing there. Let's randomize the noise. Let's do off and on. Let's see what we get on off on off. Okay? Let's see, I think. Let's use the number for the noise. Sort of five. Let's use three instead. Let's use three instead. That should be fine. Okay, so one last we need to add is the coat modifier, so let's do coats. Okay? Now, we should not see too much we're not seeing much happening in there, though, but I think this might just be fine the way it is. We don't need to add length to the end. I don't think we need to add length to the end. Yeah, this will work just fine. This will work just fine. So we will leave these CTs. Arts. So next we need to work on will be the eye lashes. I'll see you guys in the next lesson. Bye for now. 46. 148 EyeLashes Xgen In Maya: Come about, guys. You previous lesson, we created the eyebrow. So in this lesson, let's work on creating the eye lashes. So let's jump right in. So I'm going to select this scalp again. So you always want to select this scalp before creating your description for it. Let's go to description, create description. So this time around, I want to put this description on the eye scalp collection. So let's rename this two. Let's use all caps for this. So eye lashes. Okay, eyelashes DESC for description. Okay? That is fine. Then we have this on the Eyes car collection, then we have splines and random lacross surface, placed in shipping guide precisely what we want. Then I'm going to click on Creates Okay, so we're in now. Okay, give you a moment is in now. So moving on. Now the next thing we need to do now would be to create our guides. So let's go in and create guides for this. So go over to guides at click the plus sign. Then let's start from the top. Let's start from the top. So you need to find should let me find a good angle for this. Should be siding somewhere around here. Okay. Create another one. So for this particular, let's go to create large gaps. So anyone we had in between is just going to interplay between those guide. Let's do one here. The final one. Okay. Yeah, this should be fine. The next thing you need to do is to kind of start shaping these guides. So let's go over to our scope to increase the bro size a little bit more for this up. Okay. We need to make sure our reference is in front of us like so. Okay? Yeah, I think fling let's rotate it this way. Is to fling in that direction that is fine. Move to the next one. Scope this upward. Not the lengthward is actually too long, though. We just in a bit less just get the shape in. Out to the side, let's see what we gets. Alright. That should be fine. Move to the next one. Bend this up up that way should be fine. Then the final one, move this up as well. Check this one better and good should be up this way. The whole going to rotate it this way. All right. Now let's select all of them, and then let's reduce the Let's take down the length for it. Shouldn't this long. Somewhere around there should be fine. So it should be fine. Then we can create if you now in between. So let's go back in, so you should intapate between them now. Okay. Yeah, I think there should be one more year. This should be just fine. Now let's create the lower eyelash. Let me start from in year one, we do another one here. We'll do another one also around her, another one year also. Then obviously, direction needs to be different. So let's fix the directionality for it. So you should be bending downwards this way. Look for a good angle for this. Bend this down. Okay. Move to the next one. Bend this down, down some more, rotate this way, select. Move this down. Move this up this way. Okay. Down. I think that should be fine. That should be fine. Let's leave this up a little bit more. Okay. Select this. Yeah, I think it should be fine. Let's go and then bend this down. Okay, I think the lens for this is longer than the others it is. So let's take down the lens. I'll rotate it this way. Okay. Select the three, scale it out a little bit more. Okay, I think you should be fine. Let me just check under this and see if the view is actually okay. Select this and need to rotate this to the end some more. Put it to the end some more. The less creates new ones to kind of be in between them. So you should inapolate between what we just created now. I do that up some more. Okay. Yes, well. Let's do one year or. Okay. I think theret a few corrections we need to do. For example, this user scoped to scope this down, increase the length some more. Okay. Yeah, that should be fine. Select this. A Okay, it should be fine. I think I need to extend the lower ones, the lens, a little bit more. Okay, extend a little bit more, that should be fine. Let's get some bend suets. Let's get a little bit of bent sweets, bend this down, select bend down some more. Okay. And you need to bend this down. Let me bend this down some more, select bend down some more. Yeah, I think this should be fine where it is. Now what we need to do now would be, okay, I think you already know just let's start by going to previ and output, turn off all the primitive in view. If we generate as out of this now, we increase some more. It's all over the place. Then let's adjust the weights. So 0.01 for the weights. Then for the taper 71, then for the tapa start 76, 0.76. Alright, but now we have this way we don't want it to be name the quick Sieve. So now we need to paint density marks for this. Let's paint density marks for this. Before we do that, I would like to select all of these guides and mirror to the opposite side. Then run some irs around this as well. Okay. So now let's paint density marks for this, so let's go into our marks create map. Oh, I already taken up that collection map resolution already, which is cool. Now let's set it to black. Then we just rename this I Lis ndscoe DNS dsce Max. This should be fine. Then click on Create. Let's do create then see lashes, then the mask creates. Alright, so this will kind of set us up for painting in here. But I will need to also turn on wire frame on shader so I know exactly what I'm painting on. Let's hide the strands for now. Let's go to paint set top. Okay, solid brush, paints in full whites. Make sure what painting is symmetric also So reflection is on. Okay. Let's see, our brow size. I think our bros size should be let's do a slightly smaller brow size, okay? So now we just need to paint across Okay. You think painting should be fine. Oh, they should be fine. That's fine. The less paint also to for the top. Okay. Move this along. Let's come from the opposite direction. All right. That's fine. Let's save. So you should have edge generating where wanting to be now. For this battle line, we need to blow out the edge. We need to blow out the edge. You just leave it the way it is. Then let's do assign texture, okay? Save textures. Close this, go out of fire from unshaded. Okay. Go back to selection. You should have this now. Let's hide our guides for now. So a little we need to do, just to crank this up some more. All the way up actually. Maybe we need to kind of increase iteven more. We might need to increase the seven more. I think we might need or do we even have it go? Let's do 150. That's 150 should be fine. Okay. Yeah, this will work just fine. So what we need to do now would be to go to modifiers. I think for this one, I think one clumping might just be fine for this setup. Generates a lot more. Let's start with 20. Generate, sieve. Okay, we have something good enough to start with. Yeah, this is looking good. I think we come up with this Let's create clumping in. Let's create a new clumping in. Set up. Let's put this to 40. Let's double the number for it. Sieve. Okay, so now we do need to go in and then we paste I believe we still have that extent let's paste this in. Coming paste this in also too. Okay. Let's turn the top one off for now. I need some clumping in here, though. N some amount of clumping in. Let's do all the way to nine. Okay. Oh, that's the wrong one. I was in that on the wrong clumping. Let's say this to nine. I would still like some of them to actually kind of clump. So let's change the value of zero to 0.5. So 0.5 to 0.9. This one feels a little bit too extreme. Let's say this to three. Yeah, this should be fine. This will work just fine, so let's turn on the one at the top. And I think we need a whole lot more hair. You need a whole lot more hair in here. Let me put this to two red. Okay, I should be fine. Let's go back to modifiers. So I'm not checking this for me distance just to be sure I'm doing this correctly. Okay? The wit this is the wit correct wit is correct for these modifiers. Now, let's add another modifier to this. Let's go in. Let's add the noise modifier. Well, off rings in here. Let's just pace the randomizer in. Turn that off and no, let's see if there's any major difference. This will be fine. I work just fine. Now, let's add our coat modifier. C Cat modifier. Now this is cutting this way too much though. You have too much going on in here, so let's take down the value. Let's do zero to zero, one. Okay? So if you go in now we can see some variations in the eight of them, which is fine. I think this will work just fine. This we can definitely work within her. Do a quick save. Should be fine. Yeah, I can work with this. This is that's pretty much it. This is pretty much it. So now let's kind of visualize all of all of them together. So let's go to the and let's make it visible also. Okay? So it's in here now. Let's go in and turn. Let's hide this cap for now. Let's hide our scalp. Let's go to the pose, at this model, make it visible, and let's kind of get a good look of what we have going on in here. Okay? Alright. All good. Okay. I feel like I should just feel like I should adjust some of the guides in here. I think I need to adjust some of the guides in there because it's kind of looking too symmetrical to the opposite side. So let's create some variation in there. So let's go in. So let's make the guys let's hide here for now. Let's make the guides visible and let's break up the uniformity a little bit more. So I'll start with this going into our scope to increase the blow size some more. And now just bend this down, read some interest to it. So it doesn't look too uniform to the opposite side. Okay. Bend this down. So this is just to add a bit more more of an interesting look to it. Move this forward. Okay. Let's see if there's something else. Select this. Move this this way. Then down some more. Okay? We have another one in here, select this. Move this up. Okay. We can also do the same also too for the front. This one different, but also looks too symmetrical. Let's select this as well. So this is just how you add some more interest to your model, move this down this way. I needs to add some measure of uniqueness to it and not look too symmetrical. Move this this way. So this is just how I can break symmetry for the hair. I think I'll select this move this out down some more. So now if we should little bend to it, should have some little interest to it also. Let's the guys for now. Okay? Should look at it from this side now. Should see a little bit of an interest to it. It's not too obvious, but still in there and actually helps. Okay. Let's see if let's add a little bit more. Let's do a little bit more breakup in there. Okay? Make the guides visible. I don't want to add extra guiding yet, so, this is nice. So now we can move all of this also if we need to, we can make some more breakup variation as we please, a bit more randomly. Randomize the breakup also. So let's through again. Let's see what we have. Okay. Yes, interesting. Maybe small break options. Shouldn't kill anyone. Okay. Let's see if you actually have this bending. Okay, you can see a little bit of bending. I don't know if you guys can see that, so let me do something a little bit more slightly drastic. Let's do something slightly drastic. Like pushing this all this way. Then come in close. Is closer and then we you should see a little shift in there. Let's give you a moment. You should see that. So that's how I kind of randomize this a little bit more if you need to. Okay. Let me do something crazy. Slightly crazy. Let's just add something. Let's add one guide in front. Oh, this cup is not visible. Let's make this scalp visible. Let's add a guide. Let's add one guide. Let's say we add a guide somewhere around here. Okay? For this butler one, I'm going to move this in an extreme way. Move this to an extreme way. Then let's bring let's see what that gives us. Okay. You can't really see much happening in there, though, but we have something definitely in there. So I think this is fine. I think I'll leave this as it is. I think we don't need to go too crazy in there so we don't mess things up too much. Okay. Now, I think I need to I need to just increase the IT tiny bits. Just a tiny bits. Just for the sake of experimenting here let's do a value of 0.8. Let's the value of 0.8. Let's see what that gives I just worked already. Let's run this through. I'm not sure I saw any difference, though. I'm not sure I saw any difference. Maybe it's not. Difference is not. Difference is there, but not too much. Okay? But this we can definitely live with. Okay. Let me take it back to the where it was before. Let's see if I'll see any major difference in. So I'm basically eyeballing this now just to see if any major difference. Oh, I see the difference now. I see the difference. The only issue we might have is that anytime we extend the length, the coils at the roots begins to look a bit stretched out, and we don't really want that. We don't really want that. I think this is actually a really good value, really good. This length of six is actually a really good one. Not too weird, so it should be fine. So the next lesson next thing we're going to work in, we'll be working on this mesh and working on this k for it. So we already have that in this cap already. Let me just hide that. That what we want to work in on the next lesson. So I'll see you guys in the next lesson. Bye for now. 47. 149 Resolving Xgen Guide bug In Maya: Welcome back, guys. So the previous lesson, we finalized on the eyebrow and the eyelashes. So in this episode or in this tutorial, we're going to create the skunk hair for here, okay? So I have some references that we can use just to get a good idea. It is like a reference of what that particular fall should kind of look like. So if you see, now, let me look for a closer example. It is a closer example, so you can see how we have some clumping in there, but the clumping is quite small, so tiny clumping in there, tiny clumping in there. I'm not going to use this as my main reference because it's just there's some som noise going on in there. So based on the character reference, we have a bit more organized kind of feel to it, but we're also going to add a little bit of noise to it, though. Okay, so let's get right into it. So what I'm going to do I would like to separate this out because this is going to be the fabric itself. So I would like to separate this out. This I would like to separate out. I'm not supposed to have them together. I'm not supposed to use a place that to know where I'm supposed to stop my painting for the density marks. So let's separate this out. I'll go sheet rightly and let's do separate. So I'm going to rename this separately. Let me just use this. Let me use this cross chest fabric. All right. Then I'll drag that out of the group. Then this I'm going to name us. I wonder if I'm spelling this correctly, though. Skink, shoulder, scalp. All right. Yeah, that's fine. This should work just fine. I'm going to drag that out of the group also as well. Let me put this up just below the ice scalp. Then I'm going to delete this group. Let me select this to Fs and then do lab type try. Okay. Yeah, that's fine. I'll select this. I'll delete that group. Then I need to send this out of the group. Let me just pull this out. You should just be sorry around there should be fine. Okay. So this is like, basically what we need to work on. I'm going to hire this for now. So this is what we need. Let me bring it back out actually, because I see going to add guys in there. So the guys is going to give me an idea of an idea we're supposed to stop so here, so now let's select this and give you the different material. Let's do favorite material Lambert. Then we go in and then just copy the name in here. Copy, Paste the name here as well. Come on. Paste in something else. Copy, Paste. Okay. Now I'd like to darken the material a little bit more. Let's darken the material. So more Okay. Yeah, I think it should be fine. So now back to our egg gen tab, we would say let our put is completely different collection. Should be on a completely different collection. So let's see. Oh, okay. I think there's still one more. There's still one more scalp wind to get out, which we did not get out, which is the strap for it. This little pass strap. This pass trap. So yeah, I think we'll do that Let's do that in next lesson instead. So let's just carry on with what we have right here now. You put this to the side. Okay, so select this. Let's do Let me put this in a different collection. Know description, create description. Okay. So this description, let's name this two let's let's use scale just put coin for under DESC for description. So I want to put this on a different collection. This collection will be for maybe I should name this something that's a bit more collective. Let's just name this to chest four. Okay. Yeah, I think this should be fine. Or maybe we won torso four. Let's do torso for instead. Torso for because this is going to be the collection for where we're going to be putting in every description that has to do with the hair we're going to be generating for this cocarnw pad skin. So let me just put this in the toe so it's going to be a to cutting the too. So a place nets so let me leave that there instead. So torso for splines randomly across surface, Placen shipping guide. Click on. Yes, it should be fine. Click on creates. Okay. Running through, I think it's almost done. S is there now. So now, let me send this to egg Gen tab. Who this all the way here for now. I think it should be it should be fine. So what we need to do now is to add let me get close, is to create guides for this now. Let me need guides. So let me start let me start with the ISP and the longest A for this vessel. Add guide. I'm sure you guys already familiar with the process by now. So let me add the guide here. I'll scale this out. Okay. Then add another guide here as well. I'll scale that out. I do the screen scale this out. Okay? Was you going to adjust this later on the let's just get the guides in there first, another one here, scale this out. Okay, let's go to the back. And then we're going to add another one roughly around here. It's trying to interpolate between, scale this out, add another guide, one around here. Then one year also. Undo that getting close. Let's do one quite close to the edge. Okay. All right, it should be fine. So now we need to start making adjustments to them. Let's start from the start from the back, rotate this out, rotate out as well. Rotate down this way. Okay, this way, so more, that should be fine. Rotate this down this direction. Okay. Now, let's start using a scoped guide and begin to scup the shape you want for it. Okay. So I'd like to fold this down some more and add some kind of a shape to it. Let's add some shape to this bot. One thing I'd like to do would be let me select this. Let's rebuild. Let's use it instead. Fantastic. That is just that is just great. So, we're having a bug now in here. So when I just select this and then try to rebuild that to it, it is converting it into a cove, which is not what I want. So issues like this cannot actually arise, especially when you're working with S issue also in here. It's a pretty annoying issue that happens in eigen sometimes when you're trying to rebuild. Let's see if I if we are going to have the same issue also to rebuild say this to eight. We're having the same problem also. Okay. So now we fix this? How do we fix this? Let me just see if I can select all of this and we'll do the same thing. Let's do it. Fantastic. So it cannot mess everything up for us. So I'm going to select. I'm going to select the entire cove and want to use modifiers in there. Now I'm going to send this out of the group Shift P. Select them individually. And then shift P, send them out of the group, delete this. So I'm going to select all of them now. I'll go to modifiers. No utilities, rather. I'd like to convert this. I'd like to convert these curves into guides. So let's do curves to guide. Okay. Delete curves, want to delete curves. So now they've been converted they've been converted back to guides now, but now I'm not entirely certain because I'm not certain if it's still taking up, go back to permissive. I taking up eight CV points to this. Let's do guide points. Let's see. I took up the eight points now took up the eight points. Okay? That's fine. So now let's continue on and then continue sculpting this guy some more. So let's go and scot this guy some more. So let me see if this also. Sometimes you can do everything right, but agent can decide to act really weird, which can be most times quite annoying. But anyways, we have this bar. Actually the good thing in there is there's a solution to it, so we have the solution we need now. So I don't cannot get too much cove in the village gets at least a good amount of cove in we still want to get this to be straight, but let's add a little bit of cove to it as well. I'll select this. I think we can just go straight on, just move this down where we want it to be. Okay? Was it going to make adjustment to the height, though? We finale just gets good enough straight off values for it. Alright. I think this should be fine. Let's get an ice cove in here. Straighten the tip. Okay. Yeah, that should be fine. Let's move to the next one. Set let. Get this where we need it to be to the strats Alright. Push this close out to the scalp itself. Let's get some cp to this. All right. I'll go to the previous ones. Let me get this closer down here. Closer also too. That should be fine. Let's move on to the next. E on the keyboard to go to the previously used to. I think this sound needs to scale out some more. All right. Let me make sure we have this completely in view. So we kind of get similar shaping, bend this down, move this up. Okay. Move this backward this way. Get some curve to it. But I think this I'll need to scale out quite more. Okay? Move the generating up a little bit more, bend this down. All right, escope two. That's fine. Let's move on to the next. EG on the keyboard to go to Scope two.Th I'd like to scale this out some more as well. Let's look at this one direction. We're going to be viewing this on. All right. So these parles are going to be at the tip, so we need to make sure the shape is looking as accurate as we possibly can get this to look. Okay? I'm going to move this in this direction instead. Get some Curt it. Alright. Bend down some more. I was thinking it's going to visualize this with the body on to sorts make sure the guides are not touching the body itself. Let's make the body visible in so you can get a good idea. Okay. Yeah, I think, this is fine. We have this way it needs to be. Okay. It's not really touching the it's not touching the skin, okay? Yeah, this will work just fine. This will work just fine. Let's go and hide this again and continue on with what we are already doing. So let's go on. Is running to bend, selection to select this EG to go to previously used two, which is the Cp two, then bend this down. Okay. I think extend the lens a little bit more. No, let's leave it back where it was before. Let's get this right. Okay. When it's down, let's get some Escov to it as well. Get this closed. This is fine. All right. Yeah, I think this should be fine. This work just fine. Now let's get a good sense for the height for this. Okay. Let's see if the lens is good enough or we need to make corrections to it. The longest one should be here and this. Okay. Let me select this. Move this this way. I think that should be fine. Now let's add some other guides to it. I'll do one guide here. Fantastic. That is just great. I mean, if gene doesn't mess it to your head, what will autentlyTs definitely a bug, no doubt. Definitely a bug. Autentily sure why it needs to straight down this way. Delete that. See if I'm thinking maybe I should start this file again. Probably that should help Egg work a bit properly. Let me do one again. Let's see. We're having the same issue. So I'm going to be starting aging of this file and then see if that will help resolve any issue in country near right now. Okay, so I've restarted the file, and then we still have the same issue even worse. So if I should run from through, you can see how A Jen is just refusing to follow the guides. So there's only one thing we can do. We just have to delete this collection entirely and then create a new description with a new collection because I still so even if I try to add a new guide, the guys just forced down. You guys completely force down, so now, let's add we do that. So I'm going to What first thing I'd like to do would be to grab all of my selection I'll grab all of this. I'll I'll convert them into guides. I'm going to use them because I still need them, so let's go to utilities. Let's do guides to COV. Okay, guys, guides to cove. Okay. Then I like to delete the guides also, too, so create calls. So I'm going to select this. I'm going to hide this for now. Let's go back to the file. So you can do everything right, but XGen can just decide to let's activate because it's quite boggy. I need to delete your description. So let's make sure deleting your career description. So those so four. Deletes description. Okay? Collection deletes collection as well. But we're not done yet. Even though I've deleted it here, we also also need to go to the folder or project file we set up for this and lead that in here. We go to Xgen collection. I still going to be in there. So we need to delete that as well. Okay? And that we introduce to save this and then close the file and then restart the file again. I want to study file again less close, sieve, and I want to restudy fine. So you're not doing anything wrong. It's just something that cause while working with Egen based on my experience, this has happened quite a number of times for me. I needed to clear everything and it always happens when you try to rebuild the CV count for e spline, or for each guide. Let's go back and open the file again. Okay. So open this up again so I'll go back in. Let's create oh, yes, set projects. There's the projects we need to set. So select that sets. So you always want to do this. After doing this, you always want to check if every other egg gen guy is kind of working properly in here. If the ears are generating the way they should. You always want to check before you move to something else. Okay? This is fine. Yeah, this is fine. So let's hide this Okay. Yeah, we can leave this one. It's not really big deal. We don't have too much CV counting yet to bug or PC, so I need to do this again, so come back in your description, create description. Let me just I would like to rename things. I always like to rename things anytime something like this happens, just so I don't have any weird issue happening. So let me just name this to trust. Four collection. So I think in this instance, we might have to rebuild this. We might not need to rebuild again because anytime we rebuild the civic counts for the guide, it's kind of medicines for us. So listen a shipping guide. So for the description, let's name this SkincOceFour. Okay. I'll put shoulder in front. So let me put shoulder. So for shoulder, I'm just going to put use HUL D should for underscored description. You always want to change the name so it doesn't mess with because sometimes you might stay the previous one stay in there the background for some reason. I'm not sure. So kind of name t, just to keep it is a little bit different. So we have a fresh start to avoid any bug issue that might cour later on. So yes, so now we have is create collection chess for collection splines. Rounding across surface plaster shipping guide creates. All right, so now let's create some guides. Let's create some guidance here. I'm going to place one guide. Let's play one guide here. Please one guide here, another one here, and here as well. Okay, grab all of those. Skill them out. Okay. At to bit more should be fine. Like so should be fine. Okay? Rotate them this way. Alright, so remember those four remember those guides curves where we converted before. So we're going to need them. So let's go in, make them visible. Okay, select them. Then go to utilities. You can do curves to guide, curves to guide, so Ad guides. So I've cooted them now to guide. So let's go and test things out by just going to the Ad guys and add another galaxy. Awesome. So we have this working correctly now. Finally, we need to rebuild, just so we don't run into issues. Okay? So we can work with this. I have some da trick. I'm going to show you guys just to get the guys, new guys kind of shaped like so. So we'll do that in the next lesson. Bye for now. 48. 150 Skionk Xgen Guide In Maya: Okay, bad guys. So in previous lesson we run into like a pretty discouraging bug or annoying bug instead of egg gen where we had weird stretching for creating new guides. And I kind of fix that now because once we created a new guide, it's not having that weird bending deformation in there. So if you generate out of this now, the you kind of follow through, kind of respect our guides now a bit more accurately, okay? But we still have a little bit of work to do in there. So now, let me show you guys a trick. It's cheap to kind of copy this deformation, this bend and then paste it in here is to select, go to our selection to select this. Go into it put your mask also directly on the guide right Code. Then we'll do copy guide shape. Move to one closest to it, select this. Put in there I'm sure you get the idea already paste guide shape. Fantastic. Isn't that great. Another issue occurring in here. Grits. That is just grits. That is just grits. I just great. Let delete this. Let's take this out te. Let's make sure we don't have any mess in here again. Okay? We don't have that mess in here, but risky business. Another bog also to keep in mind. Sometimes you can do the same thing in a different file and work just fine, then none that fine and then you start having weird issues. So things can be completely mindful of why we tj because it can really take a really weird tone and then not give you your desired results, so we also have to scrub this deal way drag this all the way to the end. Okay, so I'd also have to manually sculpt the shape. Yes. We have to manually scope the shape. So that's fine. At least, let me run this again. Let's make sure it's following the guard just to be sure. Then we'd also have to bend this bend this properly. Sadly, egggen is quite boggy, and I was still even having the same issue even while I was in my 2019. Still encountered similar issues. Not sure when to fix this though, but fingers crossed. But now after your main question you want to ask would be, would this affect anything in here? Well, not really. I just wanted to have better definition for these plans so I can properly have my generated hair follow the guides a little bit more. But nevertheless, we can still work with this. We can just rough this in and work with this because I'm not sure there's something we can actually do because let's do with the core programming of agen. Let's do the core programming of Fegen. So there's not much we as artists can actually do, but just to rough things in and try and make things work in here. Let's do that leisure shroud make things work. I mean, we artists, we can just make things work one way or another. The good part is that we can't afford modifiers, so this is not going to just completely follow this gas. We can see we find those generated strands of fab by using this modifier CV counting here. And that one works fine. I actually the best of my experience, that one works just fine. Won't be having any issue with that. Okay? We on to the next one, select. Let's carve this the way we want it to be carved. When it this way. When it is down. Okay. I think the previous one we did before, we need to lift it. Let's select these two instead. Let's use them up a little bit more. Okay? Yeah, I think that should be fine. Select this bend this down. This kind of increase the scale for it though. Let us get this down to a good enough shape first to begin with. Okay. This up some more, that should be fine. Move the one at the back. Get our shape in. But the only interesting part in there is at least once we add new guys, you guys in here is going to take up the form at least try and conform or interpolate between guys already having so let's get this in out some more. That should be fine. So we need a bit more guides. So in this butler, I'm not going to go too crazy on the guides because if you're noticing, we don't have extreme definition in there, so we can go to a few counts of guides in Okay, so let's go and add some more guides. Let's do one around here. Okay? I'm supposed to select at least this and then get them scaled out some more. Select these two. This is what we need. This is what we need. I'll scale them out some more. Okay. I see if it's more like, so it should be fine. But it shouldn't be as long as you are pre deescending guides for it. So should be just fine. Tishul work just fine. So we can continue on adding more guides to this then put this aside. Let's fill up some of the caps we have in. Okay. One year, one year, as well. We definitely need one here, then one at the back side, roughly around there. These battlers at the back are really taking up good shaping for it. So we need to kind of help it out a little bit more and add some good shaping for it. It should be pointing up instead. Okay. Let's look at this from the top. Oh, we still have this generated at the top, so I'd like to lay aside the headhe aside the afro head for it. Aside that, so don't that we cook a bit faster in here. Okay? That's fine. So let's go back to the collection. H for collection. You can see already getting something interesting in there already. But with a few modifications, we should be good. So let's gusted force for now. It looking a bit old, let's get some nice shaping in there. Okay, that's fine. Go in and continue adding some more guides. You see a gap in here. There's a big gap here. So that we need to shape shape that some more Okay. Add some curve to it as well. So it doesn't look just too flat. Yeah, interesting. Let's do one here. For this button, we can leave in streets. And at the back, this button, we need to adjust some more Okay. Maybe we won't get this bent this way. Even though the one might not be rendering the bubble, we want to make sure everything's working quite good. It's important to get everything working as good as we need it to be. Select this, select that at the end. He join the keyboard, let me just get some shaping us. It doesn't look too flat. Yeah, some more guides are necessary is. Let's put one year, one year as well. Spots a little bit empty, one there, one as well. Aswell I think it should be just fine. You should kind of control most of our shape. Now, the guys you need to have in here should be quite smaller guys, quite small. So let's do that. We don't want something this high, so we should bring that down. Somewhere around this length should be fine, okay? With some shaping to it. Not more shaping, though, but let's lift this up to begin with. Let that lifted up. Okay. That should be fine. Some burned suits. I'll add one here as well. Take down the scale. Get some burned suites. Alright. I'm it's a smaller guide, so you should have good definition for it, but longer guide needs more points in between. That's what we needed to rebuild, but the rebuild was giving us some weird annoying issues. Okay. Let me do another one roughly around here. Take down the scale, down the scale. Let's cop something nice in there, pull this up. Okay. Yeah, that should be fine. Add another one roughly around here. Take down the scale. They usually usually get to be longer than I need them to be because it's trying to interpolate in between. Alright. Move this up some more. Yeah, that should be fine. Move this along, get one year, scale it down. Down some more. Move this up, get some twist to it. Move this direction this way. Leave the tip up some more. Alright. Yeah, that seems fine. Come all the way here, take down the scale. Let's be fine. Let's go on scopes, shape in here as well. Make sure this is looking good. All right. I think we can work with this. Almost on. You swell, reduce the size. Okay. Sculpt some interesting shape in. Yeah, this should work just fine. Move down, roughly around there, take down the scale. Do some sculpting in there, move this up. Okay. Alright. Move this tip forward some more. That should be fine. I think you can do one last one. At the end point, roughly a year should be fine. Take down the scale. Right, that should be fine. Now let's generate some s out of this and let's see how we can make this work. Let's generate hs. We always in ga but once it started we need to lift our guides up some more. So let me hide this for now. Let's select all of the guides. With the rotation, I'm just going to lift this up some more run this tree again. Let's get some more hair generated in there Okay. So let's compare this. Let's bring back let me see this first, and let's bring out the body itself let's compare that. Let's see how this works. Let's see if we have something good enough, we need to leave them up some more. Okay, select them all together again. Here, we can do, we can do ing, so we should rotate this. There's no uplating let's there's even Olating. Okay. Yeah, I think this is now in a good place. Yeah, definitely now in a good place. This we can work with. Yeah, it can work with this. I can work with this. So basically you need to just paint our density density map now and then we should be good. And then continue some modifiers in. So let me hide this for now. You always want to go in and then checks for now. Be a quick save. All right. Yes, good please. All good. So now, I would like to include your CV count. Let's do 25 for the CV counts. T five CV counts. Yeah, most of the ship are going to get to look right later on, CV comes will be fine for now, let's adjust the weight now. So we always use 0.01. 0.01 should work just fine. For the TAPA 71, I believe. Then TAPA starts 76, 0.76. Let me just make sure I'm doing this correctly. Let's go to my file. Yes, all good. All good. All good in here. This will work just fine. So now, basically what we need to do is to draw densy marks for this. So you have more generate generated in here now. Okay. Yes, this is fine. So let's go in and painting some denty marks. Hide this. Okay. Now let's go in drop down arrow, create map. So we're starting with full black. Let me say this to 60, Evan. Yes, then we named this skink, OAs. You need to be SkincOscoesco, density, DNS Maps, this should be fine. Okay? Create. Now let's go in. If we save this. You should do all of those disappear. All right. And let's go into our brush, a paint brush, let's use solid brush. A painting for white. We're not painting with symmetry on because we don't have anything symmetric in here, so yes, that reflection is off, that is fine. Paint to already painting with white. Awesome. Now let's go in and then let's do a paint for this. So let me reduce the bros size to begin with. Okay. I also need to clean this up a little bit more though. But I think for now they should be fine. So it's really painting what is visible on our camera view, which is precisely what we want. Okay. Let me do the same also around here. I won't painting anything in there at all. Let's don't know wire frame on shaded so we can actually see the ends of this. Alright. A pins the edge. Let me try increasing your bre size. Let's paint on the edge. Let's see if it's going to bleed out the under parts. Slightly bleeding out the under parts. So I would undo that. I don't bleeding out the under part too much, so I'm going to take down the bro size. Let's just be quite close to the edge. It close to the edge because all of this part is not going to be that visible later on after adding the four. The four should completely cover it. Okay. I but want to be as close to the edge as we possibly can. That is certain. Be as close to the edge as you can. Okay, let's move to the opposite side. Okay. I need to do quite careful working here. Let's look for a good angle for this. All right. This is fine. Move this along. Move this along quite as careful as I possibly can. A. This is good. Almost. In the announce now, you can fill up in what parts. You can increase the brow size now and then fill up in what parts. But we still have quite a number of corrections to do in here though. Let's just get this in place first. Fill in what parts out. I can try and be a bit loose in a bit more, but no fill ups on gap those gaps I'm going to just do a blow filter for it and we should be good. Okay. You can just be careless by doing some parties in between that's completely fine. So one part I need to be quite careful about. Can I do pass through, is? Let's do. Now if we do that, we'll be able to see detectis. Okay. This Atley seems to be in a good place. Atley seems to be in a good place. Let's check here also. Let's see if this is a good place. Okay. Let's clean. Let's clean some of this out. I'm going to put it to full black. Take down your brush size. All right. Now I'll just gently clean the lower parts. I'm doing a bit more precision, so you want to be as precise as you can. Okay. Okay, this seems good enough for me. Okay. Yeah, that seems fine. Come up also somewhere around here. S gets close. Okay, that should be fine. So let's do a quick. Save this now. So you should have a generating where we need to generate it out from. Awesome. It's looking quite good. It is looking quite good. But what we need to do is to let me eye the edge for now. I need to blow the edge. Let's get the edge blowed out. Let's go to our blow two. I can increase the blow size a little bit more and blow out the edge. So let's get the edge blowed out. Even the inward of these inward parts where we have this gap in there, blowed out as well. But let's focus on the edge just for now. Let's focus on the edge. Okay. Almost done. At least on this side, though. Okay, that should be fine. Let's go to the opposite side. Opposite side and blow the edge. So we have soft transitions in between. Blow the edge. Alright, get in close. Okay. I think this should be fine. Now let's fill up the blood in what parts where we have gaps in between, can increase the blow size a little bit more. Okay, this should be fine. Blow this out. Blow out, blow out. I don't want to blow out this edge because this edge is just fine. The cut out is just fine for it. So I can do some randomized blow in between also, too. Randomized blow should also help. Just to create some more interesting breakup in the density map. He should be fine. I'll save this now. Then turn off wire afro shaded. Let's see what we get out of this. It's assigned texture. Fok should be fine. Assign texture, close save texture. Let's close this. Let's go back to selection two. Let's see what we have. Okay, should be fine. Save our file. 49. 151 Skionk Xgen Modifiers In Maya: Poku Bar guys. So in the previous lesson, we kind of created a density map. Yeah, I know why this is not working. You're not sharing your opin yet, so let's do fully primitive in view, so that should fix that. So now we have the generating out where we need them to generate it out from. But I think I'd like to make a little few modifications to some of our guides. And then probably need our guides in here also, too. This, for example, I would like to rotate it down this way some more Okay. This I root it out this way some more. Okay. Then let's add guides in between, especially on this edge. You should help direct the ship some more Okay. Then we can do some sculpting in there. Get some rogue looking curves curves or other guides in there. So to make them look a bit rugue. Sometimes following a drastic direction instead. Let's run is true. Let's see what we have. Okay. So now we need to, we definitely need to. Now we need to add some modifiers to this just to get this looking a bit more accurate. Let's see I'ma he once in here. That's the main question. So let's move this a little bit dense, upset this to 30 instead, see if it can be at 30. So let's our guys for now who might still come back to DJ get some modifiers in there. Let's see how we can work with the supports. Now let's go and look at our coin reference in here, let's figure out before I will just kind of get some clumping in there. So I can see major clumping in and then broken pieces of clumping also in there. So at most two clumping should be just fine like we've been doing before now. So let's go to modifiers. Let's add a clumping modifier. So let's set up. So for this, let's start with the value quite high. Let's do 20 to begin with, generates. I'm going to need to come in there and kind of visualize, see what we have in there. Okay? This is a bit too much. Let's start with ten generates. Ten seems roughly like a good one. Roughly there. Let's generate this. So let me use for the max now we use zero points eight. The generate this.This going to randomize the clumping guys in there. So let's click Save. Okay. So we have clumping in here. I'm not. I think I will need to reduce the clumping actually. I need some more bigger clumps in here. For now, it just looks too tight. Way too tight in here. So let's randomize that. Let's get some randomization in there. Okay. Okay. I'm checking the height for this, right. Let me go to my guides. I would like to reduce the size for this. Let's think take this down some more. Select this, take this down some more. I want the peak to be quite high. This peer should be quite longer than the others. So let's select all of these three and let's give them out some more. Okay, generate as in here now. Yeah, I think this looks a lot better now. Okay, so a quick save. So let me go back to a set of map. I think I went overboard. Let's even start with a value of one instead generates. Let me get close. Let's see how it's going to generate. Seems like a good one. Yes. I notice now that I feel a whole lot better. Looks more like four now. I'm thinking maybe I need to reduce this even more, maybe. Maybe if use a lower much lower value instead, so I want to let's do off of this let's 0.5. Let's go 0.5. Let's see what 0.5 gives us gives us instead. Okay. Interesting. Yeah, I think this is a good one. This seems like a good one. Seems like a good one. So if you go back in and then compare Okay. Because still use this clumping, I kind of res gap in between where we have lights heating and then creating shadows in between giving us a good idea of this being four. So the more you can kind of nail the likeness for this four when you clumping, on the first clumping you're using, the more you can kind of get better results upwards, moving up. So that means you kind of see this is working just fine. Let's go slightly lower. Let's go slightly lower. Slightly lower. Let's do 0.3 instead generates. Five is like a good number, but let's go lower. Let's see. Let's see what something lower gives us. Because I want, like, passing through this and creating some interesting shadows in between. I think it's going to be a final look for it, a final clumping for it. But this will. This will work just fine. Now, I wouldn't like to do is too, because this is already spread out a little bit more, which is good. But I'd just like to make a tinier adjustment to the roots. It's a tinier adjustment to the roots. Okay? So I just need to move this roots down small a little bit more so we have the clumping affecting a little bit of the roots. I think I went overboarding here and just up some more. Okay. I think it seems like a good one. Just eyeballing just to see if we have something good enough to work with TINY. Yeah, I think this seems fine. Though, for the quankin can really see the root a bit more accurately. But for mine, I would like to get some little okay, I think the previous value was way better. Yeah, I think this one was actually better. This one is actually better. Let's continue. I'm going to hide our guides for now. We already getting interesting looking result out of this so we can continue the same fashion. So you can see how some of bits are ignored, which is also cool because we randomize randomize the maxing for it. So that's one thing to keep in mind. Let's add another clumping to this. Let's add another clumping. Set maps. So for this Butler one, let's leave without one. Let's generate. Rates. Save. Let's see what that gives us. We have an even more interesting result to this. I think I'm in a place where I feel like I should add one more clumping. One more clumping that much higher number, I will spread things out even more. That parter clumping will spread things out some more. Let's do one more clump. One more clumping shouldn't. For this one, I'm going to use the value of ten instead generates. Save. Let's see the result that gives. Yeah, interesting. So we have some more disparation inside of those Inclempin one in the enclmping two also, so you can have some little breakup in there. So let me show you guys an example if I should just add this for now. So you can see some interesting breakup in there very subtle breakup app in there, which is also cool. Okay. So now let's add a coin modifier. I'd like to add a coin modifier to this. Let's do a coin modifier. So I'm going to do let's do coil modifier. Let's see what the default gives us. Okay. Good results, but way too much frenzy happening in here. That's way too much. So I would like to use my randomized value in there. So let's do some randomizer. Let's do run, open bracket, zero comma, zero points three closed brackets. That's for the count actually. So I will this Okay, now we're losing, actually losing a lot of the shape. Losing quite a lot of the shaping here. Let me say this back to one. I still want to keep my clumping sip. I definitely want to keep my clumping sips. Let's see. I think maybe the randomizer should be added on the marks instead. Let's do this on the mark instead. So let's randomize this round open brackets, zero. Points zero. No, open brackets, zero comma zero points, five closed brackets. Why? I do shape we have in there bots just kind of refreezing to keep them then. Not sure what's going on right now, though. Something okay, it's applying on a few of them. I need to make some corrections to this. Let's see value of 0.4 to 0.5. Okay, now we're getting something. Getting something in here. But if you completely high now, kind of liking what we have to kind of completely mess with this. So I think I'm going to start taking the values down even more. Taking the values down even more. So let's do 0.1 to 0.2 instead. 0.2. Because I don't want too much. I don't want it to be affected too much. So if you died, Okay? I'm not sure I'm liking this look. Not sure I'm liking this look. This look we had before was actually fine. Let me say this back to one. Okay? Let's just do 0.2 instead. Slight difference now, slight difference. Let's crank this up a little bit more. Let's see. Okay? Yeah, yeah, more interesting now. I think I'm liking this instead, I'm going to keep. So we don't have too much happening in there. It's not too aggressive, just a few amounts in there, just to make it a bit more randomized. Okay. So now let's add noise modifier to this. Let's add noise modifier. Okay? This is quite I would say too noisy actually. You can see we have too much noise in there. So I would like to change this up some more. I actually have a value usually use. Let's see if that value actually give us something interesting. Let's start with the frequency. Let's copy this copy, move this along. Phase this in. Okay. Let's go to magnitude. Also copy for the magnitude. Copy. Paste this in. Okay? So if we turn this off and if there's any major difference in there. Okay? This is not working. Let's delete. Oh. Oh, mistake. Mistake. Let's did that or at the end. Yeah, this should be fine. This should work now. But this is way too noisy for my liking, though. This is way too noisy, so let's see if we can randomize. Let's randomize the noise mark instead. So don't everything varied. So I'm going to use a very tiny amount, actually. So from zero points, let me do this extra zero we have in so let's go 0-0 0.2 instead to 0.2. So we have a very tiny amount of that in it. So very tiny amounts. Okay. Yeah, for the most part, this is quite nice. So what we need to do now is to add our coat modifier. Let's add coat modifier to this. Oh, yes, yes, there's one more thing we need to. Let's add another noise I'm just going to show you guys another trick to kind of create stray has in there. So let's add another noise. So I'm just going to use the value higher in here. Okay, so let's start with the magnitude. Let's use this magnitude is a bit high. Copy that. Pas the magnitude in there. We need to even crank it up even more. So we turn about the previous noises there. This is a new noise we have in C. Something frenzy happening in there. Let's use the same too for the frequency. I'm going to increase the noise for this magnitude. Let's use a value of six. Let's go a bit higher. So if we do that now, we have quite a lot of noise in here. But we don't this affecting the entire team. I want this to be affecting a few of this. So to make the effective few of this, you need to kind of add some stray head to this. It's actually a code. You just need to copy and then paste in there. So basically just type in open bracket, closed bracket, space, question mark space one. I believe that should be coal semicolon, not entirely sure, though, let's try it out. Sore open bracket, closed bracket, space, I believe one space. What what else am I missing in here? Oh, question mark supposed to be question mark. Question mark. Question mark, space. I believe it's colon. Not semicolon. I believe it's colon. Okay. Colon colon. I think that one is semicolon colon, zero, apply this. So now you apply once you get this in there, it shouldn't work well because we now need to go over to description and then click on set stree percentage. So we said this now at 20% ether. You begin to see how we have some strays in here now. I see some strays in there, but I don't want this high amount. Let's do a five. Just a few should be just fine. We don't want it all over the place. So five is a good value for this. You can notice some strays in there. Look at this from a distance, some stress, which is precisely what we want. Save this. We can also use the same thing too for me need to I don't think I need. I'll need to do that actually. I think I need to do that. Let's turn on the previous we have in. Then lastly, let's do CTs. Let's add CT modifier to this. So we can't really see much happening in there because it wasn't means a lens at the end, so just to have more stronger effect for it. So steric dollar sign, C lens. So let's do esteric Where's my esterico, steric dollar sign, then lens. Okay, I'm not sure I spent my lens correctly. Oh, yes. I think all caps L should be on capital letter. That's where I made a mistake. L should be on capital letter, I believe. Yeah, so it's working now. But I into exaggerate the value a little bit small. Let's go all the way to instead of 0.2, let's do eight instead. So that's an extreme value, but I think it's giving good results in here. I think this results should be fine. Yes, it seems fine. I think the list we need to do is just to crank this value up a little bit more, let's make it a little bit a little bit dense. Let's do 60 Okay. I think it should be just fine. Don't need to go too extreme. I still need to modify this later on, though, but I think it should be just fine. Okay, so let's bring back our body and let's see what we have. Okay? I think this will work just fine. It should be fine. I should be fine for what we need it for. Okay. Let me this for now, bring back the guides. I feel like I should have some more guides that kind of bends down a little a little bit more, a little bit more, let's create guides. Okay? Just added tip ip guides. Then I will select them. Select the steep guides. Next one. T as well, this as well, Okay. I'm going to rotate them downwards instead down a little bit more. This lassie will we get. Yeah, this feels a lot better. This feels a bit better now, maybe a little bit more shrew. Okay? Yeah, this is fine. I work just fine. I our guides. Save this. I would like to add this noise modifiers noise modifier today. Add that to the head instead. So let's go to modifiers and select it so you can save this. Yes, we can save this. So let's save modifier. You can just name this two noise. Let's use our caps for this noise, Sree, head. Okay. So I save modifiers, save that. Then let's go to our collection for the. Gets close. User load user noise, noistha formed with noistrhair that's apply we should get some stray hairs immediately. Run this trough again. Okay. Let me drag this down. Tally working in there, but not as intense. It's not too intense. That's the difference there's not too intense. Which is fine, which is fine. We don't want it to be too intense, though. List we value in there should be just fine. Okay, so this is fine. So the next lesson, I'm going to work on this kind of create a cap for this and then create some low pad four for that. I'll see you guys in the next lesson. Bye for now. 50. 152 Leopard Chest Xgen Guide In Maya: How come about, guys. So in the previous lesson, we finalized on the skin hair. So in this lesson, we say in previous lesson, kind of we're trying to kind of add some stray hairs to the head hair. So there was one thing that was actually missing. That's why I couldn't see the noticeable difference in there. So let me show you guys what we needed to do. So only thing we needed to do was go to description and then I'm getting close first. Okay, go to description. Go to the Edeg collection, the Afro Ed description and go to description. Neg can set 3%. So if you do let's say value of ten now, let's set of this should be having this noise modifier in there. You should consider noticable difference in here now. But I think it's probably a little bit much. So let's do 5% instead. Let's do just 5% instead. I think 5% should be fine. You should be able to see difference now. Okay. So we should be having stre here and there. Okay? Yeah, I think that is fine. So now let's hide this. We don't want that to be visible. Let's also hide the skin, for the chest for collect going let's hide this as well. So you should be able to work a lot faster in here. Then for the gen scalp. Okay? Okay, this has for the waistband, then the cross chest. I'm going to leave this. So this is what is butler one we actually needed, and I copy something else, copy something else that we don't actually need, so this is what we actually need. So let's get a good scalp out of this. So I'm going to make a duplicate of this control D, shift P, to low parches strap. You should still have that in her also to low patches strap. So let's side this now. I'm going to hide this. Okay, select this Let's isolate. This is what we need to this is what we need to work with. Okay? So I'm going to isolate this and let's cut out portions of this that we don't actually need. Move this to the side. Okay, the only piece that's going to separate is this and this. So let's start with those first. Let's cut out portions that we don't need. Let's find a good angle for this. I think I like to bring the other fabric back on. So I can actually search. I know precisely where I need to cut out. I'm going to select this too, and, so let's, this is fine. Okay. So I know precisely where I'm supposed to separate this out from.Geing close Okay. So is already in here. Let's do we already have a TIG with thickness that goes around, thickness that goes around. Let's start from F. Do click on this. Come down close dot click on this. So that should select an entire loop around that. Oh, yeah, I'm supposed to do this. Let's do this with face mode instead. I do that. Face mode. Face mode. Double click. Okay. Here as well. Double click, that should be fine. Delete. Select this Dub click also with ordinary shifts. Delete this as well. Alright that should be fine. Yeah, this will work just fine for what we need it for. Just check in. Y, that's fine. That's fine. That's fine. Let's move this along. Let's come down here. We can set it under loop also. Yeah, well, let's select this loop. Did that go around? I believe it did delete. Do click Delete. Oh, do that. It did not go around. I did not go around. Apata did not go round. Let's bring it back out. That did not go round. Okay. Select this isolate just this alone. Go back to phase mode. You should still have that selected, so you can actually check now to check if it goes wrong. Oh, yes, yes, yes. Okay. I know why. We also need to do something for the lower parts too. Let's just come in close. We can do Let's do somewhere around. Let's do instead. Double click Delete, can lead in what parts now. Th should be fine. And let's go out of isolate. Let's see what we have. Let's make sure this thing is still buried in. Yeah, this will work just fine. Yes, this is fine. Yeah, this works just fine. So now we can use now as a low pad. Let's do low patches. Instead of strap, let's put scalp in there instead. Alright. And I'm going to drag that in to the egg and scalp folder or group. I'll save this. Okay. Yes, then we need to give you a separate material. But before that, let's do fully group, it by type history. Let's add your favorite material Lambts. Okay? Let's go into the lamb we still have a lot of things happening. Let's select this again. It by type history. Darken this dark in this more. They've named this to Leopard Leopard scalp. Yeah, that's fine. Lowpascalp work just fine. Yeah, this is fine. I will work just fine. So I need to hide this now. I don't need this anymore. Let's hide that for now. I can leave this at the top. She don't bother us too much. So this is fine. So I'll select it now. Let's go back to our egg gen tab. Primitive. Then for this now, we need to Okay? Yes, for this, we need to go into description, create description. Then we want to put this butler description on the chess for collection. So that should be on the chess for collection, so that's fine. So I'm going to rename this two LupaduPadOndersc, chess. Dsc four on description, DISC. When plans for this? Want to generate across randomly across surface. They want to be policing and shipping guide also too as well. That is fine. This work just fine. Then we clic on creates All right, is in there now. So let's start by creating, let's start by adding some guides. Just busy guides to start with will be fine. Let's go back to our Egg Gen tab. Okay? For top menu. So this is fine. Let's do art guide. Where should we start blocking our guides from? Let me get close. Okay. Here, I think we can start here. Let's start here. So for this spot lam, we need to increase or rebuild our guides in here, see if we can for our guides because you don't need too much. Something small should be just fine. Let me move a little distance and add one here as well. I'll add one or so. Yeah, well. Let's do one here. So I need to first kind of add the guys we are needing to be first before skilling them out. So let me do one here, here, move this along and creating loud gaps in between, like we did before. So it's going to terapolate in between them. Okay. Let's do. I'm not going to do this in the same spots like the previous one, but those are the top. Okay. You need one year, sell, here, also go up, drop one, also, swell. Okay? So I'm basically trying to create spikes in between this. I'm just putting spikes in between. Let's do one eye swell. One, two, three, one, two, three. Let's put on in the middle. Okay? Now we're having quite a lot of guys to adjust, but that's fine. Let's just make sure we put them in the Okay. Almost there. Let's do one, the middle and the square. That's fine. So now let's select all of these guides, select all of them. Then let's use our scale two and scale them to the right amount you need this to be. Let me scale this out. I think roughly around there should be fine. I think something like this be fine. Let me kind of look at this from a distance. Let's see. Yeah, this would be fine. If we need to kind of adjust the length overall, we will come in down here and then adjust the length overall. So that's fine. I would like to hide. I'd like to hide this coin, like to hide. Let me hide that. So I can work a bit faster in here. Let's go back to our little pad four. Okay. So now we have haze generated in here now. Okay? But let's turn that off for now. Let's work on them individually. Let's get some shape into it. Let's get some good shaping for it. Okay, so let's go in and then move this aside, clear this out. Okay? So basically, I just need to kind of bend Oh, I need so many selected in here. Let's select one to begin with, select us one to begin with. Okay? All right. Let me reduce the bros size. Okay, it should be fine. Get in close. I think, let me hide this piece, hide darts. I'm trying to hide anything I don't need so I can work a bit faster and select this also to hide the darts. Select this as well. Hide those. Okay. Getting close, and then let's bend this. Move this aside, get an S curve to read something like so. Okay. Bend this this way. Yeah, that's fine. Let's move on to something else, the next piece. Let me do a quick see for my file. Then the deep down. But it's part lower. I'm going to move in this direction instead. Move in this direction. Look at from a different angle, let's see if it's bends down. Bend down this way. I think that should be fine. Move to something else. Select the next one, PG on the keyboard to go to Scope two. Scope this down. Okay. Get some shape to it. Okay. Yeah, I think that should be fine. Move to the next one. Bend this down. Let's get some ship into it as well. Tilt this down. Okay. Next one. Move this down. Okay. Rotate. No, no rotate. Let's get an esco to that. That should be fine. Okay. Move to the next one. I'm sure at this point now you guys already get the idea, so I'll move this down this way. Let's bend this down. Alright. That should be fine. Next one. I think well have these two to work on also. This bottler one, I'm going to moving it towards the edge. Get it bend this way. All right. Here, that should be fine. Move up, select this. W direction should we get this in? Let me just move this down this way. Down this way. I can just put this one. This one should be like the rogue one in here. One should be of moving in a different direction. Okay? Because you want to kind of have some rogue direction has in there just to break up uniformity. Get this down. S shape. I think this should be fine. Let's get this down some more. That should be fine. Move up, select the next piece. We're just going to repeating the same thing just across the select then move it in direction where we need to be. Select this as well. Bend this down this way. Bend this down some more. Get some ship into it. Move the tip this way. Okay. Let's move up, select this. GG on the keyboard. Use the previously selected two, which is the Scope two. Let's get some shipping in. Move this this way. Is down way too much. Let's give this up some more. All right. Select the next one. Okay. Get some bend to this. Let's make this row. Let's move this in this direction instead. Move up, select another one. G on the keyboard. This part gets kind of tricky in this part because now we need to kind of make sure the directionality for it is actually as good as we can get it to be. But at some point we might need to kind of change the direction for it. So we can start changing the direction for the around. Okay? Let's see. Let me check this around. Let's just see because this are the bar. I want this the bag to be flowing downwards instead. But even if we do that, these are the fronts. Kind of get this direction flowing this way also. So just give us a bit more, more like an interesting directional flow to it. Okay? Let me do this down. Let's do this from down. Let's get this flowing down first. So I'll come around, select this. Getting close, move this down. Get some shape into it. Okay? Got it from a different angular see. Move this tip down some more, that's fine. Select this. On the keyboard, seal this down. Okay? Next, E on the keyboard gets close. Move this down this way. I I'll move this in this direction instead. Okay. Yeah, that should be fine. Look at from a different angle. Let's see if this is too high, let's bring this down some more. Okay. Move down, select the next one, select this. Let's get this down. And I'll tell you this in this direction instead. Look from a different angle, that should be fine. Let's get an S shape to it. Select the next one. Move this down. I think that should be fine. But let's just get bend this way. Okay? Here that's fine. Next one, select this. Tip this down. Move this this way. I think this one I'm going to do like an rogue directionality for this. So you're pointing towards this direction instead. All screw down. Let's go to the next ones. I'll select this. This I'll move this down I'll tell you this this way, bend to it, select this G, bend this down. Okay. This way should be fine. Get close. Yeah, this should be fine. Move this in this direction, get an shaped to it. Let's move to the next one. Let's select this. Bend this down. We still need to add a whole lot more and then move the directionality for it a little bit more. Still quite some more guides to add in here just to make it look right. I think I might also need to extend the heights of this curve more. Okay? Select this getting close. Bend this down this way. Okay. I'll bend this till this way. It should be fine. Select this. Bend this down. Let's move this in this direction and get some shape to it. So I assume gravity should be pulling this down now. In this direction, I'm going to tilt this down in different direction slightly. Let's start by tilting this a bit more in this direction instead. Select this. Move this down. Okay. That should be fine. Can you select this make little adjustment to it. All right. So we're going to continue on the next lesson and then keep shaping these guides. I'll see you guys in the next lesson. Bye for now. 51. 153 Leopard Chest Xgen Density Mask In Maya: Comb, guys. So we're still on this still trying to make the guys kind of follow a butler direction to it. So let's continue on. So we stopped previous lesson we stopped somewhere around here. So here, we can continue on. So let me start from here instead. Stop buttons let select this and then bend this down. Okay. Rotate this way. Get this down some more. Select the next one. It you on the keyboard, bend this down. Okay? Move this in this opposite direction. Select this. Bend this down. Okay. Yeah, this should be fine. Next one, select the next. G on the keyboard, move this down. Okay, and move on towards this direction instead. Select the next one. Bend this down. Okay. But for this is that this is like a flat piece that was kind of curved this way to us like a chest strap. So if you kind of straighten out the directionality for the air force, kind of flowing in one same direction. So I'm just trying to get that keeping that in mind, and I'm kind of making sure I flow the same pattern so that Smooth this side. Select the next one. Move out. You should be fine. Get some curve to it. Select this. Get this flowing down. Okay, that should be fine. Moving towards that direction should be fine. Select this. Select select EG on the keyboard. All right. Look at it from a different direction, pull this down. So that's way too much. Okay. I think I would definitely need to extend all of this out some more. But for now, let's just carry on. Okay. Here down. Up, that's fine. Think I want to select more select these as well. These as well, okay? Then I can just go in on the keyboard and move them wherever I need them to be. Alright. Move this aside. Okay. Move the up some more. Get this down. All right. Call it from a different direction so we can get a better angle on it. This way, get some shape to it. Bend this down. Bend this down. Moving towards the opposite direction. Sk this down way too much. Let's lift this up some more. Up some more should be fine. Okay? I think that should be fine gets an A shape to this. I guess the camera comes a little bit tricky here, but will make it work. That should be fine. Okay? This direction should be fine. Yeah, I think this is basically it. So I'm going to select all of this again. Let the guides again. I'm going to extend the length out some more. I feel this one is I up way too much, get it down some more. Use our scale and scale it out some more, scale them out a little bit more, maybe a little bit more like so, Okay. Then we need new you guys that hold the hedge. New guys on the hedge. Okay? Do that. Let's create large gaps in between. So this is going to respect the edge and kind of enterapot in between what you already have in there, which is more or less precisely what I want. Okay. Yeah, well. Alright, here, also. Let's do one year. Okay. All the way then year also should be fine. Okay, let's go to the opposite edge. Opposite edge, here, also. Okay. So now, it's good to kind of worked on the shaping for most of these guides crut so it's more or less just interpolating in between them now. Okay. Then we can just do on both side. Okay, one, one at the edge, one year, one at the edge, one year, one at the edge, opposite edge as well. Okay. Yeah, that should be fine. Okay. Yeah, also. Okay. Yeah, also O in the middle, as well. One in the middle, as well. Okay. Yeah, I think this should work. Yes, this is fine. Okay. You need one here. If you're in the middle. Yeah, I think for the most part, this should work just fine. I'll do a quick si. We're not doing too much, though. We're not doing too much. I think we're not doing too much. So now let's generate for this, increase. Let's generate. Let's see what we have. So we're getting really good flow around this. Yes. The flow we have for this is actually good, which is precisely what we want. We have some good variation flow across this. I stepped on a few corrections we made in here is some straight ones in. You can see this straight one This one needs to have some shaping to it. Select this. These street one don't really have good enough shaping for it, so let's break the uniformity of it and creating some interesting shaping in there. I was looking way too generic and to flats. Yeah, well, we want to get some interesting shapes as much as we can. That is what we give it a little bit more of an interesting look to it. Maybe select all of these guides, so I can just go into them individually without missing something else. This one should be flowing outward instead. Okay. This we can make rogue a little bit more, add some shape into it. This should be flowing outward. You can push this this way. Okay? Now would have a bit more interest to it now. Would have a bit more interest to it. Let me even get this flowing in the opposite direction. That would be like the rogue guide in the Okay. But that's fine. Interesting deformation and bent to weeds. Okay. Yeah, interesting. Bent to this. Well, it's quite a number of them that we need to get added ship to it. Okay. Okay, this is working just fine. All right. So the more interesting shipping COV the more interesting guide you would have. All right. Okay, that seems fine. All right, move this this way. Move this to be like a rogue shape. So this is like the part kind of spend most of your time in just making sure the guys look the guys look interesting enough do some drastic ones. Okay? All right, that should be fine. All right. The more interest you have to the curve, the more bend, kind of deformation, kind of easily flowing shape you have to it. So you have an interesting food to it. So just look like a boring flat. Bring flat generated egg gent guides in there, which is what we are basically trying to avoid. So some measure of interest would go a long way. Create like some hook for this, do some hook for this. Hook. Okay. Has some interesting hook. Okay. All right. Bend this down a bit more interests. Bit more interest in stress here as well. All right. So now if I should do this again, if I generate DS again, should notice some interesting floats with, let's go to modifier if we can't let's say this to 20. Okay. So you can see how it gets interesting deformations and float with, which is precisely what I want. So, let's add this for now. Let's see if there's something else somewhere else, you need to kind of add this in. Let's around there. No doubt. Let's get some hook shape to it. Let's do some rogue hair opposite direction. Okay. I'll move this out some more. Move this out a bit more as well. Okay? Create some hook in hook in opposite direction. Create some rogue, hook hook in here as well. Okay. Get some hook in rotates. Alright, this is fine. Move this up here, so let's do some rogue shape guides in. Okay. Yeah, that should be fine. Okay, that seems fine here as well. Create some hooks here and there and it should be good. Okay. Okay, that should be fine. All right. Yeah, that should be fine. Do a quick save. Yeah, we're going to run heirs again and then adjust the weight for the hair. Let's go to preview, turn of this only primitive in view. So now we have some interesting flow to this nary precisely what we want, go back to primitive and let's set this up properly. For the weights, 0.01. Okay? Yeah, that should be fine. I think we need, we have a generated. They are ready. Okay, I think it should work, this work. So moving on, I think we need to these butler guys need to shring them down, before we do that, let's Let me come in here. Let's do it should be 71, I believe. Tap that should be 76, 76. Okay. Then let's go to our selection select this. Select this as well, and I'll shring them down. Run this again. That you create shorter strands around there. Yeah, this is looking good. I think this will work just fine. Let's increase the density of the hair some more. All right. So the next thing you need to do now will be to paint our density marks. So let's hide hairs for now. Let's paint density density marks in here. So to paint this, I will need to review I will need to review this is the one this fabric I like to use this as a guide to know what sped to paints in. Let's go into density M. Create map. S this to black ready CT which is fine. This is going to be the carbs part, under sce chest, underscore DENSce MAX. Should be fine. This should work just fine. Click creates Okay. So this will change to black now, which is what we want. His in there. Let's go to paints, too. Painting with solid brush, painting with full whites. Okay, I think the broad size for this. I think the broad size for this is actually fine to begin with. Okay, I think, guys do. I think I have another idea. We can kind of fill this with Let's fill this with white instead, and we're just going to exclude regions where we don't need that to actually be on. Was it going to be slightly tricky because I noticed that at least for mine for my own pen though. I use my pen to kind of add black to paint black and move heads. No doesn't really paint as accurately as I want it to paint. I still have white strands, poking out poking out. I still have strands, poking out in those regions. I'm going to leave this at the teas instead. Let me just paint white on the edge paint white on the edge. Okay. Let's do wire frame unshaded, so we can actually see this a lot better now. Okay? So I'm basically just painting around the edge. Okay. Mm hm. This edge. So you want to be quite careful in here, though, because you don't want the penetrating through the inward fabric, so you need to be quite careful. Okay, then just fine. So those continue on in the same fashion, and then we should be good. Okay. Move this along. Okay. Here, that's fine. Rotates. Okay. I think I'm managing to get closed closer in there. Yeah, that's fine. Yeah, I'm sure it might bonding. Are we going to use this scalp rendering? Why not going to use cup this cap is going to be eaten. What's it going to be using our main mesh that texture inside of Subtanspinter? Okay, that's fine. Let's go across. All right. Yeah, this should be fine. Move this along on the edge. Let's get close. So you can do this a lot better. Okay. Yeah, I think that should be fine. All right. Let's close a little. If we need to erase that, we can always go back and erase that but let's just continue on for now. Let me save this first. Let me see how we have generated in there. I think this is good. This will work just fine. Okay. I think this should be just fine. Let's ideas for now. I think we have completed our loop. So let's go to the opposite side. All right. Move this down. Okay. Move this down. I think I have to many more gaps in this let's fill up those gap. If we run this through, let's see what we get, that's fine. Okay. Yes, it's working just fine. Continue on. And we have good enough textile region resolution for this. That's why we that's why we have good pinto in here. That's why we have good paint top in here, so continue this on rotates. Okay, rotates. That's fine. Move this along. All right. I'm not sure we'll be to finish this in this episode, so we can just continue on the next episode, though. But I think we are doing great. Okay. Let's continue on from the top. Alright. So I'm trying to make sure trying to make sure this is as clean as I can get it to be. So I'm trying to be as careful as I can. Okay. Almost there. Yeah, that's fine. So let's go now to this edge. Move this along. Okay. Continue this on. All right. Yeah, that's fine. So we're going to continue this on the next lesson. So bye for now. 52. 154 Saving Xgen Modifiers In Maya: Welcome, bad guys. So we're still on this in previous lesson, we were still trying to paint in density map density marks for this. So we're going to carry on with it. Okay, I think we should be done in this episode now and then we can also work on closes. You can also add modifiers to it in this episode. So let's make sure density map is good enough. Okay? That should be fine. What are you doing this now for this edge. Right, getting close. Okay. Yeah, that should be fine. Okay. So let me come from the opposite side now, so I have better flow of hand movement across this I can get it as accurately as I possibly can. Okay. Move this along. He also as well, that should be fine. That should be fine. Yes, that should be fine. Let's go to the next one. Get the flow in, rotates. Yeah, that work just fine. Move this along. This way. All right. Here, that should be fine. Move this along. Move this out. Connect it downwards, that's fine. Continue on around here. Yeah, that's fine. Find a good angle for it. Okay. Rotate. Okay. Move this along. Almost let's come from the top and move the sor the way down connect, get up close, reduce your browse a little bit more. That's fine. So now we can fill up the center parts now. So let's fill up these center parts. Okay. It can still be a bit loose in your too if you want to. Let me see. Okay. Okay. Salon. So I'm just trying to get some space in between, so we can just blow those part out. So just to create a little bit of variation in there. All right? You can do something like so. So this is going to create variations in. Here we have some part that has dense and some part that doesn't have s are not too dense. Okay. All right. That's fine. I'm going to increase my browse slightly for this. Move this aside, use the browse a little bit more. Let's just get some variation in here as well. Okay? It doesn't look like mold bots. This gap in between is actually going to help actually going to help do some randomization in there. Alright. So now I need to feel the big parts. Let's feel the big parts. So for this, I need to increase my brow size a little bit more. Okay? Move this along. Move this along. Let's do from this direction. Okay. Yeah, this should be fine. Now, let's use the blow to now, go to the blow Reduce the blow size. Use the blow size a little bit more. Then we can blow these parts. All right. Here, something like two. Blow this down. Okay. It creates some interesting variation of density around there as well. Yeah, that's fine. If it's not looking good, then we can go in and then fill it up. But I think it should be just fine. It should be just fine. Okay? You as well. Move this along. Move this along. Blow out. Blow this out as well. Okay. This we can just do for the center part because it's mostly in the center part for this. Blow, move this along. Okay? All right, move to the opposite side. Move this down. Blow all of this. Move this along, but the blow also in here. Blow this out. All right. Blow out. Here swell up here, down here, swell. See you won't blow it on freeze up the gaps up that black gap we have in between. Okay, so here swell rotates. Fill up, swell, move this down. Okay. Swell here also. Okay. Almost done. No need to turn off wire frame shaded. So let's turn off this wire frame and shaded. Okay. Then save this. Okay. Then come down here to assign textures. Close that save textures. Close this good selection two. All right. Oh, I see some issues now. See tight issues that I need to fix, so we definitely need to fill up all these parts. So let's go back in. Let's go back in there. We're going to fill those parts. So selecting the brush instead. So we need to fill it up. So let's go back in solid brush. We have paints too. Rduce the brush size. Okay. Then we paint. I think we need to completely fill up those edge Okay. Save this lasse we get. Alright. We can just do this in a bit of a loose way if we need to. I shouldn't be too much of an issue. We can just go a bit loose in there. Rotate. All right. Yeah, as well, we have a few on the under part also. Okay. That should be fine. Probably just need more generated out of this, fill up these parts. Once we add once we add modifiers in, it should look a whole lot better. So I can just randomly fill up some of these parts. Okay. All right. Yeah, I think this should work. You should be fine to save again. All right. That should be fine. I'll close this then make sure I save these textures again to save texture. Let's save this save our document. Then we can freely, we can freely do some modifications to or go to modifiers and add modifiers to it. But before we add modifiers, I would like to show you guys how to save This part is quite tight. Oh, yeah, yeah, I know the issue we're having. Issue we're having is that we're supposed to move them this way, move them out this way now and then this again. You see the is generating out from those parts now. So let's select pull them out some more this again. You should have generating on this but maybe we should actually h guides on this edge. I feel like we don't really have guides on this edge. I know guides on this edge, so I can select I'll select this now, and I would hide this. So we need actual guides on the edge. Let's run again. Let's see. Okay, now we're getting something on the edge. Definitely getting something on the edge now. Let's do the rotate this out. Rot it out this way. Okay? So the idea is to kind of create a fewer guides, and then once you paint your density map and you feel like you need to do some more guides in there, you can just add some more please. Let me add one here as well. Rotate this out. Okay. A one year, rotates out. Add another one here. Rotates out. Okay. I'll select these butlers already already on the edge. I'll rotate them out. So more rotates out. Now I'll just making minute corrections in here just to make sure everything's working correctly. Okay. Yeah, that should be fine. On this, we will need to add guides. I want to take those guides out. Each on the keyboard, add another one roughly around the. Okay. Add guide. Rotate that out. Add down. Yeah. Rootate this out. One, root it out. Put it this up instead. I think that was out way too much. Okay. Root it out. Add one year. Root it out. There's a lot of necessary correction to those we need it. We need to make just to make sure it is working correctly. N one here. Root it out. One around here. Rotate out. Okay. As well. Rotate out. Let's do a quick sieve. So this should fix at least most of the issues we are having rotate out. Let's do one here. Rotate this out. Let's run on this let's see what we have Yeah, I think it's work. Add one year. Root it out. Root it out. Okay. Add one year as well. Root it that out. Okay. I think I'll select this. Select selects, select this as well. Come on, select this as well. Make sure not letting anything else. And I'll just get them out some more. Okay? I'll do the same also with this. Set at the end, rotate them out some more. Okay. Select, select these two, rotate out, rotate out, add one in your Okay, route it out. Let's run our again in here. I think it should be fine. We don't need to go overboard. It should work fine for now. Be quick save. Yeah, awesome. So now before we move on and then add modifiers to this, I'll show you guys how to save I've showed you guys before, but let's just let me show you show you guys again how to save modifiers. So the modifier we need to save is this coin showed for description. So I'll go all the way down. Select the clump in one. Let's save modifier. So I'm just going to name the Let's caps in a coin. Under scoe clump. Clump one. Clump under scoe 01 coin clump. Yes, it should be fine. So you can save. I save not one. Si modifier. Let's type S so we can jump to it. Then relatively need to changes the value 1-2. We have Clum three also, save that. S, because I'm actually going to use some of the clump. I'm going to reuse them. I'm going to reuse them. That's why it's important we save them now, so we can reuse. So Clum three, save this. Okay. You should be fine. Alloy. S modifier. So those going to I think we have just one coil in there. Yes, we have just one coil in there. So let's name this to coil. All right, c coil. I'm supposed to put four in front of your name. But that's fine. That's fine. So let C modifier, S. So we have two noise in there, so you just need to change this glom to noise. Okay, noise one. That's fine. Okay. It is two save modifier. Let's go in. So this should be two. Then move this clump and rename this as noise. Us fine. Save. Let's do for the coats. Si modifier. It's going. So we only have one coat in there, so let's just put coats in front. All right. Save. Us fine. So now we've saved all that now. Then let's side is for now. Okay, I think that's fine. So now let's go back to the description of the load purchased four. So now I believe we can start reusing the minion now. So let's go load user, scin. Sc clump one. For this clump one, we're going to change the value. Let's use the value of the value of let's say four to begin with generates. Okay, four seems like a good one generates again, save. Let's see what that gives us. Okay? Interesting. So we have interesting shape looking in here. Let me hide the guides for now. Let's hide our guides. But we need a bit more in here. We need a bit more in here. So let's crank this up to a value of 50, 60 instead. Okay, we need to go back to our modifier to this again. Okay? Let's Let's say the value of six. Let's do six instead generates. Save. No, no, this is maybe wait. We want to look at some reference to actually be sure. But I think as a Bs we can use this SIBs I believe. I should be fine AC Bs. Okay? So I think I have a reference in here. I should have a load reference in here. We have one. I'm going to get one and I want to use that to set this up properly, okay? So I'll see you guys in the next lesson. Bye for now. We have one here already. This is a good one also, too. So by for now. 53. 155 1 Leopard Chest Xgen Modifers In Maya: Welcome bad guys. So pre lesson, we kind of missed some adjustment and then received out some modifiers and then reviews for this. So now we have a reference that we can use kind of get something very close to the low part for with a little modification to it as well. So let's get that in. Let's go into the reference and let's kind of look at this a bit more closely, put it to the side. So looking at this, a bit more closely can notice a few things. I can notice that we can't really see the roots precisely, at least the skin underneath this. We can't really see clack closely, but for us, we can at see us let's make some modifications to it. So to do that, let's go to the maxin and let's reduce the maxin for the intensity of clumping on the surface. So let's do a value of 0.8. So Valu of 0.8 now you can see how it kind of spaced out the root some more kind of spaced out a little bit more. So I'd like to do something also in here. I would like to pull the root up some kind of spread this out more. Okay? Yes, it's looking more like it now. What is this? Okay. Move this aside. All right. Yeah, so now we getting something a little bit more interesting in here now. Kind of filling up most of the gap we have in there. Okay. Yeah, this is looking good so now. One other thing I'd like to do to randomize this. I'd like to randomize this. So let's randomize this. So I think we still have a randomized value. Let's use this or make modification to it. So let's do from value of 0.5 to a value of 0.8, on that. So this is kind of randomized intensity across this. All right, so this is fine. This will work just fine. So now let's go in and add another clumping to this. You might not even need to add another clumping to these. It's already looking good to begin with. It's already looking good. I don't think I would need to add another clumping in. But for the sake of adding cup clump just add one instead. Let's go to load user. Let's look. Let's do. Let's load clumps. Go in let's use a value of ten, generates, save. Okay. Let's see what that gives us. Whoa. This is definitely way too extreme. Maybe too extreme. So I'm going to randomize the value here instead. Let's randomize the value here. This is something quite low to begin with. Let's be value of zero points Let's 0.3. So a value of 0.5. Let's see what that gives us to a value of 0.5, 0.5. Down that let's see what that gives us. Okay. So we're going to kind of compare this and see if any major difference in there. Let's do some see. Yeah, I think this is fine. You can actually work with this. This will work just fine. We can also let's see if we can shift this poll roots up some more, see if it gives us anything interesting in there. Let's compare. Let's see if there's any major difference in. Yeah, this seems fine. Yeah, it seems fine. This will work just fine. Okay. Now, let's add another modifier to this. Let's add the Coy modifiers coin coil. Let's see what Whoa, whoa, whoa, whoa. Well, this is This is definitely all over the place. Definitely all over the place. You don't want something like so. This is way too aggressive and way too strong also, too. So let me see. Let me start by zeroing out this radios. Let's see. Let me zeros. Okay. So we turn this off now, should we notice any difference in there? Not really. Okay, let's randomize this. I'm going to be using a value for this instead. Let me go in. So I'm going to be adding this lens to it. I'll be adding the lens to it. Let's copy this lens. I'll copy this. Okay, this is way too aggressive. I like to save the five first. I just lent the myningo this. I want this to affect. So basically want this to affect each strand in there. So let's see what that gives us. Let's piece that in. Let's see what that gives us. Let's still too extreme. Like, it's really going bunkers in here. I'll copy this as well. Pas this in here. Let's see what that gives us, okay? Completely going bunkers in. I'm going to delete this at the end on this. Okay. So it seems like we need to make some adjustments to it. So let's go in I think for this part la basically I'm just experimenting just to figure out what works best if I can add a little bit of interest to it. So let's do zero. Let's type in 0.3 in Okay. All right. Come in here. For this particular one, let's do 0.7. Okay, 0.50. Let's see. Okay. We also have something interesting in here, but I don't think this would work. Let's go back to the initial value we had before. Let's do one. Okay? And I'm going to take it down the entire max for it. I'm going to take it down quite more. Let's place the value in there. Randomized value in this. I'm going to use the value from 0.1 to 0.20 0.2. Let's see. So you kind of right now kind of barely in there. So if we do turn this up, we major difference in, not really. Just a little tiny amount of difference in. Let's increase this instead. So zero point let's use five instead. Let's see what that gives us. Okay. This actually is actually interesting. So if I should I just generic. If I add this in there, I can see some tiny amount of variation coiling there. Not too oviled but you can see a flow. Can see a flow can see this flow around it. Let me look from this angle but everything just look a bit too straight, now you can see a flow. I can see an interesting flow to it, which is cool. So I'm going to keep this. I'm going to keep work just fine. So there's the quick sieve. Okay? All right. Now the next thing you need to add would be, let's see, we can add in your local user's coin. That's noise let's put in noise I won't be adding that. I don't think I need three for this. Okay. The marking is quite low, so let's go in and increase the value from zero we have this a zero to 0.2 before, so let's do zero to 0.8 now. No. I can't even see any difference in here. Different. Yeah, I think I'll leave this a little breakup in there should be just fine. A little break up in here should work fine. Okay, so let's go into the next one. Because looking at this now, looking at our if I don't necessarily see tree stree hair in here. I'm really seeing any stree in here. Everything kind of looks quite as uniform as it can be, so I think it should be fine. Yeah, this is fine, so we get more interest to this. And I'll go in and let's add a code modifier. So let's add the code square in codes. Okay. Now this is way too extreme, so I need to adjust the value in here. Let's use the value of two? Yeah, I think two should work just fine. But there's one last thing we need to do. Let me save this first. Remember, we're supposed to have a meta max in here. Supposed to have a meta mark in here. So we need to paint what kind of erase for that portion. So let's add the for now, let's go in and bring this back out. Make this closed fabric also visible. Let's just make this visible. I'll select this. I'll select this as well. Let's do Shift P, send this out of the group. I'll hide this for now. Okay. So let's go in and let's make our svisib in here Let do quicksve. I'm going to make the visible and then we'll see how we can do some pins work in there. Because for the builds also need to do some pins work in here as well. So, let's see what we have before starting pints working there. Okay. This is actually looking good. Well, the beads are kind of buried in, so we need to make some modifications to it by painting in the center. But for the most part, this is working just fine. Oh, I think I won't need to do too much work in here, actually. There's so much work to do. Is going to paint around there, and then we should be good around here as well. Okay? Just little around the edge. Yeah, okay. That is fine. Okay. Let's jump right in to our ideas for now. Then let's go back to our paints. Let's go back in there. So our paints in full black in here now. Please don't crash. I knew it tends to act this way sometimes, so I'm just going to reopen the file again. So let's just click on reopen. Okay, so we'll reopen that now. So let's go back in. Let's go back. Hides for now. Let's go in. Okay, awesome. Awesome. So not crush this do. Let's just solid brush painting full black. Okay. So I've started painting now, pincing inside first. Painting in painting anything? Not even sure if it's paint pens in, though. Let me reduce the brush size. Okay, let's brush size. Let me kind of paint around the first. Let's paint around the first. Oh, I'm still painting white. My bad. I was still 54. 155 02 Leopard Chest Xgen Modifers In Maya: It's let me increase the brus size Pin black in. Okay. I don't want as in the inward part, so the reduce the bre size. Let's come close. Okay. So I need to be as careful as I possibly can for this. Just make sure I'm painting this correctly. A bit more gave should be fine. Was going to update this and then figure out if what we painted is good enough or not? Okay? Move this out. Okay. Alright. Clean the inward part some more rotates. Clean this part also too as well. All right. Now let's see let's see what we get when we see. We still have some of these airs around the poking through. Do some cleanup work in there. Save this again. Okay. These ones actually we just need to select those hairs and then just delete them instead. Let's clean in some more Okay. I think this part is fine. This lower part is fine. Some cleanup work and in place here also to do some cleanup around here. Save this. Okay? That is fine. Down here seems fine as well. Okay. Do some paints work in here. Look at this from the side. Get do some paints work around here as well. Okay. Do some paints work around here. Outs. Some more paints work around here. Okay. Zoom outs. I think they should be fine. Save this. Okay. I'm going to paint in some more save Okay. I'm not entirely sure why we're having this. Okay, I think we need to increase the broad size some more pints in here or more, save this again. That should remove this es in here now. Yes, that's fine. Okay? All right. So the est we haven't booken out in here, we can easily clean that out, so it's not going to be a major issue. Okay. That should be fine. See, quick sieve. Okay. So let's go in here. Let's start painting, increase the browse size a little bit more. Now let's go in. Okay. Let's do a quick sieve. Let's see hope it gets. All right, this would work. Yeah, this would work. Let's do some more cleaning up around here. See if again. So I all around face. I'm kind of psing and then checking this will work or not. Okay. Ideas. All right. So still wants kind of some kind of close to it. Some close to it. Okay. Move this along. All right. Move this along. Almost done. Okay, that's fine. Move to the opposite side. Yeah, that's fine. Do some more cleaning up around here. Okay. Move this along. Do some cleanup here as well. Move this down. Okay. Down here. Give me some cleanup here as well. All right. Get close. Do some cleanup work here as well. Then let's see. Let's see how have been generated in here. Okay? Okay. Yea, this should be fine. Let's go and cut out some hairs now. Let me save texture. Close this. Middle mouse screw, drag this all the way to the end. Then let's select some hairs and then delete that get close. You want to be careful only select what you need to put out. I'm going to select all of these bits. Okay. Now this do. Okay? That's fine. Select these bits. Delete. Okay? That should be fine. Okay, now I see some issue in here. I think I over painted this. It looks too clean. It looks way too clean. But I still want actually in there, so I can do is to go back in there. Let me do a quick say, go back in there and just blow the edge. So we could have some picking through that instead. So let's go in. Let's go back in there. But this time around this time around we're just going to blow. Let's use the blow filter for this. I'm just going to blow this. So you should have some picking through on the edge. Okay. Yeah, I used to work just fine. I don't want the powder part will be completely covered. So blood should work just fine. So we should have on the edges on the edge. Alright. Let's see if this less where we get. Yeah, perfect. Perfect. Perfect. All right. Move this along, blow the edge. Okay. Move this along. Blow this edge. Okay, rotates, continue down here, blow this edge. Move this out. Okay. Yeah, this will work just fine now. Now we can save edge generated out there. So it's kind of almost like buried sort of. So this should be fine. Okay. Since some s in the center, I'll need to delete some of the s in the center. So I can just paint black again. Paint black again. But this time, I went to the small quite smaller brush size. Paints black in the middle. Okay? Paint black in the middle as well. Receive this now iminium of the, s like so. Okay. You still have control over you still have control over these bij deleting some of the airs kind of penetrating through. But those fires that kind of going across them will work just fine. Those would work just fine, but we also need to kind of clean these center points. It's just the center point you need to clean. So let's move this along. Once you clean the center points, we should be good. Okay. All right. We'll save this. So you have something better now. I think everything we need to clean the center points here as well. Okay. Move this down. I don't want edge everything from the center of this. All the way down here should be fine. Then click conceive. So should have better cleanup in your Awesome. We can just do some cleanup here as well. Okay? Then receive this again. Yeah, that's fine. This will work just fine. Okay. So in your next lesson, we're just going to move on and then work on the last lo part for for this. So I'll see you guys in next lesson. Bye for now. We need to blow this edge also, too, so it's not going to be a major issue. I'm sure you guys already get the idea already by now, so we just blow this edge out somewhere and then we should be good. So blowed out, and then we are good now. So I'll see you guys in the next lesson. Bye for now. 55. 156 Waist Xgen Fur Guides In Maya: Welcome bad guys, previous lesson be finalized on the lo pad chess strap. So Fashi mistranvisible now. Okay? This is what we have. Click out of this. Okay? This will work just fine. Yeah, this will work just fine. It all depends on kind of where you're kind of viewing this from. So if I should turn on the depth in there, you should be able to see this seat a little bit better in here, so it should be fine. I'll work with this. But next thing I need to work on the next we need to work on will be the waistband scalp and thing else for that. But before we do that, I'd like to save this for the preset. So let's go into right on the low patches for descriptions. Let's go to modifiers. These modifiers. This is going to be a new force. I want to use the same modifiers and then use the lowpadF another low pad. Since we have to low pad texturing, actually use one for the chest region and one for the waist region. So let's save the same thing in here. So Lopad pad. Okay. So should be low pad underscore clump. Let me put low pad for Clo underscore 01. Here, this will be fine. Save this. Okay. That's fine. Let's go. Save modifier. Let's type in there. Okay. To use capter for this F for this, so that should be fine. This should be clump O too. All right. Save this. Save modifier in there. So this should be for the Well you have one colina, so you can just put in there, save this Scrollis save modifier L So this should be for noise. We don't have really want noise in here, so let's just type in noise in there, sieve. Then finally, the coats in there. We put in coats. All right, that should be fine. Yes, I think, yeah, that should work just fine. So now we can hide the heads in there now, hide that. Select this. Okay, I need to make I need to, I will need to break the other parts a bit more visible, but not now, though. Let's kind of take our time and then just create the four in the first. I kind of no vis have cowry build around this, then we'll bring the cow bid in and then make modifications by adding some marks in there, but finally just leave it as it is. So I'll go description, create description. Ser shipping guide random lacrosplins. This is on the chest for collection. And we can leave it on the chest for collection instead. I don't need to create a collection for this. I just keep this a bit more organized in here. So I'm going to rename these two WPP underscore four. Underscore DSC for description. Okay, this should be fine. Yeah, we can definitely work with this D DESC. Yes, all of this is good. Click on Create, right? So now we need to go in and then create some guides. Let's create some guides in here. Let's do one at the tip. Get in close somewhere around here should be fine. Okay. Let's do one year, as well. Then all the way to the tip, also move this along, put one year. He also rotates. Okay. That should be fine. And at the end here swell down here, here, here or so. Then at the end, this should be fine. I should work just fine. I'll need to select all of them. Let you guys and then scale them out a little bit more. I think somewhere around there should be fine. Then I need to go back. Let's go back to this little platform. Let's hide this hide. Okay, let's go down to the ist for description. Hi Ds, don't thes visible for now. I'm going to select all of the guides. Then let's use our scope and start sculpting the guides. Okay. I'll put this down. Bend this down this way. Bend the tip. Let's add some co sweets. All right. That should be fine. Next one. Bend this this way. All right. That should be fine. This way. This times you kind of tilt it down this way. Ben it down. Next one. When it this way, we see to add extra ones though. That kind of hold the bit propelling. We just get this in. Yeah, as well, get some shape to it, add some hook to it. Move this out, right, that's fine. Next one, move this way. But Okay. Maybe we bend this down this way instead. Move this down. All right. That should be fine. This one, I'm going to move let's move this in the opposite direction instead. Let's make it look more like a rope guiding moving on a completely different direction. Okay. Move this out. That should be fine. Next one. Move this facing a more straightforward direction instead. Okay? That should be fine. Okay. Move this down. Move this up instead, bend this down this way. Okay? That should be fine. Let's go to the next side let's start from the top instead. This one I'm going to get facing down instead. Alright. Yeah, this should be fine. The quick sieve. Let's see where we can is. Let's move this ficing down. Let me get this facing down instead. Alright, get some more cv sweets. Okay. Move this aside. Move this down. Get this this way. No, let's this up a bit more straightforward. Be fine. All right. I think that'll be fine. Maybe get this facing down some more. Get up close. Move this down this way. That should be fine. Move to the next one. Bend this down. That should be fine. I'll move this up this way instead you're facing the opposite direction. Move this close. Okay. I've got to mirror all of this to the opposite side, so we need to repeat the same process again. All right. Bend this down. All right. This one, I'm going to bend down instead. Okay. Tilt this down forward up. Get this down. Here should be fine. Down here. All right. Go down, almost done. On this side, though. Wet. Move this up. I'll get this opposite direction. Coming close. All right. That should be fine. Ben it's down. Okay, this way. Bend it this way down here, like so it should be fine. All right. Get some curve to it. Move this out some more. Okay? And is this way? Get it from a defense angle move this in. Okay. Look for a better angle for this, get this this way. Soon at the end I think I'm supposed to bend this down some more. All right. Oh, skip one entire line. Okay. Move this down. Bend this down. Move this up. Okay. Yeah, that should be fine. Let me move this closer this way. So always want to kind of check around to make sure you're doing this correctly. It's important to check around. Bend this way. Move it out some more. Okay. Oh, so you have two more. All right. Move this out. Getting close. Move this down. Down here, it should be fine. Okay? That should be fine. So let's generate a in there. Okay? We have an interesting flow to it. Preview thermo fully primitive in view. Okay? So I'm going to kind of do a little lot more work in here just to be sure fail before before mirroring it to the opposite side. Okay. Yeah, I think I think they should work. They should work just fine. I think I should add extra edge on the extra. If you at the edge. So let me hide this. Let's add a few more on the edge, directly on the edge. So yeah. Yeah, well. It's not even tapoting between what we already have before, unfortunately. Anyways, let's use the scope to increase the brow size a little bit more. Okay. Bring this out. Select it. Select this also alongside getting close. Okay, something like so. Let's see if we can make this work. If not, I'm just going to just delete it. But we should be able to make this work. Okay, this again, let's see. I think this will work. This will work just fine. Then this one at the edge, I would like to hide this for now. These are the edge. I'm just going to scale them down a little bit more. Okay? I don't need to pull out way too much, so it should be fine. Directionality for this, I think we have good directionality for it as well. We save so now we can do adjustment to this now. I don't think I'll need to add any afro. I don't think it would be necessary to add any raw guides to this. CV count let's do 25 Okay. That should be fine. So let's go on and mix some adjustments to this, so for di wit 0.1. EntertTpa starts 71. Okay. Tea then TPA starts at 16 instead. Okay, that's fine. Then let's copy all of these guides. Let's see if we can get a perfect mirror to the opposite side. So let's do a mirror interesting, we get perfect mirror on the opposite side. Okay, we need to make some modifications around here as well. So we need to make some modifications in here as well. So it doesn't look too it doesn't look too generic or too symmetrical actually. So let me just move this down. Up, up, down some more. So basically, I'm just using the rotate just to create that uniform. It's kind of break up in there. Okay. I think this should work now. So if we generate as now. Okay? T should be fine. Don't need to do too much. This should be just fine. I'll save. So the next thing we need to do now would be to print our density maps. Let's print our density map in here. So let's turn off the for now. Let's go in, create map full black. Let's put CST in here. Then you name the wrists or caps wrists. We can name this wrist underscore four underscore DE N S underscore, Max. Yeah, this should be fine. Starting with full full black. Okay. Yeah, this should be fine. We can start with full white. Let's do full white instead that help us work a little bit faster. Let's solid brush. So it's already on full white. Let's do float paints. Okay, it should be fine. So let's paint with full black now on the edge. So I'm going to paint the full black on the edge and increase the brush size. I don't want to paint this with symmetry on because I know this shape is not perfectly symmetrical. I don't think it's perfectly symmetrical, so I'm going to paint this asymmetrical. That's fine. Ideas for now. Okay. Like so. Let's see over here where that's fine. Okay. Let's continue on in this fashion, and then we should be good. Okay. Let's lower parts. No, no, no, do that. I still want something so at the bottom also, too. Let's do something like so. Might just blow the lower part down, though, or live with it because our camera is not going to be view that part, so might don't need to spend too much time trying to make it extremely good. Since our camera angle is not going to be viewing those parts. Let me start from the top. Okay. Gets close. Yeah, so should be fine. Whoa. Nobody's just paint white in there. Pins white in there. Okay. That should be fine. Here, that works just fine. Blow out the edge later on. Let's move to the opposite side. But let's just blow it now since we're here already. So we need to return back to it. Okay. L, yeah, that should be fine. All right. So let's go back to painting full black. Now on the opposite side now, paints two, painting full black. Okay? Come down. Okay. Let me do a C first before moving on. Hides. Continue pencing Continue the pencing. That's fine. Move this down. Scroll out. Let's increase your brow size a little bit small. No. Okay, that should be fine. Learning to do too much though. Okay. Continue on. Okay. Get close pin down. Move our camera up. All right. Let's finalize this at the top. Okay. Move this out. Yeah, that should be fine. Let's look at the front. There's any issues here, we can just do some blow and should be good. Okay. Blow this edge. Okay. I think I would like to paint in this back, reduce the brush size, use the brow size or more. Paint right here. Use the blow, increase the blow size. Blow this edge. Okay. Let's see if there's any issues we need to blow out. This should be fine. Do a kick save. Okay. So this will be just Oh, it's still some part we didn't even work on, so B are solid brush paints, painting full black, pretty broad size. Okay. I shouldn't take long. Yeah, this should be fine. Yeah, work just fine. Let me just save this in here. Okay. Then control let to save the entire outing. So in the next lesson, what I was going to work on? We'll just work on the modifiers. Okay? So I'll see you guys in next lesson. Bye for now. 56. 157 01 Waist Xgen Fur Modifiers In Maya: Welcome, but guys. In the previous lesson, we painted our density map or density marks for this. So let's carry on and continue working on this badly modifiers to it. I would like to hide this now. Hide that, so I can work a bit faster in here. Then go back to that description to waste leopard four. Okay? So I would like to increase this let's increase the density of some more. So I'm using CST for this, okay? So then I'll go over to modifier. Remember, we've already saved out those preset for the low part four. So we're going to just use that. So that what we have in here, we have the clump one, select the clump one. Okay. Generates. I think this should be fine as well. Generates again, sieve. You should get something now. Okay, maybe this might be too much, maybe. So I'm just checking just to be sure. I think my clumping might be a bit too much. Let's go in and let's say this to four. Generates sieve. Okay. Okay. I think should should be just fine. Then let's go to the modifiers, load user. Let's set glom pin two. Go in the generates. This camera, let's use it instead. Generates si Okay, we have something in general let me hide these guides for now. All right. I think this is looking fine. We can work with this. Except maybe we can go in and then reduce the density of this. Let's use the density of 40 instead. Okay? Use something a bit lighter, go back to modifiers, set up map, generate again, save Okay. Then go back to Clum one. More or less generate this again, sieve. Let me start rendering this. We're still going to do a little bit modification also on the density values for this. But I think for now should should be fine. Okay. So let's continue on. So we have coil and we have noise. Let's start with the coil. She creates a bit more interest to it. Okay. I can still make some modifications on this compon. Let me say this to two, generates, sieve. I kind of separation in something like two. Right. We ton of clumping. What happen to of clumping too. We need that. Then let's add the, the noise you confess. Let's add noise. So not much should be happening in there. All right. We come in there, we're getting something like so. Yeah, we should work just fine. Just check in. Trying to see if I need to tighten this a little bit more. Let's add a codes load use a loop pad for code. Okay. I see, I need to make some corrections to this let's go to the one. Let's go to plump one. Let me this a little bit more. So get something a bit tighter on the edge. We can't really see it very well because you know density of the density of in here is not that much. Okay? I don't want to increase the density way too much than I need to. So at this point at this point, the only way we can make better corrections to this is to do renders for this, and then we can make corrections from there. So let's see what that gives us. Okay. I think I might leave clumping so off. Yeah, this should be fine. So next we need to do is to bring out let me save this. So bring out the other shapes supposed to be in the recovery bed and then create a marking in between them. Okay, so let's go and open this up. Let's make this who's visible. Okay. Oh, I think I'm moving liking this the way it is because it's not we don't have too much interception in there because it's kind of pokins coming out already. So I think I might just leave leave this as it is cause we have three in total. For the most part, it's kind of Shane was supposed to show so. This would actually be fine. He's work, let's check for the top. Top the top also seems fine. Okay, except for poking through it without poking through it. So we need to do a little bit more clean up around there. It's on the edge. Little more clean up on the edge should be fine. So some more clean up will be just fine. Okay. But we need to get it out. So let's select this piece. Select this. Let's do a duplicate of this Control D, then Shift B, send it out. Then we can hide all of this. Select. So delete, I need to tie to doub click on this and double click on this as well. If I move that down, just move this down. This do I need to delete for now. So I can go back into, this should be fine. I need to do some cleanup in. So let me do a quick sieve. Let's do some cleanup in. If you shopping this up, was bound will still be in there. Composed. No, not wrong one. Hose the one here. So waistband should still be Let's make sure waist band is still in there. Okay, that's fine. All right, so now let's go on select this again. Let me just select that already on your description already? You're on your description already, so Let me increase the density a little bit more. Just make something a little bit ticker, so it should be fine. Then what we need to do next would be to go to Iidensity marks. So let me save this. So go to deidentity marks and then we're going to erase if you are the top So let's go in. Let me coming close again, let me make sure to be sure. Yes. Okay. So let's hide the hair for now. So now we know where we need to clean. So let's go back to our density marks. So we're going to paint in full black instead. So open this up. Solid brush. Black. Okay. So let's start from around the e. Are we even painting anything? Anything happening in there? Okay. Undo that. Something should be definitely happening in there. Okay? Way too low. Way too low. Let's just be on the edge. I think I need to reduce. Okay, let's continue like this. We're going to blow out the edge. Coming close. Okay? Well, at this point, I feel like I'm doing too much, though, but let's just continue on. And then we'll compare and see what we have De here as well. Okay? If I save this, let's see what I get. What's he going to paint toke? We did way too much. That was a bit too much. That was a bit too much. So let's do blow. Increase blow size. Let's do blow instead. Okay, I think I might sing into paint white at that part because yeah, this bla is no really doing it. So let's go back to our paints. Our paint in full white. I'm going to reduce the bros size so I can just paint white close to the edge. Okay. So you just need to do this with a lot more precision in there. Okay. All right, so let's see if let's see what that gives us. Alright. Yeah, this seems like it to work. Let's come in and paint a little bit more. Save this, we get. Yes, yes. I think this should be fine. So let's go in and then just paint. So for the next one, we're going to be a bit more careful and just do this as accurately as we can. Move this aside. Alright. Around here as well. Move this along. Okay. Both needs to do some cleaning up though. Often it gets this way it needs to be first, then sieve. All right. Awesome. Around there should be fine. Great. A great. I'm going to increase the bro size, fill up all these bits. I just kind of paint paints through from one side to the opposite side, unfortunately. So let's fix this. Let's make sure we're not seeing the other piece at the back of this. We're going to find a good angle and then paint this on. Yeah, that's fine. That works just fine. Reduce the bros size. Okay, let's go paint full black. H ideas for now. So this should be quite close to the edge. Put this at an angle where it won't looking through the piece. 57. 157 02 Waist Xgen Fur Modifiers In Maya: Okay. Okay. Move this along on the edge. All right. Move this along. Oh, no. I think I'm painting on the opposite Let's not painting on the opposite side. Let me move this up instead. Okay. So I'm trying to do as careful as I possibly can. Alright. And you as well. Okay. Almost done. Alright. Let's do a quick sieve. Let's see what we have. Okay. Hide this for now. Let's paint back white close to the edge this time. Okay. So I'm trying to do this are a bit more precision this means to look right. Okay. Move this down. At this point, it's almost out to tell where the shadow is and then where we have that whites in. So let me zoom out, save this. Let's see what we have. Yeah, this seems roughly fine. So I'm going to come down with a safe texture, use this for now, select this, hide this for now. Then go back to our paints. So now we know we need to completely erase. So let's painful black now. So I'll increase the blood size a little bit more. Okay. Could you blow **** bit more? Due your brush size. So the part turn into paint full black. Beta clean up around there. Ideas, cleaning these parts some more. Could use the brush catlit bit more? Okay. All right. Here as well. Move this along. Clean this part also. Move this along. Okay. Clean these bits. Move this along. Clean these bits. All right. I think it should be fine. Then let's clean this part some more trying to make this as neat as I possibly can clean up. Okay. Clean this part as well. Okay. Move this out. Let's see what we have. That should be fine. Move to the oppose this side. I think the opposite side seems just right. I think we don't need to do too much work here. Let's clean this. Okay, come in here, clean this as well. Alright, Sieve Okay. Yeah, I think it should be fine. So let me close save texture. Close this. Let's make this waist bound visible again, Let's see what we have. Yeah, I think this should be fine around somewhere around there. It should be fine. Okay, do a quick sieve. All right. I think this actually sets it. Okay, we can hide this for now. Don't need that anymore. Yeah, this actually sets et's turn. Let's bring everything back out. Let's see what we have. Okay. I feel like I should add a bit more tape out to this. There should be tape out to this. The ideas from the randomizer in here, so we can reduce the value to say this to one. Instead of 0.5, we can do 0.1. Okay. Then let's from 0.1 to one. Okay. So if you get some diapers in there now, I think that should be should be fine. I don't need to do too more. This should work just fine. I'll save this. Okay? Now, let's bring everything back out. Let's make the entire hair for the entire team visible now. So let's go to the pools. Okay. Okay. You should be fine. Well, I think I need to paint I need to paint something back here. I need to paint this back in. Hide this for now. I need to paint white in here. Get some white in here. Okay. Save this. Some visible hair should be in there. All right, move this to the side. Let's make this visible again. All right, reduce the bro size. Do some more working your paints in. All right. Save. Trying to make this as neat as I can. I should be fine now. Safe textures, close the safe textures again. Okay. Go out of it. Hide this for now. All right. Let's make everything visible. Let's go to each description and then make it visible. Immediately it on its own, okay? All right. This we can work within here. I feel like I made some more paint around here. So let's make the tiger marks visible in here. Okay. Now let's go in save this face. I'd like to paint some more white close to the edge. Pint some more white on the edge. Let's go in there. Density marks for this. Okay. Oh, Were you have something in there? Where you have something in India. Away, let's just pin some sicker whites in there. So reduce the brush size so more, get close. Pin some more stronger whites on the edge. Pin some more stronger whites close to the edge. Okay. Move this along. Okay. I need to make sure this is looking as good as we can get it to be. All right. Move to the top. Pin some white around here. Okay. Pin some white close to the edge. That should be fine. Paint some whites around there as well. All the way down here should be fine. Then we save this. You guys generated close to it now. I think this is fine. We can work with this safe texture. Close this safe texture again. All right. Go out of this. I should be fine. Then let's go and go to the ice scalp, make it visible. Eye latch visible also, too. Then let's go to the head hecton All right. Let's make this pose visible now. All right. So this is everything now. Just check in if this is fine. Yes, we can work with this really quick sieve. So in the next lesson, I'm going to start the lighting process for it. I'll see you guys in the next lesson, bye for now. 58. 158 Light Studio In Maya: Welcome, but, guys. So in the previous lesson, we finalized on the generated egg gen hair for this. So this lesson, let's start setting up our live studio for this. So let's get to it. But the first thing I'd like to do would be to arrange my setup a little bit more. So I'm going to start by selecting all the egg gen hair, the collection in on the outline and then hide that Control H. So hide that. So that will enable us move a bit faster in our view pots. Then also, I'm going to select the two. Okay, and I'll bring this back into the group. Let's drop this in. So now, if I select this now, for this scalp also, we need to hide all of this scalp. So let's hide all the scalp. Don't need this scalp anymore. So if I should hide this, everything becomes hidden. Okay, then bring this back out. This is fine. This is what we want. Okay. All good. Let's go to Attribute Editor. All right, so I'll go out of the E gen table. Let's go to node. All right. I think everything's working just fine. Yes, we can move on from here. So, what I'd like to do be to create a studio for this. So you need to get this place in a studio. Let's set set up a studio for it. So to do that, I will just do **** Rect Code and create a cube. Extend that cube out. Let's space bar, go to other views, have to frame in. Okay? Wireframe she let's do wireframe instead so bring this out all the way up here. So she kind of touching the feet some more. So I want to hit D on the keyboard to go to gizmo, set her gizmo down here. Okay? It's W again, gets close. Bring this up a bit higher like so. I think somewhere around there should be fine. Yes. That should be just fine. All right. So I'm going to let's go to vertex mode. Sled vertex mode, select this, extend this out some more. We more actually select this also to extend all the way to the back. All right. Let the top vertex, bring this up. Okay, that should be fine. So not net we need to do to delete some of these faces. So let's go to phase mode. I'll slide this face in delete. This is like the deleting we need. Then let's go to scale and then scale out some more All right. Yeah, this should be fine. And I'll bring it for a little bit more, okay? Now, let's go to edge mode. I'll slide this edge, right. And I'm going to bevul this down sheet right old bevel edge. Okay. Pull down control, and then we can move this down. Add some more segments in. Let's add quite a lot of segments so we get something quite smooth on those parts. Some more segments should help. Let's do 15 instead. Okay. You should have something quite rounded on the back. That should be fine. Face face smooth. Slide the entire face. And then she rightly can node. Let's reverse normal for this reverse normal. Awesome. So we have something like this that should work. All right, right, so we have this. This will work just fine. Okay. Do a quick sieve. So this is fine. So the next we need to do would be to assign anode material to the entire mesh. So let's go back to object mode. Like to make sure we have this set up correctly. Yeah, I think we're in a good place. Yes, it's touching the feet. We can come in closer and move this up a little bit more. Yeah, that should be fine. It doesn't look like it's kind of floating on the under part on his feet, so we don't just looking as if it's floating. To be fine. Let's eye grid for now. Don't need to grid for now. I just want to visualize this alone. So we can turn off this ambient seclusion. All right. Awesome. So now, set up let's set up a camera for this one. How do we want to render this out? Let's set up a camera. So I'm going to turn on the resolution gates, not film gates, resolution gates. Currently, our resolution gate is like so. So to adjust this resolution gate. So this is what we're going to be bringing out. So whatever is inside this clay box in what we're going to be seeing on our final Render. So I that part that's kind of graded out. That's looking a bit blowed out. It's not going to be visible on our final render. Keeping that in mind, I'm going to go over to Arnold setup. Let's go to Arranging setting here. So we we set up with Arnold render. That is fine. Then we scroll down Okay, before I do that, let me use my preset here. I'm going to show you guys how to import the preset also, too, and I'm going to be giving you guys the preset our set also, too, for my render setup. If I should go in import render settings to have different pre presetting year to actually use. So let me show you guys how to find out and how to also install it also too if I send you the presetu. Go document and look for Maya I need to look for Maya in Maya folder. Select the Maya folder. Then you go to Maya 24, then go to presets. It's not in presets, should be down here instead. This is it in here. Let's go to Mya folder. So I'm going to providing all of this. So once copy once I provide this files for you, just paste this in here on the preset and you should have it working in here already. Keep working in here already so you can see this in here. Also, too, for the agen, let me make sure you get for the eigen also, too. For the eggen, if you want to bring in your egenegen preset also, you can also have have it also in your Safa should just find this, so it should be under Egen exam food or EM food and document file. So you should have the preset in your DRnderPreset, and then exam modifiers. We should open this up. So you need to do just I believe in here on the FX modulus. Let's go to FX modus, and then you can past you can just past the preset in here. So notice now the new preset, you just create a loop path for screen c two, no h3s. So we have that in here. I'm going to be providing this also as well. In case you want to know how to install then that's how to install them. By the way, let me go to the presets Import sets in user. Let's start with low render settings. Low rounder settings is having one square, so one k by one k square render for it. Now, I noticed immediately we did that, we have this squared out on our three d view. So this is more or less what we actually want. Let's just look for a good angle. Good angle to render this out. I think a good angle to be some should be something somewhere like so. All right. So something like this, then we go to view. Let's add a bookmark for this. This bookmark, let's name this to main. Let's get new bookmark. Then name this two main. Let's use our caps for this. Name this to main fronts. Come. All right. Enter on that, you should see the name being applied now in this vs close and I kind of move off orbits and then go about to bookmark. She's going to snap back to the view, which is more or less precisely what we want. But in a very good instance, we still need to adjust we still need to adjust this quite quite well later on. But as far as this goes, this will work just fine. I work just fine. So moving on. So we already have a studio setup now. So the next we need to do is to start, let me close this for now. Next thing to do is to start converting all of this lambert material we have into node materials. So let's start from the backdrop. Let's start from the backdrop. I want to select the backdrop. Or selected. Shift correctly, no if rightly nod. Let's go to let's lead by type try first. So by the fourth, you should have standard surface, which is more or less like no standard surface, actually. But let's just give it a new material again. Assign your material node. Let's do node standard surface. So, that's fine. Let's rename this to backdrop. Let me use our caps for this. Drop I'll put AI in front AI space, backdrop. That's fine. So these are first and not materials. For this butler one, I'm going to be using quite a very dark material for this. Let's say you call it something quite dark. Then let's increase the roughness all the way up. Increase roughness all the way up so you having quite rough background material, that's fine. Now let's go in. Individually, we're going to start changing the material for this. I'm going to work with this hierarchy in here, select the body, go in here. I think I can copy, let's copy this because once we change this standard material, it's going to remove the name in there and we still want to keep the select ds, okay? We have any any piece extrae you know? It's not. Okay. Then let's go in. Alright, right? So I'm going to come into the type and find AI standard surface. Find AI standard surface. That's some things we need to do in here Doble settle up this we can set up our light first. So our lights, we can set up. So let's just give this default material to begin with. So come in the pace the name, I put AI in front, space v delete this number at the back. So we need to do this exact same thing for the entire piece. So I'll hide this for now. Let's go to the next one. Okay? Close copy this then come over and say this to AI standard surface. Place the name in there. Lead a number at the end, typing AI in front. Okay. Yes, this should be fine. So I'm going to hide this also too. Move to the next one. Copy. I should copy where we don't have the numbering at the end, copy this. Screw this up, scroll up. AI standard surface, paste the name in there, put AI in front. Okay. Hide this as well. Go to the Iris. Copy. Copy this again. Scroll up AI standard surface. Paste come to the front, AI space bar. That's fine. Hide this, go to waistband. Okay. There's quite a lot going on in here. So deletes most of this. We have a lot of weirdness happening in but I'm not sure. Also to why we are there, I think I would like to check if my UVs are working correctly in here. We have checked before though it's fine, so we still fine. Just to be sure, then let by type history, clear weird Attributes, we are being applied to it. This is fine. Then go in there copy the name, S this to AI standard surface. Best AI space bar, delete what is at the end, okay? That is fine. Save this. Save now let's hide this hide. Next one. Yeah, this one is already in place, we just go and copy the name. AI standard surface. Did the name at the end, come to the beginning, put in AI in there AI in the space hide that Okay, next one. Copy. Let me try and work a bit faster in here. Paste in little number at the end, come to the front, AI space. Hide. Do you have any okay this is fine. Copy. AI standard surface. Is number at the end, come to the front, put in AI all right. Hi that's earrings. Copy copy that AI standard surface. Because AI standard stuff, you might be wondering why we are using only AI standard surface alone, but that's because this AI standard stuff is going to be the material the shed that has most of the setup we need in here to actually work and get our desired results. That's why I'm using AI standard surface for it. The material has everything everything you actually need for the move for most things that you want to do while your look developed set of Mac has everything you actually need for most part, so phase that in, select that. Did I use the right one? Yeah, this is is the right one. Let me make sure I'm using the right one. So AI standard surface. Okay, here's the right one. Okay. Phase that in lit was at the end. AI. Okay. Yeah, that should be fine. Enter to apply that. Hi, that, go to the next one. Okay. Copy changes to AI standard surface. Let's put AI. Let's start with AI. AI space bar, then we can paste. I think the more faster way to do things, hide this. Okay. Next one. Copy, AI standard surface. AI space but then pist that is fine. Hide. Next one. Copy. AI standard surface. Piece this in the number at the end. Hide. Copy this first, set this to AI standard surface. AI space, pies this in, lead the number at the end. Okay, next, copy it on. All right. We can start with AI space pastes. Almost done. Just a few more and then we should be good. This baton has some attucens let you do bi type t. Copy this. AI standard surface. AI spacebar paste this in. That should be fine. High darts, move to the next one. Okay, we have some stuff in there also to let's clear darts. Copy. All right. Here I stand that surface. Here space pass that in. That should be fine. I do this, go to the spare. Okay. I should be fine. Copy. Here standard surface, AI. Please pay in the this Copy. No, wrong please the copy because Might aically duplicate that if we copy and paste. Let's copy this from India instead. Okay? A space, paste that leave the number at the end. Save this. Almost done. Yeah. Let's move to the next. We already have the setups. Let's hide this next one. Copy. Here standard surface. A space, piece that in, do the numbering at the end. Hide. Almost done. Copy the Sanders. Here stand that surface. AI space, but piece did the numbering at the end, Enter. Okay? Copy. AI, pies skirts, and third is fine. Hi this. Here's last one. Copy this. A standard surface. AI space, phase that in, Enter to apply another is fine. Let's select everything all the way to the top and reveal everything back out. So should be having something like this now. So this is what we should be getting. Let's say you want a more close up view. I think this will work with a bit more close up. Okay? Get close down some more. Let's receive this as a new. Let's receive a new one. So let me just name this to near front come Okay. Yeah, that should be fine. Close this. So now we have this at least now, we have all the material in here that we need. So you just make modifications today and then add new ones, and then we should be good. Yes, this is fine. Just checking to be sure if everything's working correctly which it is. Okay. So the next lesson, we're going to go in and then start setting up good proper lighting for this. I'll see you guys in next lesson. Bye for now. 59. 159 Arnold Lights In Maya: We come back, guys. So in previous lesson, we kind of set up our onload material and set up our lights studio also, too. So now let's get into adding lights to this and getting this to work just fine. Alright. So, but I have a few arrangements to do in here. So this butler ones that we don't actually need. I know to delete that, so I'm going to just put them in a group, put them in a group. And I'm going to rename that group as Miscellanos. Let me drag this up. Around there should be fine. I can't close this group for now. So I'm just name to sell. All right. Just to keep things a bit more organized. I'm trying to organize things in here, this part L I'm not sure if we need this anymore. Do you have anything going on in there? We don't, step melating that because I'm not entirely sure what that's supposed to represent grimly not sure what that's supposed to represent. I'm going to leave it as it is, so I don't mess in soup with egging. Already know egging can be quite buggy. Anyways, carrying on. So I'm going to go to Anno tub, make sure you select Anno tab. And I want to create an AziR light to begin with. So we can create sky dome light. And let's go to the setup in there. So I want to use one of the AziIFm SubtansPnter. So to do that, we need to kind of go and find the five parts. So let's go and find the five part. If you go down to Local this where installed it, program fis. So you should be under Adobe. If you 'tad the version, where Adobe kind of took over so. You should driving this in there. So let's go to resources. So starter assets. Then if you go down to Environment, then studio, you should have a few studio set up in here. So you have the Tumarko Studio, you also have this studio white umbrella. So I think the studio white umbrella was the one I actually need. You can also use to Marco studio also too if you need to. So currently, it's really between both of them and I figure out which works best, actually. So let's start with this studio white umbrella. So let's copy the five parts. So I'll copy the five part for this. Okay. One more thing also need to do for your set of pin is to go into render setting, very important. Go to node. Then scroll down to, I believe, textures. Turn off auto convert textos to TX. We don't want to convert textos to T because if you do that, it's going to increase our render time. So let's turn that off. Turn off use existing TX textures. Then for the MAX cache size, we can set this to zero, but it's not going to default to zero. It's going to default to somewhere around 1,000 or one GB. So this is low. This is as low as it can get, so this is fine. We'll leave this as it is. Okay. So why also we can also save it as a new preset if we need to. So to preset, let's go to export settings, and we can just replace that with I believe is the low setting we're using. We can replace that with the Low replace, yes. So we can also do that also too for the others. Let's do that for the others. If you go in import user, let's start with the I we turn this off, ton this off as well, set this to zero, I enter to apply that. We go to presets, a spot render setting, set it on the I. Okay. Yeah, that should be fine. We go in import setting. Let's go to the mid tour this off, to this off, set this to zero. All right, go to presets, a spot setting, mid render sieve. Okay. Yeah, I think it should be an many more user skin. Turn this off, turn this off, set this to zero, Enter, reset spot render settings. Let's just replace. Yes. But what we need to use now will be mid. Let's do low. Okay? Low render set up for this. This is fine. Low under set up for this should be fine. So we close this again. We have this now set up accurately as we need it to be. Okay. Save this. You should save quite fast signal. So now let's go in and bring in the AzirRTplug in the AziRra you need to plug in the AJR to the color in here. So plug into the column. Let's select that Checker pattern, select file, then select the folder and then let's space that five part in there. So the studio umbrella so you can see it in here now. The studio umbrella. So it's good we can actually see a preview for this. So then we also love this also, too. It's also a good one Studio white Studio umbrella. So let's start with the studio umbrella. Then we can kind of get variations in between. I figure which one works best. So click Open. So once you apply that and then we zoom out, you see it's in here Oh, it's cutting out. So let's fix that Scot out we're having. Just come into the far clip lane, type in two zeros in there and then should be good. But it's not enveloping the entire housing. This sphere is not enveloping the entire housing, so let's go and select it skill scale this out. So more so it should be fine. So now you can see that our main light source is at the back our main light umbrella source actually at the back, don't want rotate this to be facing the camera in here. So we want to kind of coming from this direction. So it should be coming from this direction. So to do that select this, then rotate rotate so we can move this this way. So we look at this now, we can see come on. Move out select this again. Okay? It's not bringing out her object selection. Anyways, let's just get this where it needs to be first. So I'm kind of checking this just to be sure, see where yes we are this at the correct angle. So we can go in. Let's go back to our com Yeah come. Okay. We can click out, click on the background. Let's go back and then say this to came again. I should be fine. Let's go to unload render and let's do some renders for this. Let's figure out Let's see what we get. War Mton samples, set the samples to three, so you can get better light definition in there. So, that's fine. So clearly out. The quick save again. So we need to do now just to go to our nnodRnder and then see what we get. So let's go to Anode render, select that. All right. I'll go over to view Test render, let's do 50%. So when you start one key, so let's do 50%. So 50% render will be around 51, 12. 500 peak sales, actually. So let's do 500. And then if we go to a set in Zine, if you go over to display, it says to ACs, which is fine. As will work just fine. So let's close this again. Okay? It's render. Let's see what that gives us. You can see how it renders it renders fairly fast. Why? Because we are kind of using basic material in here, so everything's rendering quite fast. So AC so we can actually leave this like this because we already have good shadowing, but we can also rotate Asia a bit more just to get better. Let's get better lighting in here. But for the most part, this is coming out quite nice. You can see we have good, interesting, soft shadows around this. So if you're actually looking for a light source that kind of illuminates the entire housing, this will definitely work just fine. This will absolutely just fine. Alright, so this we can use. But I'm going to let me get to the face. So I'm looking at the face a little bit more. I'm just going to get some shadow in around half of the face. So to do that, I can just push this outside. E space. E space out, select our lights. I'm just going to rotate the lights this direction instead. So rotating this now, you can see how we are catching a bit more shadow in there. You can see a bit more shadow on this side of the face. So let's do a bit more. Let's rotate it Let's rotate back some more. Some more. I'd like to get some dings on half of the entire body. Here, something like so. Yes. So because we need shading shouting kind of gives gives the momatic lighting, which is what we want. So yes, interesting. This is perfect. This will work just fine. Yeah, this will work extremely well. I work extremely well. So this is like our first light source here. This is going to be our first light source which we can work with. So I'm going to go in and start making some modifications. So for the backdrop, I like to darken the backdrop even more. I don't want the backdrop to be this obvious at the back. So let's go in and darken this some more Candlest the weight. Take down the weight a little bit more. Yeah, I think somewhere around there should be perfect. So we have all of our attention on the character itself because we want to drive our audience's eyes directly on directly on the character itself. So we don't want our viewers to be distracted by the background. So our focus should be on the character itself. So that's why we mean to have a light in that looks quite like some quite like some so. If you actually not to use writes easier, right, it actually helps you actually extremely helps to kind of get proper basic icycle that actually looks quite good. Which is precisely what we're trying to achieve in here. Was he going to bring in some additional lights to this, no doubt. But for now, let's just get something something like so should work. Fine. Okay? If we decide not to add any additional light to this, this will work extremely well. This will work extremely well. But that's for the sake of adding, let's get some other lights in her. We're going to we're going to kind of get another different light setup in here, more or less like a back light to him. So we're going to create like a back light for him. So let's go in and select let's operanda for now esto panda for now. Okay, so paranda for now. Then let's put this down here for now. So let's go over to a perspective view. So on the perspective view now, we need to kind of create a back light. So this back light is going to be going to just be at the back, just kind of eliminating the back side of him. So to do that, all we need to do will be to go in and create an area light. So let's put an area light, bring this up, scale it out some more. Okay? So you can see where this is pointing. It's not pointing on the body, so we need to rotate this, but before we do that, let's move this this way. Then now we can rotate. Let's rotate. Go to the lights setup, go to translate, rotate. Let's do 18180 degree. Then bring this up. I think I scaled it out way more scale this down, rotate our light facing him from the back. We undo that. Move this this way. Move this back some more. The wrong axis. Move this back some more, somewhere around there should be fine. Okay. Yeah, this should be fine. So now do we see this light now? So to see these lights or we get modi preset, so not really preset actually, but whereby we can adjust our light. Let's go to utilities, then click on Light Editor. Put this aside, let's bring out. Let's bring this out. Let's go and then set bookmark to NCM. Okay. So somewhere around there should be fine. All right, so go in and then select the sky dome light and click on disable. Let's disable this for now. We don't want this to be visible for now. All right. So let's go and select the area lights. Can I name this in here? I can name this? I want to name the names all caps in here. Let's do wreck lights for rectangular lights. Okay. So for the setup now, we don't really have most of the setup in here actually. So one we need to turn off would be before we turn that on, turn it off rather. Let's go and click on Render. You see completely black. Now I wonder why I see completely black, white because you need to go in and then turn off normalize. So once you turn off normalize, should begin to see something in here now. You can see how we're kind of capturing the silhouette of this now, which is precisely what we want capture. I silhouettes it bitmll Okay. So we can go in and increase this also too if we need to. So let's add some more samples to this. So samples just samples, samples of three. So if you get more definition now for the light, we can increase the intensity, less than intensity of two. Okay. You can see the light bleeding out a little bit more on the edge. So it's kind of gives a rim effect around it's fine. Precisely and absolutely what I want. So aside, we can still do some more corrections to this if we need to. It's space bar, come to this view. We can pull let me get this to the side. Move this aside. We can pull this down some more. Okay, if we need to Alright here, this is looking good. You can see how we do silhouette lightning across this. So now we have this notes. Now let's turn on let's turn on the our sky dome lights. Let's turn on our sky dome lights. So this area light kind of mixing actually, that's fine. Let's turn the rear light for him. So if we enable the dome lights, let's enable our dome lights. So we do ate the neighborhood now, this is what we have. Okay. But we can see you can see some weird shadowing at the edge. You can see this weird sharp cat around this. That's because the area light is also affecting the backdrop, so we don't want the ir light to actually affect the backdrop. Let me stop this for now. So I don't want the ir light to affect the backdrop. So how do we tell our area lights do not shine on the backdrop, polution on the character. To do that, we need to go over to Windows, relationship editor, slight light linking. Then we do light centric. So we're going to select the area lights. Let the area lights in here, then click on backdrop to kind of deselect it from affecting the backdrop. So now if you close this now and then hit Render again, you can see how we kind of get that completely eliminated. So it's really affecting it's really affecting our character alone. You just can't know precisely what we want. It's really affecting our character. You can see this now. We can see. We can see good ey elight at the edge now. You can see good ey light at the edge. This is basically what we want. So that's going to eliminate the edge a little bit more so as far as this goes, you can actually use this as asset of our lighting. So the instance where we need to edit the lighting again would be after adding materials to it and we begin to make some adjustment lighting just to match the general contrast of our applied textures to the mold that we're here. All right, so, that's fine. It just allow this render little bit more. You can also go in and increase this to go to view, increase this all the way to 100%. Okay? So I'm going to stop the render for now. There's one more thing we need to do. So Em in this case, actually, it's not extremely important, but I believe you refer to composite and they want to do some compositing in an external software, then you need to do that, so that was introduced to add AOVs to it to node render. So let's go to node render settings. Let's go to AOVs. So let's output the noise in AOVs. So there are some AOVs you can bring in if you need to. So if you like to bring in will be the Albedo like the Abi Do select Wood and control, select Albedo do noise. Select directs, diffuse direct as well. Should have then specular and specular in direct SSS SSS bid. Okay. I think this will be pretty much there's nothing else again. Then we're just going to send this over, so send this over. Just send this as long as I send this over now, and then you come in here, if you go to Beauty, you shouldn't send anything in there because we have not rendered yet, so we not going to send to actually render. So now if you go in and then we close this for now, then we open up and not render view again. And then we hit render in there. You should be able to see them now, so we should able to see them in here now, okay? So if you cannot go in and then direct diffuse, this is going to visualize only the diffuse alone. We go in select direct, Is going to visualize our light setup. Specular, all specular, specular channel alone. Specular indirect alight affecting the specular. SSS N is a senior because a senior Abdo alone Okay. In case you want to kind of work with this, you actually have that advantage to actually bringing AOVs also two to this and then use that if you need to. For the most part, I'm not really going to be using that because I just want to just get the best result but ring in. I'm not I don't want to kind of create a ranawa I'm just kind of do excessive work of compositing in a niceness like photoshop. The idea is to kind of get the best render possible inside of rnd alone. And that is where we needed to kind of make sure the detectors and the contrast and the color on everything or build everything looks good inside of Stan spin and then we did test render, just kind of check all of those things out before exporting them out. I believe I strongly believe that based on that, you should have really good renders inside of Arnold if we kind of tick every box right, so that's for that. So this is like the general lighting setup I'm going to be using for this. So the next we need to do is begin to start to go individually to each particular material and begin to apply the textures and then do some more work in there. So we'll do that in the next lesson, bye for now. Before that, we can do just allow this round out. It's already at one k. Let's allow this round out, and let's see what we get out of this. Right so we have this fun rendered out. This is where we get. Awesome. This is looking good bots. Now, seeing this now, notice that we have those completely white whiteness all over the place. I'd like to add another extra tint of an extra tint of orange and then blue to it. So now, we have this render out, we can do a snapshot of this. So we have a snapshot now. Let me minimize this again, put it to the side, close this for now. So let me stop this render, stop this. So now let's add two extra additional lights to this. So I'm going to rename this to area let this to back light. Okay. That's fine. So I'm going to create another area light. Let's put another area lights. Come in here, we can bring this down. I'll use the scale to scale this out. O some more, pull this out, get this here, move this this way. Get this rotated, rotated face rotated this way. Let's go to a top view, come in close. Just move this somewhere around here. Okay. Somewhere around there should be fine. So I'm just trying to get more or less like let's say orange things to it. I'll scale this out some more, scale it out this way, bring this down this way. Okay? So that should be fine. Select this. Let's go in. I'll name this two side orange lights. Okay? This should be fine. I'm going to go into the light setup. The ton of normalize samples, let's use two samples for this. And I'll go to the temperature for it. I want to put this too much. They can see how I cannot get a yellowish tint to it. More like a yellowish tint for it. All right. I'll set this to an intensity of let's do half of that to 0.5. Okay? I'm going to duplicate these slides. Move it to the opposite side, rotate. Let's go to the top view. Move this this way, rotate this way. So this is going to be more like a bluish tin slight side blue. Okay. So I'm just going to put this towards a code value instead. Like so. Now, let's do render for this, let's see what it gets. I'll save this. I don't do the test them one by one, but I just want to just render them all at once and let's see what it gets. Let's just hit render in here. So it's rendering now, let me collapse this for now. D in there, but it's not too obvious. It's not too obvious. So if you want to make it a little bit obvious, at least for the two of them, we can increase the intensity of the lights. Let's stop this for now, move this to the side. Okay, move to the side, let's just increase intensity to one on both sides. So let's set this intensity. Let's use one. Then for the bluish tint, let's set that to intensity of one as well. Then we render this out. You can see major difference in here now, you can see how we're getting down range tints. 60. 160 Arnold Skin Shader In Maya: Welcome, bad guys. So after doing our final render for setting up the new lights, the warm light, and then the much cooler light. So let's do a snapshot for this with the snapshots and let's compare these two. Let's compare both of them, let's see what we have. So let me zoom out a little two. This is the first one we had. You can see how all white she looks completely white, all white, with some dark shadows, which is cool. We have some dark shadows in there. And then we have this Okay. So we compare the two, which is what we have now. I think I need to make a little corrosion. I still like this dark shadowing around there. I still want to keep the dark shader because what we have now is not really meting those dark dark shadow in there, so there are a few things we can do to actually bring back the dark shadows too. First of all, tune down the two lights. So let me minimize this so now for now. Let's start with the big ones. Let's start with the dome lights. Let me take down the dome light a little bit more. Let's do 0.8. Okay. So we can click, turn this off. You can see this rendering now. So you can see, we are kind of introducing back the dark cheese in there to go to the orange. For this, let's do zero points. Let's 0.8 instead. Okay. So you're introducing back the dark sheet. So go to the lights. For the blue for the blue, let's say this down to 0.8. So this going to introduce back those dark sheet a little bit more. Okay? Is precisely what we want, so this should be just fine. Okay, this should be fine. So we add back the dark sheet. Maybe for the scam lights, let's say this let's do nine instead of 0.9. Let's 0.9 Let's see what that us. Yeah, S good enough. Se good enough This will work just fine. So it worked just fine. So I'm going to stop this for now. Stop the render for now. I don't think I need to adjust the lights anymore. I don't need this light editor anymore, so I'm gonna close that. The quick save. So now we need to go into the main body now and then begin to do some more work in there. Let's jump right in. Let's collapse this for now. I'll bring this down. So for this, we need to come up close. Go to pose Zbrush model. I'm going to hide everything else apart from the body minuscule outer eye. Yes, that's those three. So let's go select everything down here C H to hide that. This is precisely what we need. So I'm going to select the body. Go to the bodies. Let's go into the body in here. And then let's do some modifications in here. So the first now I'd like to do to go to preset and I'll set these two skin. It needs to be on skin clique and replace. So by the force is going to add in the subsurface scattering in here. But for now, we don't want subsurface scraping affecting this because we still have a few things to do in here by adding displacement on normal map and figure out how the normal map actually works. If it works just fine, then we can now bring back the subsurface scattering. For now, let's just take them down completely. We don't want it to be visible. Everything else you cannot remain the way it is put this around here for now, shrink this down some more. Okay? Awesome. So getting closer at least can visualize the face some more. The face is like a main target in here. Okay. So now we have this here now, next now like to do be to go to the I believe this body shape, then go to Arnold, scroll down subdivision level, turn on calc sub div set this to two. Go to displacement. For the displacement, the scalar zero value said this to 0.5. GB 0.5. Okay. Then the eight the eye you can leave at one for now for now. We're going to manipulate that. Let's go to Pa sheet. So you can go to APA sheet from the I can just beside the render settings conduct. It's going to open up a IPA sheet in here. So I want to minimize this. I don't want it to be all over my screen, so let's string this down some more. Let's create some more space in here, up some more. Then we have some setup settings in here also that we need to use. So now let's go look for the bodies. So Adris, AI adress. A dress. He has found it so select it, right click on no. Let's do graph network. Okay. Awesome. This is what we need. So let me see. Let me read some more space in here so you guys can actually see. But coming close, I'm going to extend this out some more, extend out some more. Okay? Because now we need to bring in the shelter for it to displacement shelter for it. Let's go in tab, then type in displace, so type select this displacement sheder. Okay? So I'm going to select the shedding engine and then delete that. So I'm going to plug this to the displacement sheder right. So we have a sort opinion now. So what we need to do now will be to bring out the let's bring the displacement for it. So let's go let's go to our maps. So I remember we baked our maps displacement map to ZMap, so I opened that up. So I'm going to copy I'm going to kind of use this instance. Let me kind of copy this. Copy these two displacements. Let me copy them. I'll go over to SP body and I'll place them in here. I just will be in the same folder. So being the same folder. I just keep this a bit more organized. So, so I'm going to put this the side. See this here, squash this some more. So we need this eat rise bod, you know, so I'm not going to drag and rub this into our apache. Okay. Move it out of the way, then pull this here, move this here. Okay. So now, one thing we need to do will be to apply displacement to I'm not with using Alpha it's not supposed to be on ALF, it's supposed to be like channel or B channel or GB or Algeb Ano the channel because it's actually black and white. So basically, what I mean is this let me create some more space in here. Put some more space in. So I'm going to click on this and I'll drag this out color to displacements. Okay? So it's in here now. So more you need to do be to select the displacements. Then go in and set the utility to roll. It's supposed to be on roll. Always make sure it's always on roll because the connear map are bringing in so it should be on roll, so Arnold can actually read this properly. I do a quick sieve. Timing to do now is to go in and then check and see how it's affecting our model. But I still want what you need to do go in and select this body, turn on the weight of the color channel, and let's say to a dark shade. That should be fine. Let's go. Let me move this up. Bring this in view, increase a little bit more. So now I'm going to do test renders for this to figure out if this is working correctly. Let's play it's play and then, we come close. So we can see it working now because on the lip looking fine on the lip you can see the details on the lap. But we need to use the render region. Let's use render region for this. Let's use render region. Select musm mode for now. You can see how we're getting the details now coming through. Our details now coming quite nicely. You can see how displacements, you can see the skins in. You can see the lap detail also coming out quite nicely. Which is precisely what we want. Let's do a render region. Let's do render region for this. I'm going to select the render region and select I think somewhere around there should be fine. Let's do half of the face instead. So we don't need to die out everything, half of the face should be just fine. So we're gonna come in close. Come in close, allow this to ten. Come back when this is done. You got this black stuff coming out it's erasing itself. I'm going to come back when this is done. So notice unless I did something wrong. I'm supposed to select led the Okay, I didn't do anything wrong, actually, so I need to darken this a little bit more. I want to darken this a little bit more. Let's get some more darker heat in. Okay? Lose this. So the more darker material, you to see this he lot better, so darken this a little bit small as well. Okay. Let me pull this out of the way so you can see both of them in. On the dark cash, you see a lot better now. So I'm going to allow this render out and then I'll come back when this is done. This is fine. Have all our details in here actually, because we kind of setup them up correctly. Okay, so you can see how we have good renders in here now. You can clearly see all of the displacement detail coming quite accurate line. All of it is coming out quite nice. But I would like to increase the tensity a little bit more wide because as long as I add subtensson as I add subsurface scattering, so the mode is going to kind of soften out going to soften out most of all these detail we have in here and make it a little bit smooth. And we don't want that, so we still want the details kind of come out at slightly strong in there, so compensate for that, we need to increase the displacement intensity a little bit more. So let's do that, too. To do that, let me stop the render for now. Okay, so do that, we need to go into the model itself. This model itself, we need to go into because we can't do this familiar. We can use familiar, but it's not id to do this from her. It makes better sense to do this from let me put this down. Select the model itself. It makes sense to do this in here instead. So all we need to do is to go to the heights, and then let's do a value of one. Let's do 1.3. Okay. Then let's fire up our render again. Let's see what that gives us. I'm going to come when this is done. So let me make this bigger again so we can see this is fine. This will work just fine. We have all the details we need, so I'm going to do a snapshot of this. Okay. So next we introduce is to add our normal map in. So let's go back to our IPA sheet. Let's stop this for now. Stop render for now. Let's bring in our normal map in. So normal map we're going to bring in will be your normal map we got out of subtan Spencer. So open go normal map, so I'm just going to drag and drop this in here Okay. Select it, bring this out. Okay, bring this out again. Then the next we need to do is to create a shed that works with this normal map. So to do that, it's space by the typing AI normal. You need to use AI normal map for this to go in out color to input out value to normal cam. All right, set up all ne. Let's go and select the normal open go texture itself and set this to row, utility row. Okay. So really quick save. So now that we've apply this in here now, we need to test this in combination with the displacement map, then we see how this works. Okay? Normal open Gl should be fine. All the set in there is fine. We can also adjust this intensity if we need to, but for now, we don't need to. So let's just go and do a render. Let me collab this for now. Let's quick render. Let's see what that gives us. So I'm going to come back when this is done. Okay, so this is what we have now. This is what we have. So if you notice that we're having something a bit more sharper then it's slightly too intense, but that's fine for now. Why? Because we need to add subsurface car to introduce to figure out if it's the right amount or not the right amount, so I click stop for now. Let me just do this snapshot for this again. So let's compare. So this is the one with displacements. Now this is combination of displacement and normal map together. So that. So I want to minimize this. So now let's go in and stop the render. So let's go in and then bring in the disclaim subsurface scattering in there and then figure out how to make this work. Okay, so let's do that. So I'm going to go over to before we do that. One right now like to set top will be the can do any of those. You can do any of them though. Let's just make sure we bring the other map. Let's bring the other maps in, so we're back in here. So we need the body, albedo, roughness. Tails we need. Is that all? That's base color and the roughness, that's fine. So rather than drop this in. Okay. So the base color, I'll bring up. I'll select these two roughness, I'll bring out this way. Okay, so now let's go to displacement or rather the shader itself, let's go to subsurface scattering. Then I need to make this visible, so I'm going to crank this up. But the actual values we have to actually use in here, so let's use those value in. So I have a set up in here that would work so typically, I like to just do to use a more real world skill. I'm just going to set set this to a value of zero points zero points, yes, zero points, 08 instead. Let's do 0.08 instead. So then we just going to plug in a texture for this subsurface color in here, so the texture we're going to plug in here would be a bedo texture or the base color. So let's plug out color to subsurface color. So plug the subsurface color. So if, I've looked through the back now you can see the textures being applied at the back, is precisely what you want. Let me just pull this all the way up here for now. So for the base color, we don't need to adjust the utility for it. Utility, color space should be at R alg that's completely fine. So just leave that as it is. So I'd like to extend, let me zoom out some more. I would like to turn off this render region, then turn it on back again and this time around, draw something that's a little bit on this side because I still want to see the also too, because the is going to give me an idea of if light passing through the year with the subsurface scattering turned on. Okay. Let's do a little bit more. A little bit more on this side. Let's do a little bit more around there should be fine. Extend this down some more. Okay? Like so. Let me collabe this for now so you can visualize this alone. I'll do a quick save. Okay. Let me do a quick save. I think we all set up for now. So I'm keeping the default roughness for now because we select this shade on now. The default roughness for this is 0.5. I also need to modify this later on but for now, this should be fine for now. Be fine for now. Or we can just set everything up all sm and render yes. Let's do that instead, so. So usually, I like to set the roughness for these two the specular roughness to begin with, set this to roughness of 0.8, roughly around 0.8 inch. Then the roughness map I have out of sotanspinter. I'm going to using that for the coat roughness instead, so I'm going to increase the weight. Okay, so for the color, I'm going to be bringing in what do we have in S 1.3, 1.3. So India, I'm going to bringing in my own texturing, so I'll open this up. This is like a black and white texture, so we just going to log this to our channel to coat color. Imagine this correctly. No, no, no, right out to the coat roughness instead, yes, that was the right one to do. So select the roughness now and go and change this to utility raw. Okay. So it should be on roll, very important. Important. So once we have this setup now, I think everything should be working just fine. Okay? Then select this again. I'll do a quick sieve. Then we can do a render for this and see if this is working correctly. I believe it is. But we need to make modifications to those let's hit rendering in here, let's see what we get. So I'm going to come back when this is done. It's kind of going through and trying to get good setup in here. So come back when this is done. Okay, so this is the first test we have. Everything seems to be working just fine. Okay, we have good soft skin in the I can see how you can see how we kind of have most of our dit kind of softened out. Some of det of soft we need a better render for this bots. I think the skin texture we have in here should be just fine. But rather the displacements intensity and normal map intensity should be should be just fine. I feel like I should I should do something in either reduce the skin intensity a little bit more or I can increase the subsurface scattering a little bit more. So one of those two. So let's do both actually. Let's do both actually. So for For the skin pole, I'll go in and then take down let me stop the renter for now. I'll just take down the let me take this down. Let's reduce the height intensity. So let me just say this back to let me say this back to one instead. So intensity of one. And I also like to do a little bit of an experiment in here as well. But let's just do a snapshot of this, then select the shader itself, move it to the side. Great. I did not intend to do that. Pull this out. Okay? That should be fine. Okay, so move this out, select the shader itself. Okay, go down to, okay. I think we have something else we can do in. So potent to kind of add some value for the anisotropy, maybe less the value of 0.1, maybe. Then let's change this to random work version two. Let's see if you will give us a better result in there, then set the scale to 0.1. Okay. So this is what we have in here now. So I know this setup we actually did. We adjust the heights intensity and then we adjust this scale, 0.1, and we're using random work and we add any sto traffic to this. Now render let me do a quick save let's render this. Let's see if we get better results in here. So run the rando, yes. Let me make sure snap to this in there, it's in there so we can compare to run this again. It's the moment and combines is done. Okay, we'll get in there. So I think a lot to this is actually fine. The thing a lot need to do just to increase the intensity of the displacement, just a tiny bits. Really tiny bits. A tiny bit should be just fine. So you can stop this. So go in select the body again, and I'll just use a value of 1.1 instead. So let's do 1.1. So this should be just fine for what we need it for. 1.1 should be fine. So let's a more broader render for the entire ten. So I'm just going to save this first then zoom out. I want to render the entire body though. Maybe just torso should be just fine. Somewhere around there should be fine. Okay? Around there should be fine because I want to kind of see this detail around the scars also. So now let's do a render Let's turn off collapse this for now. Let's do snapshot first, collapse this for now. Okay? Then let's hit the render. I only need to render out of our body. Half of the body should be just fine, so I'm going to stop this render for now. So in this spot lines now is going to give me an idea how I'm supposed set up my lights in again if I need to increase the light a little bit more or not. But I strongly believe I need to increase light a little bit more. Let's go to Skydome to the side. I think I will take this back to let's do 1.2 instead, a little bit brighter than you render render region. I just need to render we have scars here also too. Let's see rendering the antiotine the anti outin let's see what that gives. I'll just each render and I'll come back when this is done. So when it's done. Stop this for now, select the backdrop. Select the back drop. I need to make this even darker. Let's darken the backdrop some more. It's not I add more light to you, it's going to brighten up the backdrop because we not exclude the sky dome light from the backdrop, so let's render this again. Then I'm going to come back when this is done. Let's give you some means to go through. Come back when this is done. 61. 161 Eye Shader Arnold Maya: Welcome about guys. So previous lesson, we kind of started working on the skin, aS, displacements, and other necessary setup just to get this right. So now, ending that we kind of did the render. So this would render we did because the render we did. So after that kind of made a little adjustments with a few tents, let me just show you guys the adjustment I made that gave me this result instead. So you can see the difference in it's a lot more brighter in a what I did was to let me go back in. So the backdrop, let's start with the backdrop, kind of darken it a little bit more. I darken this and darken the width also. Then for the AI sky dome light, I increase this to intensity of two. Then for the sad orange light, increase that test one, then side blue tensity to one, and give me the result where are we seeing here. Okay that's fine. So next I'd like to do would be to go in and work on the eye, make the iris visible. I'm going to hide the body for now. We just need to work on the eye so let's get in there so you can make two of these visible if you need to. Put this here let me just put this here for now. So I'll need to hide the outer eye and the minuscule for now, so let's hide that Control H to I Let's work with the iris alone to slide the iris. So I'm going to using the preset for this. So the preset, I need to let me move this down. So basically, we just need to just look at just one eye alone. Let's look at the left eye instead. So the preset I'm going to sing will be skin preset also. So let's do skin replace, all right. So in here now, I think the roughness would be all the way rough O is completely rough. Then we're going to adjust a few things in. So let's go to our PerhadopaiPa shade. Let's find the eye in A or AI Iris. A Iris, scroll down. She has found it. So ship directly on graph network, and let's go into the texture file in here. So you need the iris color, the iris normal. You don't need the roughness because it don't want to be completely rough. I've said that already inside of Arnold. So let's drag and drop these two in. I think that should be everything we need. Those two should be fine. Okay, open J, bring this out here, tab, a normal, normal, get close again, out color to input, out value to normal come, then select the texture itself should be on raw, all right? Select normal sheado normal node. Let's increase this to a value of five. Let's do five instead. Be haven't sopped up SSS in yet, so subsurface cartoon should be in there. Wo color, let's block this to subsurface color. Let's go into the shed itself. And I'm going to adjust this to a value of 0.1. Okay? Yeah, this should be fine. All of this should work just fine. Let's do some test renders. Let's see what we get. So let's do some renders. I'll go in and stud this back to one key resolution. Then Okay, I need to off. Turn this off. Alright. Then let's eat render in here. Let's see what we have. Getting close. Okay. So we have this completely rough, which is precisely what we want. Should be absolutely rough. Who the side. So roughness should be at one that is fine. Okay? Scroll down. The lacieno doing yet. There's no cimento doing yet, this should be fine. So yeah, this will work just fine. This will work just fine. For me, distance. This looks good. We can crank up the Oh, the normal. The normal to see the normal is working in here. Currently see the intensity of down normal quite well. So you need to adjust the strength of the normal. Let's use the value of ten instead. Normal strength. Let's do ten and then give you some mean to render out, and then we come back when this is done rendering. Okay, let's just do render region. That's the rendering region. Let's stop this for now. Render region. We need to render out these bits easily bits we need. Okay? Render let's give you a moment to run through and then come back when this is done. So he's doing ten rendering out. Come back in a bit. Okay, so this is what we have. This is like a final under for this bot. As much as I like this, I can't really see the intensity of the normal map that well. It's not too intense, so I think it's coming from and this is mostly coming from, let's see, for gen everything, right? Yes. This is mostly coming from the SSS we added. So if you go into the shader itself and let's take down the SSS, let's completely hide that. Bring back the weight and then plug this to the base color. Let's plug this also to to the base color. So now if you should render for this now should have a bit more of an intensity for the normal map in there, you can see this now. You can see how intense the normal map is peeking through this now. But it's slightly too intense, slightly too intense. So looking at this now I know its definitely a little bit too intense. So you can use basic keeping the SSS in there, though. So if we should let me stop this for now. So if we should take down the weights, go back to the SSS, make it visible. So we need to do is just to take down the scale values. Let's take this down to the value of 0.05. Okay, then we go back to our normal map node. We can crank this up a little bit higher if we need to. Let's say we do a value of 13 instead, then we'll run this again. You should get a little bit more intensity in there now. Yeah, if you see a little bit more of intensity in there, you can still go in and take down. Let's go and take down the scale again. Let's do a value of 0.04 instead. Okay, so it's rendering out. Let's give you a moment to render out, and we'll come back when this is done. Okay, so this is what we have. I think this we can work with. This is slightly better than This is just fine. This work just fine. So I'm going to stop this render for now, stop this. Okay? Let's go take this down. Take this down as well. Let's make the outer eye visible. So the outer, we're going to be doing a little bit more working here. Let's start with just bringing the basic texture in. So let's go to AI out I A outer I found it. So rightly an old graph network. Okay. So let's go over to textures in here. So outer color, let's bring in the outer color. I mean, yes, outer eye, base color rather. So select these two, select also the normal map, the base color. I think we should have roughness. We have roughness for this as well. Select the roughness as well. Then let's go in, drag this and drag and drop. Okay. So base color, take this up, normal map, take this down. Roughness, bring this in here, and then we should be good. So let's set this up because there's still a lot of work to do in here though. So let's do A and normal map. So plug this in, input to out coolor out value to normal cm. Okay? Select this roughness, drag this arrow channel to specular roughness. Then the out color to B color, select the shader itself is all the way to one. All right. So now let's select the roughness, set the utility to roll, open normal map texture, utility to roll. Okay, that's fine. Here's the quick sieve. We're not done yet. Though the material should be applied in there now, but we're not done yet. C is apply because its cannot create a past for the center part, let the iris kind of show through that. So to do that, what we need to do is to come in a tab tab on the keyboard and then type in AI surface. Let's just do standard. AI standard surface. Let's select that. This butler one is going to be let's rename this butler one is going to be just glass, normal glass material. Let's name this to glass. Let me name this to I poker I glass. Okay. That should be fine. So I'm going to just use a preset for this. I'm just going to use the glass preset for it. We should be good. That's fine. One more you need to do will be to use the AI mixed node. So tab on the keyboard, AI mix shader. M shader instead, so Mike shader. All right. This shader is going to be outer. Let's name this to AI AispaceO out I mix. Right, that's fine. This work just fine. So now we start plugging in detecturs we need for this. But to do that, I'll need to select this. Then I need to apply to let me select this in A first, then select this. I need to apply this AI and make sure Come on. Okay, now. Apply material to viewpo selection. Okay? So it's applied now. So you should do things napening in there kind of set it up. Let's select it now. So you will kind of set this up. Let me see. I have a set up in here. So let's use this. So the turn on transparency in so the AI glass eye should be on the shader one, and the outer eye should be on the shader out too. So to do that, we just need to do drag and drop something does not feel right in here. Why is this called Lambert? This lumbar shader, not supposed to be umber sheder. It's actually an AI shedder. So why is it called ambarin? I'm not sure why it's call lumbering yet though, but I think everything should be working just fine. Everything working just fine. So let's drag and draw this in so let's select the outer eye mix. So the glass material, middle mouse drag middle mouse leg drag and drop this up here. Okay? Then the next sheder mid mouse drag and drop in here, that is fine. So if you look at this now, not mostly h in there, that's fine. So we go in and then we set. So then max weight is where we're supposed to have our pasty channel in there or a texture where we're going to have a pasty map in there. So let's select this drag and drop in. Okay? Move this out. Okay. So what we need to do is just for the mix, we need to set up the shade are quite well, so we need to go and open up this out color out the black and white texturing, we need to plug this to the mix. Okay? Do a quick save. Yes. So now we can actually check now, atleast render out and see if that is working correctly or not. So zoom out, turn this off, render this out. Let's see. Awesome, so it's working absolutely just fine. So there are no issues here we need to be mindful of so all of this is working accurately well. Let's just give this a moment to kind of render out and then we'll come back when this is done. Okay. So let me just stop this why, let me just turn on the turn on the minuscus. Let the minuscule be visible. And then we just need to use a glass material for that and then it should be fine. So go in there do preset. Let's just do. Let's just do water instead. Water, water should be in here. So here. Not deeper. Just normal water should be fine. Let's clear water. So let's just set this to clear water. Then render this out again. If the minuscus in here being applied, okay? So you can see this rendering. Let's give you some momentum to render and then we'll come back when this is done. Give you some moments saving this as well. This is what we have. J snapshot for this, stop the render. Yeah, I think this will work just fine. Look at it from a distance looking good. So this will work just fine for what we need it for. So the next lesson what was going to carry on and then minimize this for now. Still have a lot more to go, so going to go down to the next piece, which was bound and then just begin to apply the dextus in here, and then we can move along from there. I'll see you guys in the next lesson by for now. 62. 162 Head Accessories Shading Arnold Maya: Welcome bad guys. Now that we kind of set this up, so we can actually hide them now. Let side that. Okay, I'll just bring these down instead. Bring this down also. I like to kind of bring all of this from the waist bound all the way down here. Let's make it visible. Okay. So I'm going to I like to kind of work I like kind of work from the top all the way down. So I'm going to arrange my outliner kind of match that. So what I mean is this, I'm going to select all of this at the top, select the backdrop, select the light also, select the Am I selecting the Okay I'm not selecting the Asia dome. Okay? So I'm going to move all of these all the way here, like so. Okay. So I'm going to hide them. Then let's select all of this. Select this. So I'm going to move them up. Going to move all of this up. Up here should be fine. All right. Then select these two. I'm going to move them around. Yeah, okay. So now everything that should be down, is going to be selected down here. So all of these down here is going to be selected range down this way. So just give us a bit more organization to things. So that should be fine. So let's go all the way to this make it visible, select all the way down here control, g to hide them. Okay. I'll save this. Yeah, this should be fine. You should be fine. Let's see if you have any actin selected that we don't need to be selected in here, so all of these lights are in the right place. There you ready. Okay, Miscellano scalpi all good or good in here all good. Let's start from the top. So let's go to the ornaments, bring out our outliner. So ornaments should be AI AI ornament or family. So this is this year. So I'm just going to rightly graph network. Okay. You should be fine. This will work just fine. So I'll go into my ***. I think we're done with this. Oh, yes, we're done with this. We just need to, we just need to copy these tiger max. Actually, I'll do a quote instead because it's not supposed to be there's supposed to be on the SSP assets or piece in here. Okay? That's fine. So now, they ornament, so let's go into the search. Let's type in here. So you're going to do a quick search, and then anything that's do with the years going to select that. So we have the chin then we have ornaments. Okay. Yeah, I think it should be everything. So ornament starts from the base color, then we have the normal map, then we have the roughness and metallic map. So let's select that. Okay, drag and drop this in here to our hyperst. Okay? If you select ornaments now, that's the one. Yes, we're using the right one, son let's arrange this properly. So metallic should be up here. Then we select the base color, lift this col. Select this, bring this here. All right, so this here. So we can move this along. So you need to plug the color to base color. Open this up, open this up as well. So the metallic, plug the arrow channel to meltness and plug the arrow channel to specular roughness for the roughness map. Then for the normal, you need to bring in AI normal. Map, select that. Okay, log the Alo inputs out values to nomcam. Default should be fine. Default intensity should be fine. So the strength that one, that's fine. But now let's go to the texture itself and set this utility to roll. Same for the roughness, utility to roll. Same for the metalness metallic material, set utility. To row. The only thing we set to row is the base color, so I'm going to leave the base color the way it is. I believe that should be it for that. Yeah, I think this is fine. That works just fine. So let's go to the next one job bid. So the job be selected now. Let's job bid. So let's find that AI AI job bit. A jo bid graph network Okay. Drop this in here. So we just need to type in a bid, and we should have all of that in there. So this is it. I'm going to drag all of this and don't have any metallic property in there. I don't think so. I don't think we have any metallic property in there. We select this we drag this down. Jad jaw bid. No no metallic property in there, though. Let's just bring the material in without the metallic texture. So I'll drag and drop this in here. So select this put this in here. Put this here. Put this here. Okay. So now we can plug them to the accurate channel, let's blog to this base color. Open up the color Come on, open up the arrow channel to specular roughness. Okay. Then AI normal map, select that input to color out value to normal camo. Okay. Let's set this to roll. Roll. Set the roughness also to roll. All right, that should be fine. This is fine. A quick sieve. So I want set all of this up. At least everything be let's set everything before we hit render that. So I'm just trying to make sure all of this is set up correctly. Okay. Yeah, I think that should be fine. There's need to make a new correction in here, we can go in and do that. But for now, let's carry on. So we have the head on now. So let's search for the EoE hon, found it. So select that graph network. Put this out some more. Okay. Okay, that should be fine. Head, or horn. So it's gonna show us the textures now, then we can do dragged out and drop in. Yeah, this should be everything. You also have metallic texture that comes alongside with it. So we're going to drag everything in. Okay. So base colo, put this up. This is normal map, put this down here. Move this along. Roughness, get this around here. Okay. Then the metallic move this all the way here should be fine. Now let's say this up. So tab AI normal. Okay. So input to out color, out value to normal cam. Yes, open up the roughness, pecular roughness. Okay, open this up also metalness, out coolor to base color, and then should be good. Except need to go to each individual textures and then set this to raw. Okay. Roughness. Raw Okay. Metansow I think that should be fine. Okay. Yeah, that should be fine. Metannesow row Okay, base color, yeah, that's fine. That's fine. Let's move to the next one. So year rings. Rings. This one is mostly metallic. So let's go year rings. I believe that's the one Yar rings. Select that what an old graph network. Okay, don't know why it's shedding lambert in here though. It's been applied to shedding engine for lumber shading engine, so that's how actually works. Anyways, moving on. So let's go in and bring in the rings. So just type rings in here. Okay. Drag and drop this in a base color, put this up. Okay. Normal around here. Move this along. I think butler one is mostly just metallic. It's mostly just metallic, so I don't think I have any other mating yet, so I just set everything up actually. So let's just put this roughness down here, let metalness put this around here. Okay? Let's start logging them in so tab here, normal, here, normal map, out color to inputs. Okay, out value to normal Okay, out cool. Circular roughness. Okay. Let's plug this to metans Okay. Yeah, that's fine. Out colour to base color. Okay. Awesome. So let's go to normal OpenGL, set this to roll. So from this parler point, it's just going to be ptive process. Just repeat the same thing over and over again. But it's fine. So just so it gets fried into our brains, so we know exactly what to do when we're kind of working on our own personal projects to set this to roll. Methane said this to row, row as well. Base colour will leave that as it is, this should be fine. So a chain, Broop. So let's look for that chain, B droop, select that hit Rl and Old graph network. Okay. So let's just type in rope in there. I think you should that's the only one we have rope in the naming. So yes, that's the only one chain chain bedrop select all of this drag and drop in there okay. Now, let's arrange this. Put the normal down here. Base color up here. This is the roughness. Then you have the metallic. Okay. Logs in. It does fine. Out cool, outcol as well. A normal map. Drag this in. Drag this in here. Yes, specular roughness, Mertilness. Yeah, we're good. Then select this. Let's say this to roll. Roll, let's go to the specular roughness or roughness texture, set that to roll as well. Okay. Select this. Utility all. Yeah, that's fine. Yeah, that's fine. It should be fine. Let me just cross check this again. Love the are fine. Okay? So the last one, last one, not the last or passive, but for the head. So let's say let's Ed center bid. So Ed center bid should be the one in here. So head center bids that Rightly and old graph network. Okay. So I think that's really one that has center in the naming. So let's just type in center in there. Center spell this correctly. That's really ones Ed center bits. I'm going to select those drag and drop this into per Sheet. Base color should go all the way up. This is the normal drag this down there, roughness set her metal don't think you have any metallic property in there. If we bring this can we bring this down? Bring this down? There's nothing in there. There's absolutely nothing in there. Whereas for the others, we have something in there, so you see we have something in there. But the metalness, nothing is actually in there, so we can just delete it there. Don't need that. Don't need it, so let's set this up, AI normal. Map. Okay. Log this in out value to normal cam. Okay. Circular roughness. Out color to this color. So lets two. Okay. Select this. Select this. Row. Okay. Yeah, this should be fine. So I'll save this. Yeah, this should be fine. This is a raw raw as well. It is fine. So now, I'm going to do a render for this. Let's see what we get out of this. Okay. So. Let me move this down. I'll bring this up. Let's get them in view are they in putting them in view already? Let's get this at an angle like so. You have something Okay, yes, we do. So let's just get them in view like so, and then while rendering let's render hundred percent should be fine. Okay? Let me collapse this. Do a quick save again. And then let's render this out. Let's see what we get to hit render. Okay. Awesome. So we're already getting something quite good. But I was doing a single render on this we're already getting something quite interesting to work within here. Let me just give this a moment to kind of run through and then we'll come back when this is done. Okay, so we have some rendinia now, rendinia now. So let's take a look at it and let's see what we get. Awesome. This is looking quite good. Don't see any major issues in here that we need to kind of fix. This came out quite nice. Okay. Yeah, this is good. It's quite nice. Alright, so this is fine. So moving on, I'm going to stop this. So the next lesson, what was going to move in the same a hierarchy and then add the textures to the rest of the body. So let me hide this for now. So the next one needs to work in will be from down here, all the way. Let's do all the way, e. So let's make this visible. Zoom out, what need to working on Oh, somewhere around there. This is going to be the next piece. I'm going to be working on the next lesson. By for now. 63. 163 Body Accessories Shading Arnold Maya: Cob, guys. In the previous lesson, we kind of rendered out the accessories or assets close to the head. So this is what we have, he's good enough to work with. So I'm going to carry on with that and then work on this lower part. So let me just pull this down for now. Let's start with the cross chess strap. So it's just going to be the same repetitive process across this. Let me pull how I pass it out. So let's look for the cross chest strap. The cross should I be cross chest strap, select dR node graph network, okay? For this in here, let's go to our folder. So let's do chest Let's type in chess shrap should have something specific, just precisely what we need actually. So, we have quite a lot of chess trap in here. So we have the cross is one we need cross chest strap. So we need the Base colour, normal map, roughness, since it seems like we have metallic property in here as well. So let's select those three and drag and drop it in to hyper shade. Let the roughness roughness in year. Set the metallic in year. Base color up here. Select bring this down here. It should be fine. A normal map. Outcol inputs out value to normal CAM. Open up this out cool drag this to specular roughness. Open up this out color, drag the channel to me thness. Then let's get the out color in to be coolor let's select that again. Let's see what we're selecting. That's what we're selecting. That's fine. To work just fine. So let's go in and select the normal map texture, utility row. So basically repetition of the entire process. So utility row as well. Metalness utility row. Okay? That is fine. Okay, moving on. So let's go to the next piece. So this is done. Let's go to low part, hesstrap. We have the low part, chesstrap in here. This one is going to have the tiger texture. Theresn't so much doing this so. Low part, chess trap. So let's look for that, scroll down. Looking for L. Lou purchase trap. No. That's the difference one. AI upachaso Yes, found founded soon. AI Liu patches traps. Let's select that itcanoGraph network. Okay. So let's go in here. So it's already in here already. So this is low par chess trap. So we have this here also low parchessrap to select the normal also, select the roughness. Okay, that's fine. Drag and drop this in here. Let's say this up this cool take this up. Normal take this year, Roughness, B, tab AI normal map. Log out colo to input out value to normal cam. Open up the roughness, the color roughness drags down, out colo base color, that should be fine. Then sled the texture itself, utility row as well for the roughness. The base colour we don't need to do anything in there. So we have the next one should cross shoulder beads. Let's find that that's not the one. Cross shoulder bet this is the one in your graph network. Okay. Did this play the shoulder beads. Okay, so this is the one already, so cross shoulder beds, select these three. I don't think we need metallic in here though. So I'm going to ignore the metallic drag and drop in. So this is base color should be up. S this here. Then up normal, drag the normal down. Okay, S this here. A tab icon, the tab button and then AI normal. Map, select that Allot inputs add value to normal CM. Produce of Secular roughness. Okay, roughness. Yes, it should be fine. At colour to base colour for the base colour texture. Then utility to roll. Circular roughness also too to roll, and we are good. Then now we have the Tiger meta Max. This one I need to do slightly a bit of an extra working here though. So let's get to it. Tiger meta Max. So let's look for AI, then starts from T. AI metabis no. AI, let's go down. For this AI Tiger Meta Max graph network. Okay. So move this out. Now let's go in and find the textures for it. So put tiger in there, should filter all of this out and then give us what we need. Select all this, drag and drop in here. Then I'm going to set this up. So this is the Normal map should be in here. Roughness map should be around there. This is the base color, take this up. This is the metal leak. Then we have the displacement in here. The modification also need to do this. Let me extend this out some more. I'm going to this displacement set this displacement here, extend this out some more. So let's heat up on the keyboard. Let's type in displacement sheer. Okay? Delete the shading engine. Don't do that. Complete deleting everything everything. Let's just first blog this to displacement, then we can delete this. Yeah, that's fine now. Okay. Then open up this out cool or Blog the RL channel to displacement, then it should be good. Or mo you need to do also, too. Actually, a few other things but let's just set this up around first also. So A normal map. Log this in, log this in as well. Open up this Algeb channel, specular roughness. M downnessPlog this in the base color let's log base color in. Now let's settle of this up, so the texture should be on roll. Roll as well. Utility roll Okay. Yeah, basically, that's fine. So we need to also set this displacement texture to raw as well. One other thing we need to do be to select the select it instead, then go over to tiger meta mark shape, go to Arnd, scroll down, subdiv dot on, Catl. Let's set tuition to two. Scroll down displacement attributes, scale zero value should be at 0.5. Anything you expecting out of zebra, discul level should be 0.5 because our background for the displacement map is on full gray, so 50% gray. So for 50% white, actually, which is actually gray. So that's why I kind of set this to 0.5. In the height I'm going to leave us one. That should be fine. Okay? So this is setup now. Let's move on to the next 10. Okay? O is the next one. So let's look. That should be up AI should be among the first one in the list actually. The first one leased to mo graph network, extend this out. Okay. So let's just type in armor in here. We should immediately get the texture we need. I obviously has metallic texture in there. We're going to need the metallic texture for it, so let's drag and drop in. Arrange this properly rough should be Metallic should be up here. Base color all the way up. Okay? Select these three sets down. Then the normal map sets around here gets close AI normal map. Out color out to inputs, a value to normal came, right? Open this up, drag this to specular roughness, drag this to metalnness. Then let's drag this point to base color. Okay, that's fine. Let's say this up. So texture should be on raw also as well. Okay, said this to rows well. Swell is last one. This is fine. Okay. So the other one, the next piece now will be leather strap, select that. So AI and leather straps existing y and leer strap go in graph network. Okay. So we're just going to type in, type in lead and leather. Okay. Should go. This is it. So we have there are no metallic properties in there, so we're just going to drag this in leather strap, so drag this three in. Let's arrange this all bisclo up here, normal around her roughness in here should be fine. So A normal map. Okay. Yeah, as well. Let me do a quick save. I've not been saving for a while now, so let's save this. Let saved. Then open this. Come on, open this out, color out, log the L channel to the specular roughness. Okay, use the base color. This is the base color. We don't need to just blog the out cool instead the base color. Then let's set this up. Utility should be on raw. Utility also in should be on raw. Ed should be fine. Base color is fine. Gsrett much everything. Let's just do one more. Let's do the b split instead. Let's make the b split visible. So b slit is the first one in graph network. Go in. You can just type in bs and then you should have that, select all of them, drag and drop in. This is a normal map, S this here, roughness here. This is the metallic, and the base color drags all the way up here. That should be visible there should be visible in here now. Okay? Get closed and let's set this up. AI normal map. All right plug this in. Yes, well, I'm sure by now, you already kind of get the general idea of where to plug most of this in. So even though I don't mention it, you just know where to plug this in. Okay, that should be fine. Okay, this should work just fine. All right. Now let's take this utility to roll roll here also to roll. So you want to very careful where you're plugging this and make sure you're plugging this to the right channel. Very important. It's very important to plug this to the right channel. Okay, that should be fine. Let me drag this down, bring this up, do another quick sieve. Then let's do render for this. Let's see what we get. I think it's already in views. Let's do render and see what we are out of this. So here you just hit render. Okay. And then come back when this is done. Okay. So this is like the preview render for this came out quite nice. I think there's much I need to do in here. So this is nice. Except we need to kind of add some hairs in here for kind of get some hairs going in. But for now, let's just leave it as it is. We're going to come back and then add some hairs in. I should work just fine. So minimize this. Let's go to the order this. I'm going to stop the render for now. Okay? Select all of this, hide this for now. So we start at the app splits, let's go down to the rest of this and then finalize and not materials in, then then we'll go back and then start working on the gem four. Let me put this down for now. Down should be fine. Bring this back up. Let's start with the waste band. So let's do AI waist band, and get some more space in AI waste band. So should be most, at the end, graph network. Let's go to accessories also. So let's type in band. No one as being have metal waste band as well. So let's just do waste. Let's do waste in front. Waste band. We have metal waste band. Then the waste bond starts from. Let's select that. We also have some metallic properties in the selected drag and drop in Okay, select these two, set this aside. Okay, roughness should be around a. Metallic should be, base color all the way up here, that should be fine. Okay. Now let's start connecting this properly. So let's type AI normal map. Log this in in here as well. Select this to get down. I'll channel to specular roughness on this up. I channel to melt down ness, out color to base color. That's fine. Yeah, moving on, yes, this should be fine. So let's select and set this to roll raw as well, metallic, raw as well, and that should be fine. The next one is the curie waste bead. So I think this is the top here. So ci Cori waste bead has the one graph network. So that need to type curie in there, and then she can bring out the texts for wi. Yeah, this is pretty much everything we need. We don't have any metallic property in there, so let's just drag and drop this in. Okay, rough no should be w is, normal map should be down, B call up, EI normal map input to out color, outvalue to normal CAM. Open this up. A channel to specular roughness, out color to this color, the quick save again. Like next we need to just do just to set these textures out to roll. So we need to do this for the normal map and then for the roughness map. Let's study this for the normal map and the roughness map, and then we should be good. So the next one we need to work on would be metal waste band. So found this in here already. So AI metal here I met her with band Graph Network. I think okay, we don't have that in here. So let's just type in there. Should be the first one. Okay, let's do metal with band. It's not giving off enough space to type everything we need. What is this in do. Metal wit band. So select all the way. So we have the normal base color, metallic and roughness. So let's jag and draw this in. Roughness should be, should be fine. Normal down here. Bs color up here. Metallic around there should be fine. Okay. Let's go to set this up AI normal map. Log out color two inputs. Okay. Add value to normal com. Open up the roughness, plug this to specular roughness. Open up this R channel to methaness, then base color to base color obviously. Then let's set this to row, utility row. Utility row as well. Utility row is the last one for this shade in here. The next, we have the spare to select the spare so AI spare is in here already. Photograph network. That's the only spare This is the only spare we have t this scene so she brings it out for us. It's like this tree dragon drop. Okay. This color get this all the way up, normal, all the way down here. Roughness close to it, metallic around here. Okay? A normal map. Log this in, log this in, open this up, get some space in, arrow channel to specular roughness. Open this up. Metallic to metalness, base color to base color. Let's say this to row, row, utility row, utility row as well. Base color should be the way it is. That's fine. Okay. Next one is Sanders. So AI Sanders, let's go in graph network. Okay, let's type in Sanders in here. Sanders Okay. Yeah, this is everything we need. Do you have any metallic property in there? Not entirely. I don't think so. Nothing. Let's open out or less C. If you say new white, say new white anywhere, no white anywhere, so we don't have any metallic property in there. So drag and drop this in. Okay. Roughness, Bs colo, AI normal map. Log this. Log this. Okay? Log this roughness. B colo, S this to row. S this row as well. That should be fine. Next one should be the skirts. So AI skates, graph network. Let's go in and search for the skirts. Okay? Yeah, it's some metallic property in your aswell, so let's drag this and drop in here let's arrange this properly, this should be here. Base color all the way up. Okay, metallic cluse to it, then rough nasals down here. Okay, AI normal map. Just repeat the same process, obviously. Open this up. Circular roughness. Open the out color metalness, then Bcl up we can directly plug in. Then just set this up to roll roughness, also, two to roll, metallic also two to roll and then we are good. Then the final up is sheets. So graph net work. Okay? G me a quick sieve. So let's go in and just type in. That should be like the only one for it. So, this is it. So you don't have any metallic property in here. I don't think so let's drag and drop this in. Base color, let's get this up. These are normal. Okay, here should be fine. A normal map, A low to input, add value to normal come. Open this up, Scular roughness, this color. Now let's set this up to row, utility row, utility row as well. Okay? This is fine. Now let's do a render for this Let's see what we get. But first, it's going to get the angle writes. Let me set this down. Let's get the angle writes. Okay. So this is pretty much everything. Yeah, this is it. So let's do a render for this now. And then we'll come back when this is done, so I hit render in here and come back when this is done. Okay, so this and came out quite nice. This came out quite well. At least for the contrast, contrasting the material is looking quite good, which is precisely what I want. So the contrast came out quite nicely, lay down. The sands looks good as well. Okay? It looks good as well. It's not looking too deep. That is fine. Okay. I think this will work just fine for what's needed for. We also have kind of chipped edge in there as well. Okay, good contrasting and our lighting seems fine. So that's fine. So next lesson is going to bring in the g in A and begin to do some development for the air. So I'll see you guys in next lesson. Bye for now. 64. 164 Head Hair Shading Arnold Maya: Okay, welcome bad guys. So let's work on creating the EgenA. So in the previous lesson, we kind of finalized on the loop development for the asset of the body. So need to work on the EgenA and then we can do final renders. So let's do that. So I'm going to hide these two for now. I'm going to turn on the body and the iris as well. Let's make this visible. Let's get this at a good angle. Then let's turn on our egg gen hair. So let's do the head hair first, let's turn on the collection for the head hair. Turn on the collection for the high scalp collection as well. Okay? Let's go to our Egg gen tab. Let's start with the head hair. The fit is new to doing first. So the first, we need to do kind of set of our renderer to be annulled. So if you haven't done that yet, just go to preview and output and set the renderer by default should be unknown, set it to a node renderer. Okay, then we'll go over to the eyes cap collection. Let's start with the eyebrow description under previous outputs. Say this to node renderer. Say the eye latch is also due to rnd renderer as well. Okay? That should be fine. Now let's apply materials in there. So let me select the head he collection or description, rather, let's led the description. Right hold, assign new material. Anode material, A and that. No, that's the wrong one. No AS and that suffac the wrong one. Let's know what we need. So I'm going to undo that. So the one we need to select would be let's do this again, select the description. AI assign you material no AI standard here. This is one I need to select, so I'm ticking selected the wrong one. So A standard head. So by default, you should be getting this at full black because if we go to the documentation for this. So it kind of change the colour to whichever tie might be going for more generalized Stie. So if you set this value to zero, should be loving. Let me increase this a little bit more. So you said the value for the melanine to zero. For now, just ignore the base and the base color. The main thing we're looking at is melanin melanin redness, melanine randomize, and then the shift values. That is what we are more concerned about in this lesson. So keep that in mind. So now, if you set the values for the melon into zero, you're going to be getting a full white hair. So we set this to 0.5, 0.25, should be getting something close to blonde. Then 0.5, more or less a brunette hair. Then one, which is the defaulting. Set this to one, which is the default in should be getting this at full black, which is precisely what we want, okay? We need to make a few corrections to that. So I have some values that we can actually use in here. One, the redness in here is way too red. Giving us more of a reddish hair to, so I don't want to reddish I want something close to white black. The melli redness. We've seen the util bit of redness indie actually. So let's do 0.3. Then for the randomize, what d randomize actually does is just going to randomize going to random. Let me show you guys in the instance. So value at zero for the melanine redness and value at one. Let's see if we have more brownish red in there. Then you randomize actually randomized melonine in between, crece blond, black, white, all of those together in there. So I'm going to using small value for this. So a small value a value of 0.2 should work just fine. Let's set this to 0.2. Okay, it's Enter. So one moti kind of setup and then should be good is the shift. So in the Maya Arnold kind of gives us the values to actually use for each ethnicity. Depending on the ethnicity, you can actually have used specific individual values that will give you a bit more accurate results to him. So let's say this to 2.3. So for African American but is like an African character, so this should work just fine. So 2.3 S that to 2.3, and then we should be good. So Austin kind of rename this to AI black. Hey, Enter to apply that. So now for the description for the eyelashes and the eyebrow, select those two. I'm selecting the description for the eyebrow and eyelashes. Get close right liked, I do existing material. And I'm going to apply the eye blacker in there as well, okay? So we have this two in here now, so this will work just fine. So I just need to kind of do a test and just kind of see how this is looking, and then we should be good. So let me just get a view, so bring out our renderer in here, tone of the render region, save the quick save, and then we can render this out. So since you see doing some tests, just kind of figure out how to try and work the best, so you can just go straight to the point and just get it done. Since we're in, let's just do a render for this and give this a little bit of time to kind of run through. As soon as this runs through, you should get something wood enough to work with. Okay, so this is test render. It's not completely rendered completely, but looking at what we have in here, I think, this will work just fine. Can definitely use this. I'm going to use this work just fine. So the next lesson, we're going to do some more work and render the other parts of the generated here in here. So I'll see you guys in the next lesson. Bye for now. 65. 165 Skoink Hair Shading Arnold Maya: Come bo, guys. So in the previous lesson, we kind of worked on the head hair. So yes, we're going to continue on and then continue working on the rest of our mesh. So let's jump right in. So I'm going to pull this down for now. Also I'm going to remove the render region. Yeah, so now let's move this up, okay? So one thing I would like to turn on for now would be the egg gen scalp. Let me make this visible for now. But the one I need to make visible, let me hide this to for now. I'm going to go and turn this on. For now, this is the one I need to kind of make visible in your right. Okay? Yes, everything's working correctly because it kind of gets a little bit tricky just to get the textures in there, so we need to just check and make sure everything's working just fine. I'll go to my Egg Gen tab. I'll go to Chess for collection. So for the chess for collection is we want to work on use the chess for this is visible in here. Okay, it's eating for now. That's why we can't see. So let's go in. Let me call out this. For now, turn it on shift H, turn it on. Okay. But tan invisible is the I just this going four in. Let's go and then D the to temporarily hide that low part four for the chest. Okay. So one thing to do also too would be to make sure they since we already in here, make sure your renderer end up review and outputs, make sure your renderer sets are not rendering, very important. Okay? Now, let's go back to the shower for description. Make sure you render say to another, as well. So now you have a few steps you're actually taking here. A few steps to take. Let me hide Let me hide the for now, actually. Okay. Can you click out. Okay, click out again. So now to get this to work, let me see. Let me just kind of explain the process first. So you guys get a general idea for the process before we jump in. So basically, we need to use our external texture we painted instead of Stan spencer and then have that applied in here. You know, we painted white and black texture in Let me just show you guys the texture we painted in there Okay. Put this to the side. Okay, this is the texture we painted. Actually opened that up. So we painted this texture in here, this white and black material in here. So we need to use this material for Xgen kind of generates based on this color map painted on our UVs. So that's a general idea. And to do that slightly tricky, but I'm going to work you guy through the entire process. Okay. So instead of name just show you guys in here. So the idea is to kind of create a name, a name share inea. So if I should come to the Previant outputs, well this coin show that for description for scroll down. So we have something in here for this custom shared inea. So you kind of give it a name. So we give it a name that is specific to this particular Afe we generate there, which is obviously dicin. So after doing that, the next step would be to go into it because it's going to create something like a map so that we can actually modify or edit in. Almost like the same way we have o like the same way we can actually come in here and create a map for it. So it's create a map also. Then the rename that map to something we can easily we can easily copy and then use for later. Then just fill it up with the pler column. After doing that, then we need to kind of do some model work by applying our external texture to it and then call up that texture to actually use for the in rather for the node standard here. So there's a lot of process actually, but I'm going to walk you guys through the entire outing. So let's get to it. So let's go back to prev and outputs. I'm sure, at this point, it doesn't make sense, but I'm going to walk you guys through the entire process. So let's get into it. So make sure prev and outputs. Let's give you a name. Let's use cap let's name this to sconc underscore. Color. Okay? Square con that's called color. So go to the dropdown arrow. Set it to color. It needs to be on colour. Then it's enter in there to apply that. Okay. Okay. Now, on this plus sign to add it ss. Let me show it on its this plus sign toward If NT is no work, it on the plus sign to add it. All right, so we are in here now, this square color in here now. Yeah, so on the right track. So go in to the drop down arrow. Click on create map. Okay? I'm just going to leave this as it is. I'm going to set this to it can be full white can be full black, whichever one you prefer. So let me just use Let's use full white instead. Then I'll set the map resolution 200. Okay. Then click can create. So give this a moment. It's going to create in here now, have the name in here and you can see painted fully white. So now if you generates out of this now, it's really not good to do because this is not destin mark, so our should still remain in there. But one thing we need to actually copy is the name. So let's copy this name. This coin is called colo, let's copy that. So copy that name. Okay. So now the next step would be to go over and then apply a material to this description. So let's go and apply a material to the description. So let's go into the chest four What's our outline now chest four? Let me hide this for now, okay? So we go to the chest four. So we have the Coin in here now. Okay? Select that. Let this Scin shoulder for description. Mau it selected. Then come into your three d view right click hold. Then click on assign texture or assign you material, go to rnd. Select AI standard here. Okay? That has been applied. Now let's go to the description to the attribute for it and then rename this to AI Scoink Here. Okay. No, four, let's put four instead in there. All right. Now let's go in and bring out our outliner in here or rather the i pa sheet. Sorry, forgive me for that. So the i pa sheet instead, too. Let the epa sheet. If you go to, I believe, textures, utilities. So now we need to actually find we need to actually find the skin color we just created. There's a lot of textures in here, so we need to find that particular one. So we named this we named it as skin. So let's place the name in here. So that's it goes to search. Okay, so instead of searching it in here because it didn't come with a name, the naming is there, but the it's not of capturing that MC, I show you guys the name do space that's in here. If I do a search in here, it's not going to show up why because that's not the name it came out with. So make sure you're on utilities first to begin with. Immediately created that material or that texture, created map we used from the Xgen preview on output. So it came into a space for actually modifying it in here. So basically, this is what this is e in here. So let me put this out. So this is in here. So this is what we actually need. But now we need to actually plug a texture to this because looking at this nT is the name we past it in here. So you call calls coin under IFF. So let me show you guys in here also as well. If we go to Xgen, we are still on the same description, you can see the name ine. You can see the full name in here. So it's the same thing. The same map we have here, the same map we have also in here. So coming in like a texture node. So now we actually we need to now apply the texturing we need for this pot law for the pot to be generating as based on that too. Now if I select this now, so if let me select this at the end first. So it's the last one at the end. So if you kind of looking for it, it'd be the last one at the end. Select the texture now, let's go in and plug our texture in here. So the textures we need to plug in here now would be the one we paint instead of softn spinster. So let's go over to final pise SPR sets. So it should be the cross shoulder. Let's see. Let's see the naming for it. Okay? The naming is cross chest strap. So cross chess strap, color, this is the one. This one need to plug in, so I'm going to double click on that. So we have that plug in here now. Okay? So that has been plugged in. So now we have textures for this now. So if I should take this down for now, let's say we want to kind of go back into the texturing, you should now be able to see the text o? Please don't crash. Okay? So it's in there now. So you can actually see the textures we painted in there. So it's not taking up our exact texture map painted printed inside of Substance Painter. So this is where we actually need to actually make things work. We can see modify this also to however we want, but now we have it in that's the mensin. So I'm going to do a quick save. Let me save my five first. So now do we get it now to be applied to the eggenhdn? So that's the next question. So now to do that, let me just think I need to go and let me hide this for now. I don't just to be visible. So let's go back to let's come back in a cross chest strap. This is what we need to make visible. Okay. So now I need to bring this up. Okay. So we have the setup now, and then we also allow the improve to pull pull this out this way. So if I should go to my materials, and I just want to visualize the AI Ck four instead only. I need to find out first AI AI Ck four. So take a node and go to graph network, this is fine. Then we need to call up that butler texture that brought in now. That is the we call that up. To do that, we need to use a different nodes for this to it tab on the keyboard and type in AI user data column. Use a data column This is fine. I need to p select that, and then we need to paste the name in here now because based on what we have in here, we need to page the name in. So we need to paste the name on the attribute. So what we need to do now, so I'm going to page the name in Okay. Base that in. Okay? So that's going to kind of call up that texture file. Let's call up that texture file and we also need to plug the out color to base color now. Okay? A for the AI is Cong four, put this aside a quick sieve. So now we have this setup now. So the thing we need to do now is to render this out and then see where we get. So I'm going to hide the body and the eye all of this at the top. Let's hide this for now. So we can rendering it a little bit faster. Save this. Okay. Saved. Now, we need to do render for it. So let's bring up our node render. Let's get in there a little bit more. Okay? I think I might need to make a few corrections. So do I need to? Okay, let's leave this for now. Yeah, I need to make a few corrections. I'll go in. For the melanin redness, I don't want to much redness in there actually maybe add a little bit of randomness to it. Let's 0.2, redness, we can take down. Let's do 0.2 as well. Maybe 0.3 instead. I'm going to leave the rest as it is, unless it's rendering, let's see what we get during a quick save. So at this point now, always modify our texture and then bring this back in. But let's do render for this first let's see what we get, so it's render. Okay. 66. 166 Fixing Skoink Hair Shading Arnold Maya: Welcome bad guys. So now after doing our render for this, after letting me pull this up, after plugging our user data to the base color for the AI scoring four. Now, we're supposed to were supposed to have the texture affecting this properly, but it's not affecting it, so I kind of roun some tests and then figured out there was something actually wrong with gen and in cooperation with the AI standard hair. There are quite a lot of bugs that does not make you or make me get my color texture that I texturing BTU vis and everything inside of Setanpina to work correctly on the exam forehair. So it's kind of like applying the texture we applied into each individual strand. So it's not giving me that general result I'm kind of going for. So it was like a bug. So I want to believe that for some of you trying this out, you might be getting accurate results or the right results. But if you're not getting the right result, I'm still going to show you guys another way to kind of get it looking better, though. There's still some might not be as accurate as possible, but something very close to something that still looks good enough to work with. So Let's get into it. I'm going to show you guys the issue and how to fix that and how to fix it, so. So I did, like an accretan another. Let me move this down for now. So if I go back to the scoring show for description. So just I'm trying to kind of test this out and trying to figure out where issue is actually coming from. So this cobot is a bug, but there's a way around it, so I created another new color for this. I created a new one and set this to color and then put a name in there. The name I gave it was new scoring color. So now if I should go inside of that, so that's why I made this visible. That's why I made this visible in here for us to see. So if I should go into and select the max's if one's going to paint in on top of this soface let's select that paints too. So if you find something in here now, Okay. Now, this is what we are having in here. This is what we're having here. So I'm going to completely reset this. I'm going to reset this so you can see major difference in here. Let's go in here and I'm going to fill start by filling this with full red. Let's float paints this with full red. Okay? So flow fill the full re now, and I'm going to paint blue in here. Let's leg blue, okay? Move this aside. So that going to come in. Okay, increase the broad size some more, and then just paint blue in here. And I'll go in also to just for the sake of getting various colors in here. I'll also paint yellow as well. Let's say I paint green around here as well. This is fine. Let's say I save this, I'm going to save this. So you shouldn't really say anything happening in here because where we're supposed to see this happening is on your final render actually. So let me close this for now. Clean save texture. I'm going to close this. Now if you go back to iPashadT butler one is actually named news coin color. You go to iPashade in here now and make this is going now, graph network alone. If you go into this AI user data now, I will select that. I've already pasted there. Let me copy the name again so you guys know what I'm doing. Copy this. If I come in and paste that on the attributes, let's say paste that again. Now, originally, since we have various colors in here now we're supposed to get this to work, supposed to get this to work on the Xgen standard material. But once we do render again in here, let's say we render this again. You won't be seeing that working in there. Now, we see it actually on the texture itself on the surface, but the hairs are not kind of taking up those colour variation in there. Specially like the issue we're kind of having not taking up the color variation in there, so how do we fix this? If you are getting your shin that's completely awesome, that's completely fine. You can just move on with it. But if you're not getting your shin in here, you're having the same problem as I'm having right now. So the way to fix this would be to stop this for now or stop this. Then it's actually really weird way to fix this actually bots actually works, so now let's go let's go back to this. Let's select the skin color instead because I kind of test. I was kind of trying to testing in here to figure out what would work. So I'm going to go back in there. No worries. You're not going to get lost. Let's go back to our textures. So I need to find I need to find this pler texture in here. So go back to Pashet. You go to utilities. Drag this down. So you need to find it is somewhere around here. So I need to select and find. That's not the one select. This is the one in here because I can see the texture in here now. So rightly cont graph network. So let's go into it. I'm going to select texture final, texture file. And let's go in and apply the one we painted inside of sbtnsPainter and then let's put it out. I need to go in and copy copy the five parts. Press the five parts in here. Okay. Then I'll scroll down. Should be cross No, no, no, this is the one cross chest wrap base color. So open that up. So it's going to apply that now to the texture in here. It's being applied now. Let's kind of check to be sure it's actually in there. So let's go to do some test to be sure it's actually in there. So yes, it's already shown in there. I can sees it being applied in here now. Because if you go into it, again, let's say, won't actually paints in there, if you go into it again. If you see it's kind of update now the original texture. Now we go out of Septnspnter. That is fine. So we know now that it's actually in there. Then we save the texture, save the texture again, come in here. Okay. Scroll down, save texture in here. Close this. Okay? I'll do a quick sieve. I'll do a general sieve. So we're almost there almost there. So let me lo just sieve out. Sieve now. Okay. So now if I should drag this up, bring out our ipa sheet again. Now remember remember for the we have a name for it, actually. So let's go in and then copy that name. So sc copy the names coin color. Let's go back to materials. So now we need to completely use a different material for the description now. That's the next thing to do. We need to use a completely different material. We're not going to using this AI standard here anymore. So we're going to be using the normal regular standard surface. But one thing to keep in mind is that I went in and then I adjusted the width to 0.005. Okay? So now select the coin shoulder for description. Rightl hold in there, go down to assign new texture. Standard surface and assign the Arnold standard surface. Not the Arnold standard AI standard A, but AI standard surface. Yes, strange, but that really works, so I know you have that in here, now, we need to name this. We need to name these two. Let's name these two A, Ack. Standard Standard four. Okay. Just to give it a more distinctive name. Okay. So now we are selected now. Now we need to go back to our hyper shade. Let's keep things a little bit more organized. I'm going to extend this down some more. Come in here, extend this down some more. Now, let's find that a shader. It's a newly created shader in now, AI is standard fold as the one, roughly a node graph network. I want to make a few corrections in here. Let's select the surfaces the new material now select it and set your roughness to 0.3. That is fine. Okay? The rest, we're going to leave a default. The fault for the rest will work just fine. So the next thing we need to do in here now would be to maintain this out to more Okay. So the next thing we need to do now is to bring out AI user data. Let's type that in. Okay, now. Bring this out. Tab AI user data, cool get this out. Then we go in. So now we need to kind of paste the name in there. So paste that in the name, we copy it, enter to apply that, then drag up. Then drag the out color to base color. Okay. So now, should do renders for this null. Do render for this null. Okay. Okay, before we do rounds remember we have to remember we haven't go back in here, remember we have review. Remember we have to user data color in here. We have this first one down here, which is the color we painted in. Let's start by grabbing this first. I'm going to show you guys the distinctive render so you can actually get a good idea as to what I'm trying to explain in here. Let's copy this first. But this one has the red, blue and green painting in there. So let's go to the A user data again and paste that in. Let's call that Op instead first. So now if you go in now, let me do a quick save again. Do a quick save again. Then if we hit our render, we'll begin to see these colors now coming through. Let's hit render in here and let's give you a moment. So you can see how it kind of work perfectly fine because it's kind of taking up the regions where we kind of painted directly on our UVs and then kind of generated and each hair is kind of generating from each butler pixel on those regions. So at least, now that we have this in mind, knowing that the close we painted in is going to work accurately as much as possible because it's kind of following what we painted on our UVs itself. So you can go back in and then plug then plug in the coin color by just pasting the name in there and then we should be good. So let me go in and copy this. Okay. This is the one that has the textual painted instead of Substance Painter. Place this in here, right, and then enter to apply that. And then we should be good. So once we apply that in here now, do a quick sieve and then Hoda renders, we're going to have the hair generating from the right spot now instead. So before I do that, I would like to go in and then hide this scalp. Go in and hide that scalp or hide that go into the post pose version unless I believe this is the one to this back on. That's the one that's when we need. So let it to back on, and then we can generate or do a render for this Nandan, if you're having this working correctly as it should. So I'm going to do a quick render and then I'm going to come back when this is done so we can see the result of that. So it render and then I'll come back when this is done. So now, we have this now working correctly. So this is kind of working correctly now. There are also a few things I would like to do kind of testing out a little bit more so. I'd like to get this material, this material itself, or this model itself completely black. I'd like to get that completely black just to kind of compare and see if I get better result or not. So to do that, I'm going to stop this render for now. I already know we have the right stuff for the hair now. So for this select this for now, let's go into face mode. Let the entire out in. I'm going to give it a completely different materials. Let's assign a new material to it, so assign new material. Oh, sir, I will assign an AI standard surface. Okay? AI standard surface to it. And I'm going to name this to AI black surface. All right. So that should be fine. Then next I'm going to do would be to just mid in this a black surface that's the one. Then let me click out of this. I'm still in the colour meaning there for a while, and I'm just going to kind of use the completely rough material. Completely rough materials this to full black. Be quite black, like so. I can click out now. Allright. A full black now. Pretty quick sieve. I don't I want kind of have some deep shadows in between and then I want the back surface to be quite black, so we don't have any weirdness in there, like what we're having right now because I see the white paint in between that. I don't really want to see the white paint in between that. God is also fine. I feel like I should take in the a guys a little bit more, maybe just set this to a value of 0.00. Let's do e instead. That should be fine. Then round you again, get that generated again. All right. Now let's hit render. Let's see what we get. Let's month a little bit more. All right. Go out of this render region, then render this out again. Let's see what we get. So now if you look at this now, we have a much better result coming out of this. So the textures underneath it that were having peeking through and then creating some weird feeds around the edge it's no longer there because of giving this a fully black surface material, so we can actually see this shine through with some shadow depth and some interesting looking white for in there, I also black and some vari in there, actually, because this texture actually we painted this instead of softanpnter, so we took our time to actually add some brown gray, white, and then black together. I give it a little bit of an interesting result in there. So as you can see, we're getting quite an interesting result coming through this, so that's fine. So now the next thing we need to do now will be to work on the rest of the four, which is low pot for precisely and then get some good result out of this. But it's quite unfortunate that we couldn't even utilize the AI standard here. It's kind of get this result we actually needed, but at least we have something good enough to work with, so that's good. So if you're working with AI standard here and then you're having this exact result we just have now, without any issues, that's completely awesome, so we can just continue on with that. So if you're unable to do that and then you're using the same route I'm using right now to get the four in, that's still awesome, so continue on in the next lesson, bye for now. 67. 167 loepard Fur Shading Arnold Maya: Welcome Welcome back, guys. So let's continue on and try to render the rest of the four. Okay? So, let's turn on, yes, we can work with this now. So let's go and turn on this part chest four. Okay? Let's get some going on in there. Okay? All right, so let me stop this render for now. Stop the render, put this down. Okay. Yes, this is fine. Now let's go over to preview on outputs. Make sure our renderer is set to our node renderer. Like you guess, Austin set this up also as well. Let's go in and do that. I'm just going to make sure this is on color and I'm going to type in Let's use caps for this Lu Blue pad, underscoe chests, underscore four Okay. Let's just use Chess color instead instead of four. Chess color instead. L parchess color and click on the plus sign to add that in. All right. Now let's go in, create map. It can be any color it doesn't really matter. NClo work just fine. Let's just set this to 100. Set the map resolution to 100, click Create. Let's give you some moments to kind gets in you. Need to copy the name. Let's go out of it. Okay. So I'm going to copy the name. Copy that. Now let's go to our parade. Then scroll down to the chest for collection and select the low patches for description. Then go in getting close, rightly can hold, assign new material. We're not going to using AI standard here, we're going to be using the AI standard office instead. All right, so I'm going to rename this let's rename this. Let's do AI can paste what you copied before. Then just put for at the end. Okay? That should be fine. And then make the roughness 0.3. That should be fine, as well. Okay. That should be fine. So now we need to go over to utilities to select this last one. This last one needs to work on graph network. So you can see the name is correct in this. We have the upades Lupad chest color. That's fine. Select it. And let's plug in the texture in there. Let's plug in the texture we exported out of sotan spinster, it should be under SPR sets. So the name is Lou Pad chess strap. Let's go alphabetical, Lou Pad, chess strap, base color, that's the one, select that's. Okay, that should be fine. This is precisely what we need. So while we texturing in announce, let's go back to materials and let's look for AI uPAD there's not going to be issue looking for this. So you just need to find this now. Let me type in part in there if you find anything. Okay? He's not doing his best to start. I'm not sure this thing is actually working. It seems like it's broken or something. Seems broken. Just need to find this. I found this in here. So this is in AI low pad chest four, select that. Let's go to graph Network for it. All right, let's bring in user data, so tab A user data color. Okay, let's place the name in there. That's the one, that should kind of cool that up, drag out color to base color and then should be fine. All right. Save this. So now the next we need to do next, do it test ran down, then see if this is working just fine. I need to make some adjustments to it. So I'll pull this down, select this, pull this up. Okay. I'd like to also turn on the tiger max. Let's make it visible because we need that in there as well. Okay. Let me get in a bit closer. Okay. Hit under this, and let's give you a little bit of time to render out, and then we'll come back to it. Okay, so we have this rendering white. I think there are a few things we're missing, so let me stop this for now. Go back to egg gen. We're meant to kind of save this. So let me hide this for now. Let me just make sure it's actually in there. So go to our scalp, and then it should be a loose particular piece. Okay? All right. Let's start by doing a quick sieve. And then let's go in. Let's see if you have a textures actually been applied to it. So let's give you some moments to kind of load up. Yeah, there still loading up now. Yes, it's there now, so this should work. So it just need to save this, save this. Come to the pins to itself. I'll save this also in here. So let's do save texture as well. Okay? This should be fine now. I think everything should work just fine. Let's go and bring this back up. Save this. Okay. And I also need to let's add this for now, bring this back out. Okay. Unless it's rands I think that should fix it. Okay, so this is the render we have, which is good. This will work just fine. But I made a little bit of made some corrections in there. So I kind of selected nothing module. I just selected the little patches strap, and then for the rnd material itself, I just took it down. Not the node material 44 texturing though, 44 sheding, but the material itself we actually applied on the model. So I kind of take down the weights. Let's say the weight to zero. So that's why we have something like this now. So let me show you guys a comparison for what was there before and now. So this was what was there before. And we is what we have now in there. So I kind of vision the render region for this. So we have something good enough to work with now. So this is fine. Now let's move on to the next and final piece for the four, which is the waste piece. So let's select the waist band and make it visible in here. So I'm not going to repeat the same thing. I'm not going to take this down completely. Okay? Do a quick sieve. All right. And let's finalize and then just do this last piece and then we should be good. So I'm just going to close this for now. Let's go back to Xgen. Let's make it visible to waste Blue Part four. Okay? So we have it generated in here now, go to prev and outputs. Send rendera to Arnold that is fine. Okay. All right, so let's give it a name. So make sure it's on colour as well. Let's give it a name. Let's give it wastes. I'm spelling that correctly, Wits. Okay, waste under scoeFo colo Ar. I'll copy the entire out tin. Copy it, okay? Then click on the plus sign to add that in. Then let's go in and create a map for it. So the map is at read already. We have all of this is actually fine. Click on Create. Now, that should be fine. Now, let's go to hyper sheet. Let's It's trying to open up the texture in here. Let's no no texture in here. So let's just save, see what is there for now. Okay. Go back to selection, pull this out. Let's go to utilities. Should be the last one in here now, so let's go to graph Network. That's it in your waste four color, select it. Go into f texture, and then let's grab that to find out SPR set. The name is Twist band. Let me just type W in waistband. Waistband waist. Waistband base cool you have a L basket in there, click open. I should be in there now. That's fine. Is precisely what we want. But need to do one molting. You need to go back to the previous outputs and then let's go to the pint layer. Let's make the waistband visible. Let's make this cup visible first. Then let's go in the let's go in, let's see if we have the textures in there so we can at least save that and then get it to work the way we want it to. But I believe we should be in there. Let's just give you a moments. Still loading up. You have the texturing in here now. Let's save. Make sure you click on the save icon on the eggian tab and then let's go to our paints, open up the menu in here. Of the menu, drag this up. Scroll down. Click on saved texture. Very important. Save again. Close this. Go back to selection two. All right, should be fine. All right. We can work with this. Okay, so let me pull this up. And now let's go back to materials let's apply a standard surface material to it. You need to hide this scalp. Let's hide this scalp. Alright, screw down. Select the waste pad for description, rightly Code, assign new material, R node, AI standard surface. All right, then we need to rename this. Put AI in front, space, past what we had in there before. Let's just delete color and leave the foe in there. That should be fine. Now let's go to our outliner epa sheet, and let's find that texture. So this is using AI AI was four. Rightly graph network. Put this up some more. Let's get in there. Let's type in AI user data. AI user data just to work just fine. So select this. Let's pace the name in. Just call up that AI AIther the map we created for it, the color data for it. Let's grab that from the gen tab. So it's in your noun so it's going to call that up and then let's blog out color to base color. Going to the texture itself, let's set the roughness to three. Okay. Let's do two, five instead. Use get a little variation in there. I will work just fine. Okay? So do a quick save. What's left is just to do a render for it and let's see what we have out of it. Because everything is set up accurately now, which is fine. I set up all good. Pull up the nod render. Turn this render region off. Let's make sure we have a good angle for this. Okay. Yeah, I think this should be fine. I think closes up like this should be fine. Close up to should be fine. Okay. Now, let's turn on the maze supposed to be close to it, so Okay we can make this visible. Okay. Co we make this visible as well. There's something else we need to. Oh, yeah, completely remember. There might be an issue in here because there's something you need to do. There's something we need to do. Remember, for this piece, we have this in here. We have this in here that we're not supposed to actually manipulate, so we need to go back and fix it kind of take this completely down. It's completely down, so we need to kind of duplicate and then work on it. So let me just go in selected already. Selected already. I'm going to, I'm going to pull up the hyper shade. Let me pull this up some more. Let's find it. So the name is AI waistband. So AI waste bond, AI waste bond is this in here. So I'm going to duplicate this. I'd like to duplicate this, select it Control D. Okay, we should have a duplicate now, so we have a duplicate of this now. So I'm going to rename this duplicates. Let's do waste band. Let's type in metal at the end. All right. Okay? For this part Lar one that has metal in, I'm going to increase the color for it. But this other one that does now have metal at the end. For the naming, I'm going to leave it as it is. So I'm going to let's scroll down first. Select. We need to go to face mode. Double click. Double click. Double click. Double click here as well. Okay. Then we come down to the pa shield. It's metal one, right click, apply material to selection. Okay? So that should be fine. Okay, so this will work just fine now. So that's where it's supposed to be. We have it where it's supposed to be. Just like the metal one as meta is then go back in here. Okay. So when it's down, this one is visible. Okay. But now we need to also exclude it from the opposite szlesG back to face mode. Double click. Double click. Okay, then we'll come down to the next one. So this AI waist band, apply material to selection. Okay. Yeah. Awesome. So this is fine now. So you have this where it needs to be. I'll do a quick sieve. Alright, so now we can render this out and we should get our desired results. If it's not working well, then we can just separate them out as two separate pieces and then just merge them and apply these textures back. I think for now, they should be fine. So let's at render. Let's see what we have. 68. 168 Final Rendering Settings Arnold Maya: Combo, guys. So to finalize the entire outing, I kind of made some little adjustments. Okay? So let me just show you guys the minor adjustment I made on it. So basically, for the fur hair, for the waste loop out four, just adjusted these values in here. So you just did this value. Not much difference, actually. I didn't do much difference in here. I just had this value in there, and then we made some final renders for it. So now to kind of create your final render. Let me open up the render settings wrong one. The render settings in here. I kind of want something that's not too much of a square in there, so I'm using a new resolution for it. I just adjusted the wit to 1,800, then the for the wit to be 1,800 and the I to be 2048. So that's basically it. You weigh one more thing that I'm using for the render setting. I'm using the mid render settings in here. I've already showed you guys how to bring this in and which kind of render settings to actually use. So it's the mid render settings I've used now because everything's working just fine. I've done the test renders for everything that is in here, so we just do our final renders and then we should be good. So with that set up, I did some final renders. Let me show you guys the final renders I did, using the same setting in the so I didn't do any additional working there. I did not adjust or do any additional working there. Except for just one thing though Let me show you guys. There's no major difference in there, actually. So I went back to the AI Skydome Light to get something perfect before showing you guys the final setup I used. So I went over to the AI town AI Dom Lights, Skydome Light. And I just set this to an intensity of 1.5. I said the back lights. The back light remains the same intensity, but the orange light set down to 0.8. The blue light remains at one. Yeah, I think the dust spouts completely also. Just wanted to get a little bit of dim to it. Oh, yeah, one lasting naturally, one lasting naturally. No major difference, like I said before, no major difference. When you backdrop, I just darken this down a little bit more darken it she color a little bit more. Yes, so is there anything else? Yeah, nothing else. Then I made the entire outing Visu band and just did renders for it. So let me show you guys the final render. This is like the final render we have. Actually looking quite good. This will work just fine. Generally, we have good contrast around the entire outin because we have good contracts around the entire out. So if you follow the entire thing step by step, you should be getting you're getting quite similar results in there. Yes, you're getting quite similar results in there. So, yeah, so I'll see you guys in the next lesson. Bye for now. So the next lesson is going to be the conclusion of the entire outs, so Bye guys. 69. 169 Conclusion: Hey, guys. Welcome back. So I've come to the end and final chapter of this entire tutorial. So it's like the conclusion of the entire outne. So it's been an amazing journey working and then showing you guys my own personal workflow to kind of get this character finished from the conceptualization of the character inside of Zbrush and then creating all the anatomical features in there and then exporting them out back to Maya to set them up for texture in subtansPainter. And bringing them back to Zebra for Fine Apples and bring it back again to Mot for egg gen creation. And then going through the entire process of doing look development for the entire character from start to finish, and then we have our final render in here. So it's been an amazing journey, showing you guys all the metals are kind of used to achieve this realistic looking African warrior character in here. So it's been a very lovely journey working and then creating this for you guys. So thank you guys for watching. Hope you guys make some awesome characters after this buy.