Jewelry Design - Engagement Ring 3D - Rhino - Zbrush - Keyshot

1. Intro: Hello everybody and welcome to my new class for jewelry design in this series. In this class I'm going to talk more about building and designing simple engagement ring. And I'm going to talk more in detail about some specific tools that we use in Rhino. Some of the tools may be used already before in some of the tools for you to be new. So I hope you'll be able to follow along. I'll try to make this tutorial as detailed as possible so the new users can follow easily as well as some intermediate users would find some new interesting techniques of how to bring our model later to ZBrush, to weld it all together, and to render it in K shot. So let's get to work and hope you enjoyed this content. 2. Part 1 diamond setting: Okay, everybody, so let's start our tutorial. When we're trying to build. Today is a ring that has a similar baskets setting, diamonds, I think like this. And as you can see, it looks really nicely handmade and everything is welded together like a really nice shape without some sharp edges. That's because it's a handmade ring. And we're going to try to emulate that by using first Rhino to build the first shape, and then by using ZBrush to wield it altogether to make it look for our rendering, almost like it's done by hand. So for the purpose, what we can see, we're going to use a one carat diamond, which is probably slightly bigger than the diamond to this image here, this is maybe 0.5 are a bit bigger than that. But we're going to use a one carat diamond and try to achieve something similar to this stone setting. Now, let's proceed by first drawing our ring rail. We can use it as a reference point. So we type on a circle for the center of a circle with type 0 because we want it to always start from 0. And for diameter we tied to 17.5. Of course, you can use any other dimension or her rink according to your needs and are designed and also the request of your clients because everybody has a different ring size. But for this purpose we use 70.5 for the tutorial. So feel free to use any other dimension. Now that we have this rhinorrhea as a, as a reference point, we're going to lock it. So you've got here on viewport layout or visibility and new type click lock object. You can also just type lock and that would also do that. So every function that you can see around in Rhino, if you just type that function in your command. That's functional automatically be activated. And you might even have some other options that you can click around and play with. So for now, we can go to our diamond and start building this basket that's going to hold our diamond. So for this purpose, we can see that the basket goals has a slightly inward angle with the prompts. We're going to try to achieve the same look. And also we can see that the diamond is a fairly above the top rail here, which is also called like a doughnut real. So we can try to achieve that by pushing diameter. And then start building. First our prompts. For our prongs. We're going to start by drawing a line somewhere outside of a diamond and toward the bottom. Something like this. What you can do is you can, before drawing this line, you can click record history and all that will make like once I draw this line, I'll be able to move this line later. And that will affect the way of my design. So for example, if I use the pipe tool now under here, under this box. So you have this triangle that you can click and open other options. And there is a pipe tool. Once I click the type tool, I can click my polyline that I drew. And now for the diameter, I can type 0.6 and another 0.6. And that will create something like this. Okay? So we have the first shape of our trunk and we're going to move our prongs a little bit to the left. So we have maybe 30 per cent of our diamond entering our Proc, always bear in mind that you don't want to be, you don't want a diamond to cut too much into Prague because that later it can easily break the problem. But these problems are very small. 0.6 millimeters is, is very small. So if you have too much of a diamond cutting inside of a problem that they were easily break in post-production. The production for Rick. This why are we not going to go for more than 30 per cent offering actually entering in our in our trunk or cutting inside of our punk. Okay, so now if we select our now if we select our prong, one another thing that I want to tell you is you need to bear in mind that for the setting, you want two types of a setting. One, it is a prongs setting for the rendering and one for the production. For the production, you always want the pronged to shoot much more above the diamond. The diamond center and a jeweler has a space to work with your prongs setting. So for example, if for the rendering, this is something that would have really good result for our rendering because it will look realistic and it will look just how it should be. But for the diamond center or the jeweler, if you give him something like this, there is no space for him to work on actually setting this diamond. You would have to either move this up later by hand. Or if you're smart, you're going to make two types of models. Or one prong setting, that's going to be for the diamond center and one for the rendering. It's usually fairly simple. We'll just make it a little bit longer and start from there. And then for your rendering purposes, you can just click on this down by controlling shift and click and just pull it a bit down. And then you can have something like this. Okay? Now, I'm going to focus now on the rendering part, so I'm not going to worry about how long my prongs are, but just so you know, if you're working for later producing this ring, maybe your prongs needs to be like this, so the jeweler can actually work with it. Okay, so now that I have this, I'm going to go to my top view. I'm going to click on my prompt, and I'm going to type Array polar. So you type array in first off option that I got this Array Polar, I press Enter central polar array. I'm going to type 0, and that will just put the center on this center dot over here. So when I type 0, makes sure that you are in a top view because this is not going to work if you're in any other view. So type 0, number of items, I tap four and I press Enter and press Enter again. So it's 360 degrees. Make sure that it's also for you 360 degrees if it's not, type it in presenter. And now when we exit our view, we're going to see something like this. Okay? So we're going to make now to two parts. One rail that's going to where the diamonds going to sit inside of it, It's basket and it's going to make more stable and better. And another that's gonna be point where our ring shoulder is going to connect to our stone setting. There's somewhere around here. Okay, so let's start building dose. We're going to go to our front view. And first we're going to select everything that we see and lock it down again in a visibility, lock it down or just type a lock. That way we're not going to interfere with anything that we're doing here. So for the part where diamonds going to sit, we can because some line like somewhere around here and just start drawing a line along that, the angle of a diamond, something like this. And this is our first. So we're going to continue with drawing the control curve 0.1 line because it's a straight line, we can draw a polyline. But the second one, we're going to draw it the control curve point. So I'm going to click there. I can extend it up a bit forward and then start drawing the shape. So this is the point. I mean, we're going to build the place where diamonds can properly sit and then this prongs are going to collide on top. So this way there's a little bit of pressure from up and bottom and a diamond, the diamond is really stable, is set in its place. Now that we have that, we can go and revolve this, maybe I'm going to make it a little bit. I'm going to make it slightly bigger. But the one thing that you need to bear in mind, you don't go too much behind this line. So you see this is where the diamond ends. So you don't want this part of a basket to go too much outside because it will be visible from the upper angle and that's not really visually pleasant. So let's start doing it again, but try to be somewhere in that dimension. Okay? Something like this would be okay. You see it doesn't go too much behind it and it's going inside of our prongs, so that will be okay and it will be stable for the diamond as well as it will be visually. Okay. Don't worry about the general look of it right now because we can bring everything in ZBrush later where we're going to wield it altogether and polish it in a way to make it look much nicer. So what I wanna do now is going to draw one line as a reference point. So I can take polyline and turn on the grid snap, which will enable me to draw on a grid and go from a center and draw it upwards. And this is going to be my reference line because now I'm going to revolve this shape. So to have a reference line as a center axis, revolving action can happen. Before I do that, I need to connect these two lines by clicking them and clicking Join. Makes sure that in your planner view, a perspective view that everything is one plane. So everything that you drew should be like this in mm plate, if some of the lines are sticking out, maybe like this. So let's say if you have something like this, but actually it looks okay from this angle. But when you go to your perspective here, it looks like this. Sometimes this can happen if some snapping options are enabled. All you have to do is go to your front view, click on your shape and try and type project to see plain wasn't going to do is going to just bring it all in one plane. So protect the C plane and deleting put objects, I click Yes, and that's it. Now I can see that this problem is solved. This often it happens and I find it really important to tell you this function. So now that we have that, let's go to revolve this around the axis and to build that shape. So we go to a front view, click on our shape, and it will type a revolve. Start with the axis. This is where we're going to use that line when we draw as a control point. So click on the bottom up. And it's just now you start. Tango is always 0. Revolution angle is also 360. You see it all the information here. So we press Enter, Enter, and that'll create this shape. We can go a little bit to our reference image and see that that's more or less what we're trying to achieve. Our design is slightly different, but that's okay because we don't need to make it something similar. We're just trying to emulate specific style setting, not necessarily the whole design itself. Okay? What I wanna do now is like, I would like to first bring this prongs slightly together. So how we can achieve that simply is first we're going to unlock everything. And I'm going to select those prompts by holding Shift. And I'm going to type cage edit, which I taught you in my tutorials before. It's a really powerful tool. We killed the bounding box and type enter and enter and enter again. So now that we have this, I'm going to just select the bottom points of my cage edit tool. I don't need to dose circles and lines. Once with that selected, I can hold Shift and just slightly move it inwards. But what happens is my grid snap is on, so I turned off grid snap and just slightly move it inwards. We don't need to move it too much, but a little bit of movement would be okay. See how it looks like. Because too much of an angle, it also can create attention and then can easily break later. So we don't want it that what do we want to achieve is just a slight better visual angle for prongs. And now we can take this shape and hold Alt, and we can just copy it on the bottom. So this is going to be the shape which we can just easily reuse. And this is where our diamond drink. Diamond stone setting is going to connect to the shank, to their body and shoulders of our ring. So let's take a look how this looks like. That's more or less okay. Let's start building the ring body. So for now, this are going to use this as my, as my diamond setting. And of course, don't worry about the final look of it right now because we can avail this altogether in ZBrush and fix the element. That's why this tutorial is focused on Rhino to ZBrush workflow. So you can see the power, this specific design method which you're going to help you achieve some really nice results. So this is end of the part one. Now we go to the second part. We're going to work on building the body of her rink. 3. Part 2 ring body: Okay, So this is the part two. If you followed along, you were able to create this diamond stone setting, which is the basket setting with four prompts. And now let's work on building something like dislike a body where with the shoulders separated, where we're going to connect our body to the diamond setting. So first, what we're gonna do is I'm going to move this slightly downwards. So first, always make sure that this is your This is your ringer rail. So we need to work with that in mind. We don't want to cut too much into our ring rail. Later, we're going to cut our shapes out. But for now we can just play a little bit, wet it like this. And what we're gonna do is we're going to bring this upwards and also do the cage edit, edit, bounding box, Enter, Enter. So for now I can hide dose because they're just distracting. And this one as well, I can hide this height it. Okay, let's see what's going on here. So this should be hidden. Okay? And this one also we need to hide. Okay, so now we just work with this little donor to the twin. Let's go with that that we have on the bottom. We're going to take those lines and hold Shift and just move them a little bit down. And as those shapes, we're going to move a little bit data words. So it follows the line of her rink. Like this. There is another way we can do is with the bend tool. But for now, this serves the purpose. So we click now back to shore object and then these are our prompts, their back. So we can see how that looks like. Okay, it looks slightly better than it looked before because we've got that nice little angle. And it's gonna make a ring more comfortable also at that point, distal part of a prongs. This we're going to cut later using a ring wire cut. But for now let's build the ring body. So we want to build something the resembles this. And how we can achieve that is going to our front view. And using first that ring rail and typing offset. Now that you have offset where you can further distance typo one-point date, and click anywhere outside of that circle. So now we have two lines. One that's offset another line, and the distance from here to here and every point is 1.8. So what we're gonna do is we're going to bring this up a little bit. Now, I want you to also do a little bit of a bawling and distancing. Why? Because it's important in jewelry design that you are able to measure distance just by looking at it. By looking at this, you should be able to say, Okay, this part here is maybe to ten. On this part, there is too thick for that. We use also the distance tool to measure. So we see these as two millimeters here, that's completely fine and distance, distance, we're going to use tool there. And you'll see that the distance here is 1.38. So I can always tell you the dimensions that you need to use, but you need to bear in mind that every person design and every ring is different. So if you just learn the specific dimensions, then maybe you won't be able to do any design that you have in mind. And it's really important to try to draw as much freely as you can and then measured the dimensions and then fix, because this will help you in two ways. First, do or not to rely only on numbers in a computer to do the design, but also your creativity. And second thing is that you will make a lot of mistakes by doing this. Because later when you measure distances, you'll see, oh, this is too small and I'm going to have a problem in the production because you need to do it again. And by doing it and modelling it again, You actually going to learn the software and that workflow much better. So I really recommend people to try to also eyeball things and then measure and then find the mistakes and then fix them and do them again because that we're going to force yourself to remodel it a couple of times. And by doing that, you're just going to learn to program and the workflow much quicker. So that's one of my recommendations. You can take it or leave it, it's up to you. Now let's start to draw the things that can connect. This diamond setting basket to our body of our ring. So first, we're going to lock this up, lock these objects so we don't click accidentally on it. Now first we're going to draw a line that connects our outer ring rail to this point where our diamond sits. So it's gonna look something like that. So this point here, Let's do by using control point curve from somewhere here. Click a little bit outside, not directly here because you're not going to be able to get the good curve you see. So we can do it, maybe something like this. And that should be okay. Let's see the point of contact is important because sometimes we can make a mistake by doing this. So we start by, I mean, we continue by clicking on the end point. If you don't snap to the end point and make sure that you are, oh, snap is on and your end point here is clicked on. That way like your dad is clicked, then you'll be able to snap to the end point of your line. Also, we have a near point, point, midpoint center, not vertex and every other snapping option like in most of tree software. But for now let's focus on this and click at the end of your line. Continue drawing it a little bit inwards. And this shape now is completely irrelevant because what we're just trying here to achieve is just connected to this part, to this part of our diamond setting. Specific rail. So the shape is not important. We're going to fix that all in ZBrush for now. We're just trying to draw it as close as possible to what we need. Something like this would work and connect it over here. I'm going to connect this a little bit more upwards. Something like that. Okay? So now that I have this shape, first I'm do is connect these two shapes. So I'm going to join them together. And now I'm going to do some trimming. Trimming by zooming in here to see where those two lines connect. And if there are any mistakes, we might have a problem here, but let's see how it goes for select these two lines and click the trim function. What does it going to help you where those lines connect? We can trim everything that's outside. So before doing that, we're going to use our reference line that's here. Make it a little bit bigger or just draw a new one by using grid snap tool and bring it to the center. Like this. The grid snap on. Now for us, we're going to use this line to trim the right part of the ring rail that we drew because we don't need that. So it's just going to trim trim, autopilot. It's possible to trim because everything on the same plane. I'm going to show this like here. You see everything is connecting all these lines that are on the same plane. If they're not, probably, you'll find a problem tree. Now that we have that. Well, let's use this part that we drew recently and also use the trim function. And just remove this parts which we don't meet. So one is here, one was there. And one thing that you need to bear in mind, it's sometimes those lines I too close to each other. We can have some problems on the point where they connect. So I'll need to examine now this point to see if there any leftover from the previous line. But it seems like there are no problems whatsoever. The only problem that I see is that they are not properly connected. Or maybe let me see. Maybe they are just like I didn't see properly in my software. Let's try to connect them together. Join. Yeah, that works fine. So yeah, there were connected. So there's no problem. We're going to join these two together. And now we have this shape. Also, there are different ways how you can achieve this specific shape. You don't need to do it like this. I'm just teaching with this method because it's much more simple. Way is just to use to use a sweep one or sweep two rails tool. And then create here a profile that's going to first sweep the bottom part and one that's going to sweep the upper part. And you can also achieve more or less similar, similar results. But this method is much more simple. So you're going to practice a little bit of drawing and also going to learn other things. So for this tutorial purpose of this tutorial, I teach you this specific one. So now that we have this shape, we're going to join it together. And we see that joining this parts, they don't work. You see, like I click, let's see, you experienced this problem. That is great because you'll know how to fix it. I like when I experienced a problem when I work because most of your work also. You will find some problems that you will try to fix. So let's see where's the problem and probably you're going to face the same problem like me, so you know how to fix it. We're going to click on this line and we will see that it ends over here, but there's a leftover from this previous line. So how do we fix this is just by clicking on one of those lines, zooming in, go to trim and just cut everything that's was the leftover. You can see now we click this line and that line, and we see that their endpoint is the same spot. If we go back, we'll see that that was not the case. If we click this line here, it ends here and this line ends there. So that's how we fix it. We take one part of it. We click on a trig function and we remove one edge. And now everything should be okay. So we're going to select them now again and click Join. And two curves joined into one open curve. You can see that's one curve and it's open because here is open, here it's not closed. And what we're gonna do is we're going to mirror this on the right side. So it click it here with that mirror. And we're just gonna, because we have our endpoint snap on, which is going to type click on one end point and hold Shift click upwards. And now we mirror this on the right side as well. We're going to click both of our lines that we drew and join. That will create something like that, which we can easily now use to extrude. So let's click on it, go to surface, extrude curve, and extrude straight. So this is a very simple way to extrude. And also you can click forest here solid, so you want it to be solid. But another thing you need to bear in mind is you can go right view and you can type the dimension how big you want this to be, but you also can practice what I said to you. That is eyeballing. You know, that one box here is one millimeter and you know that you shouldn't go anywhere below maybe 1.3 millimeters to be on the safe side, 1.4 millimeters. So we're gonna go something like this. Now let's take a look. We can measure it so we know what we did. There's probably 1.6 or eight. Let's try to see not this 1.5 millimeters. And I'm okay with this. I mentioned when I zoom out, I see, because I did many rings, I said that this dimension is okay also I know by the distance that is be able to be produced and there won't be any issues in production. Now that we have that, we want to click on that ring shank and we're going to type bucks, bucks, Cajete it. Also click the bounding box and type Enter twice. And we're going to select this middle points. And we're gonna make them slightly bigger because we want our ring to kill Bill, slightly fatter and thinner on the bottom and apart because that will create a much better visual rink. And not so select those parts here and make them just slightly smaller, too big. Make sure if something happens crazy when you change these dimensions. Like it's just if it moves too much. Sure that your grid snap is off. Because if your grid snap is on, once you move this, it's going to move on my bike grid. And that can give you some big differences. You want to fine tune it. You need to go eat side like this. Now that we have that done, we can delete our bounding box because it's not needed in. We're gonna do some trimming. So let's see you in the third part where we do the trimming. And after we do the trimming, we can go to our ZBrush and connected altogether as you can see how that is going to look much different. 4. Part 3 finishing touches and fixes: Okay, now let's work a little bit on these points of connections and also do some training on this part because we don't want this we don't want this prongs to be sticking down too much because that will make the ring uncomfortable. So first we're going to unlock our object. And we're going to select all this prompts and a diamond. And we're going to rotate everything for 45 degrees because we want the point of connection to be here. So we're just going to rotate our prongs. In this case, like this. Click here and type 45. So now we have our prongs on the side and we have something like this. That's good. Let's go and trim everything that's sticking out so we can make this ring comfortable. So first, we should have ring rail, which we don't have now because we use it for data shape. So let's draw now a new one. Also center is 0 and diameter which we used before, you'll be probably written against 70.5 and this type Enter. So now when I click here, you can type this, plug this curve, and I can see this curve. So what I see is this doughnut part is sticking out a little bit into the ring. And also these two prongs, the four products are sticking out. So we're going to wire cut that all out so we can make it a proper ring shape. So we have nothing too. Actually. Our ring, if it's produced later or with my art, jewelry needs to polish and stuff like that. We can do it right here so everything fits appropriately di dimension. So by selecting this circle, we're going to do the wire cut. Wire cut will do the function where we can use this as a wire to cut through the shapes in front plane. So we just type wire, cut and press Enter. Now that we have that, we can select objects to cut. So that would be this part. And I'm gonna go to my perspective view and select these four prongs and press Enter. Press Enter again. And you can see that the wire cut through all of it. But because you can click on this poly surface here and you can delete it. So that's what I'm gonna do now. Delete all these parts that were sticking out. And you don't need to worry about the visuals here right now because we're going to fix all of that in our Rhino later. For now, this is all good. The final step that wanna do is I want to do some cutting inside of these prongs. We don't need to do this for the production because most of the jewelers can do the stone setting themselves. You don't need to cut prompts beforehand. But for the purpose of rendering, if we have too much material on our prong, that the diamond goes inside of a Prong. We can have a really weird look on the rendering because software is going to calculate the light going through this diamond. Diamond is going in a piece of metal is sticking inside of a diamond, then the rendering of the light won't be really good. So we need to cut that part out Frankfurter rendering purposes, and we're gonna do this by going. And the side view. We have our reference line and we're going to draw a shape that follows the shape of a diamond and use it as a cutter later in arm with our Boolean function. So let's do that by going polyline. Start from the center of that line. If you don't have this reference point line, just draw one. We're going to start doing something like this. You see the contact is over here and the girdle part. So for me it's, this upper part is not that important. Important is to follow really precisely the girl that part up to here. And then we can finish something like this. Now, this shape we're going to revolve around this axis. So we're going to have the color that's going to cut this products. So you're going to type revolve, press Enter, Start at the axis, here and here along the axis that which will be four. And start angle is always 0. And revolution angle is 360 because with the full circle and this is the shape that we've got. Let's see it from a side view. So you can see that this shape cuts inside of those prongs. So now we're going to use is a Boolean function to use this prongs and from them remove this shapes, which isn't going to do a small cup here, which is following exactly the shape of a diamond. We do that by going into Boolean, boolean difference and asked you select the surfaces of poly surfaces to subtract from. So those are our prongs. Shift and click enter. And what do we subtract with? This is the catheter and we click it and press Enter afterwards. And this is what we get here. Don't see the results immediately, but if you go and remove it like this, you can see it's properly cut this way. If we're rendering purposes, everything will be Perfect. Now that we have this. So let's export this file to SDL and imported into ZBrush and then just welded nicely together there. So we have all this sharp edge is going to disappear and everything is going to look really smooth and almost like in this picture, done by hand. So let's go and select everything besides our diamond. And go to File. Export, select it and call it wedding, ring. Z, brush. Ready. You can call it any way you like. I just use this name for now. So SDL tolerance 0.01 is fine. You don't need to worry about that for now. Click Okay. And that's the end of the rhino modelling part. Now we're gonna go in ZBrush and see how can we use some really simple techniques and Z brush to just wielded all together. And what is really good about ZBrush. So thank you for following. And let's see you next part of the tutorial. 5. Part 4 Zbrush remodeling: Okay, so now let's work with our ZBrush and see how we can wield all the elements together and just use the power of ZBrush guru with ZBrush is good. Use the power of rhino for rhino, rhinos goods rhinos is really good to make a very precise 3D models that are ready for production and treaty. But ZBrush is really good at making things look much more organic. So we're going to utilize a tool of both of these and make the best way possible to make our jewelry designs. So let's import our STL file by clicking Import here on the right. And we're just going to find file, I believe is here. Yes. Wedding rings, the brush ready? This is my file. I'm going to click, Okay. I'm going to click here. I'm going to draw, just click and drag. And this is going to pull the ring out. And after that, I'm going to click Edit if you don't do that, and if you keep on drawing, this is what's going to happen. You're going to have plenty of rings drawn. You don't know what's happening. It looks like a mistake. So we're going to go back. I'm going to click and draw because you import SDO model, first thing you need to is to dry them. So I'm going to dry then to doubt to our document. And once I draw it in, I can now click Edit. Don't forget to do that part is really important, otherwise, everything will look like a mess for you over there. Edit. And now when I click on a site, I can just rotate and see it from every angle. So what you can see now is we go right-click and poly drug poly frame. We can see that poly frame are really bad because rhino STL file doesn't have really nice poly frame export. But the ZBrush is really good at wielding it altogether and just say remeshing the whole mesh for you. So you get a really nice mesh to work with. And also you can easily smooth out all the parts. So what we're gonna do now is gonna go to our geometry top on the right. As you can see, ZBrush can be very complicated with its user interface, but just follow me and you don't need to be intimidated by the way, how's the brush looks? Because it can be really good tool if you know what you're doing. So go to geometry. And under geometry you have DynaMesh to something that I talked to my previous tutorials. And it's a very important function that we're going to use a lot here in our tutorials. So under DynaMesh, we can see the resolution is 128. So maybe we're going to crank that up to 200. Once we did that 200, we're going to click DynaMesh function. And what that does is it wielded all the parts together as you can see. So I'm going to click on Draw Polyphemus and maybe, maybe I want to use a little bit higher resolution. So maybe manganese 224. And click DynaMesh again to see. Now I see that the formation of my model after wielding is not too big. And I can accept that. I think this is pretty good. What I'm going to do now is I'm gonna go to deformation. And here is interesting part. We can just click Polish by clicking on Polish and moving a little bit to the right, 20, maybe. We see, you see the results we got. Everything became really smoothed. And also remember those we'll points here that we had. By the way, I'm zooming in by clicking Control and right-click, I'm clicking holding control and I clicked in my right-click somewhere in this space. And I can do this. And if I click Alt, click and Right-click Alt and right-click, I can move around. I can pan my object. So let's see how this looks like. The thing is that there's too many polygons here. And if we go to render this, it's going to create a little squares that not going to look nice. So I've go right-click can draw poly frame line. You can see how that looks like. It's not ideal. So what we can do at this moment, go back. And we can go to geometry and we can now divide it once again. And we see once we divided it became much smaller. Here you can play with some materials if you click on a material tab and just import some Chrome blue or maybe even gold to see general vibe and how it looks like. You can see already by reflections of this material. You can see that this model is much different than our Rhino model. So random model looks really sharp and messy. And to smooth it out altogether, Yes, we can do it in Rhino, but it's still not going to look organic, which we can see in ZBrush. This really looks like it's something that could have been done by hand. Or you can do some specific smoothing by holding Shift and just smoked some edges like this by hand. If that's what you want to do, especially if you want to make the rendering look more realistic. I would advise you to go and do a little bit random smoothing. Some, some smart part can be smooth it out and some can be left alone. That way you're going to achieve much more randomized effect. Also, if you'd like to draw on your model, will draw some little milligram or some small details. You can do that easily now in ZBrush. So that is all up to you. If you like what you have right now, you can maybe go one more time and do some Polish just a little bit. Just to make it slightly more polished. And I'm pretty satisfied with this model right now. What I'm gonna do is I'm going to bring it back altogether to my Rhino. And then from Rhino, I'm gonna bring it to my key shot for rendering. So let's follow this to the next part of tutorial and see how it all goes. But before that, let me not forget, I'm going to export this else DO file. So I'm gonna go to my Skillshare lesson folder. And this is now called Rhino ready, my OBJ file. And it's exported, and that's it. Let's go to next part of tutorial. 6. Part 5 Preparation for rendering: So let's go back to our Rhino and then import that file that we just did in ZBrush. And from there we're going to export the Rhino file for K shot, where everything is going to be separated and easy to render in key shut. So what we're gonna do now is select everything besides dark diamonds. And we can group the object together and we can hide it for now because we don't need it and we don't need this line as well. So we're going to file and import what we just created. So we have a Rhino 3D object file and click Okay, then import it in. And it should be perfectly placed like this. If it's not, you can easily rotate it. But if you did everything like me, everything should be in a proper axis. So you see here, we don't need to focus now. It has too many polygons and for now you can work too much on this file in Rhino. Because once you bring it back from ZBrush, That's it. Rhinovirus can only work with the rhino. Polygons shapes that you create in Rhino. But once you bring STR OBJ file from other software, then there's no more changes you can do to this file. So make sure that all the precision work you've done in Rhino is already done before you work in ZBrush on it. So now we can export this File, Export Selected. We're going to pick a Rhino file. Rhino six model is fine and RNC ready. So that's it. Now let's go to our key sharp and do some rendering of our beautiful piece of jewelry and see how it goes. 7. Part 6 Keyshot rendering: Okay, So this will be the last part of our tutorial, probably the most fun one, that is when we managed to see what we did with the proper materials and light settings and render isn't setting. So let's see what we worked on so far. And let's import this file in our key shot as we did it before as well. We just do a simple drag and drop off our file. It can save the treaty and phi like any like Rhino file, everything will work pretty well. So because in our scene, we save the file and there's some other elements which we might not need. We can go to overdose elements, so I'll just delete them. And what we need is like a rink as well as our gem, which in this case will be our diamond. So if you want to pan around, you click on Pen tool. So remember that Kesher does a little bit different than Rhino or ZBrush. So we need to use these three buttons here, tumble pen and Dali to move around our scene. First, what I wanna do is I want to rotate my rank. So I'm going to look for my file, double-click it here or just one click and then right-click and more selection. Once we have a mode selection on, I can just rotate this. I want, or I can type here minus 90 degrees. And that is perfect rotation for 90 degrees, which I can use for my rendering. Another thing here which you can see is that the plane, which is a default plane, but because in case you have a default plane that is there is not visible, is there. As you can see, it's kinda cutting on my ring. So what we wanna do is if you have a key shot ten, you can snap to ground or not. If you don't, you need to do it maybe manually so I can snap the ground. But if you don't have that option, you just move your ring a little bit above the ground so you can kinda proper shadows and everything is rendered properly. Now that we have a disk, we're going to start changing some materials. So first, let's put a brushed platinum on our, on our ring body, or maybe this brush platinum or putting them on rough. I think platinum rough look really nice. Or even silver rough depending on what you want to achieve. But I think silver ruffles look nice. And to be honest, even with the black diamond, right now, it looks pretty good. But what do we want to do is we're going to change this to some gem stone material. So if you go to your materials, you can find gemstones. You can pick from some that are already here, like sapphire rubbed the DYAMAND. Similar to this. Maybe for this I can use the aquamarine just to see how that looks like or maybe amethyst. You can just play around. This is the beauty of the key shot. You can play around and see the different results that you can get. If you were wondering where I got this first silver material is just under and metal. And under metal you have a precious metal. And this is what we're going to have all your pressure metal or another way to find it. You go to favorite, it got to jewelry and most of them should be here. So we've got a precious material. And I'm going to just changes too rough or goal. Now that I have those two, I'm going to add the plane, which this case I can use, the black plane that's kinda reflected. So it's got to do this, add geometry. So now we go to edit and add the geometry similar to what we did in our previous tutorial. So if you follow the previous tutorial for you despite should be easy. We click on plane and maybe we don't see it now. But if we go Right-click Move Selection, Okay, We can see it's a little bit to the right, I mean to the left or far model. So first we're going to scale it. So click on a scale. I mean, once you click, right-click and move selection, you can have this option to translate the scale and rotate and you can just disable what you don't need and enable what you need. So we can scale it like this. Or just click on a yellow cube in the center and just square it all in all directions. Once we have deaths, we go back to our material and we're going to try to find some kind of a reflective material that we're going to change its color to black and still keep it so reflective and get maybe a little bit of his textures. So let's try to find something. Maybe what we used before would look nice. Let's see this. Okay, this material looks fairly good and I like it. But what we're gonna do is we're going to change its properties. So we're going to change the way it's color and keep maybe the roughness and reflectiveness solid. Or what you wanna do is go here on the right, you can see properties position in material. So once we have this plane selected, probably going to have this material here. So go to our material, double-click it. And what do we want to do now is we're going to click on Color and we're going to change its color to. So this becomes grayish. And that is because we have our light setting in a certain way. I believe we change our environment. That's going to change as well. So we're gonna go now to our environment setting. Actually. We're gonna go to our favorite setting and go to jewelry tab. And under jewelry tapping going to see different light setup. Some light tense which we can bring insight and we can have different results of my setting. Almost like when you do that photography for jewelry piece. So this imitates this kind of a light setups. You can experiment by different light setup such as by clicking and dragging and dropping them inside of your model is on your work plane. So just click and drag and drop and see which one for you kinda brings the nicest and best results. Some of them are more like contrast, some of them are less contrast. So it depends on which light setup it is. You can what I want to achieve now, I like this very contrast, kind of a feeling. I want to play with that right now. Another thing that you can do is click hold control and click somewhere around here and drag to the left and right. And it will make that light setup rotate. You can see it from different angles. Sometimes some angles produce a much better shadows and someone goes, don't produce really good shadow. So you need to bear that in mind. So try to rotate it so you get the best possible result that suit your needs. Another thing that we can keep in mind is how much we want to zoom in to our piece of jewelry. Always when you do a rendering, I tried to leave some space on the side because maybe some other software. So for post-processing you're going to do some cutting and other things. So best is to leave it a little bit on the side so you have space to work with. Now. And we go to the right. There are a couple of things that we can change to our environments. So right now we've seen our environment tab. So you have seen material camera and environment. In the Environment tab. We can see our light setup this disliked tenth, so it's here, right over here. So what we can do, we can change its size, color, brightness, and other tastes. So you can start to play a little bit like this, like how much is it elevated? This is going to influence some shadows on the ground. So if you make it less elevated, at least specific points, especially with this dark point, then we're going to have more dark on the ground. And I can, for this purpose, I like that. One other thing that we can do. We can adjust this brightness, like how bright does. And we can adjust its size, can make it smaller or bigger. And this is for the O pins. Currently we have a site black pin selected, this pink over here. This bin is because Anki shot, you can create little pins that are controlling the light environment around you. So some of these pins group control the light to some of these pins like black one control the shadow. So if I move this black one around, I'll see my black shadows on my model can change. And this is something that I really like it, this moment in which I can utilize to make it more contrasty and create. For example, this edge here, much more interesting than before. So easy and simple way to play around with it to get the best possible result. Another thing that we can play around is lightening presets. You can use basic cues, product. You can use interior, which is fairly quick, can use jewelry, lighting setup, and this one will create much better reflections, but it will take more time to process everything. At the end, what we can do is we can go to our image mode and all little bit exposure. So we're going to play a little bit with exporter, merely a little bit overexposed, but not too much, maybe just a little bit so you can get that nice shine on certain edges. We're going to click photographic. But that's going to allow us is to play with certain elements like white balance. So we can turn it from completely maybe a black to kinda warm on black feeling which one? I like. Other thing that you can do in a post-processing software, which will be good to do is you can remove the saturation from this part of your diamond. Because right now we've got this re-balancing from our gold part from behind, which creates a little bit nice to see colors on our diamond because this Alex rendering the ray box. So what we can do this instance, we can use other color correction software. Any one, any software at gel-like, just mask this part out and remove the situation. Maybe make it a little bit brighter so it's white, just like diamond. And therefore you can recreate those like famous brands are most do kind of a jewelry models. So you can see if we're looking from a side, side view of our top view. You can find the best view for a piece of jewelry. And once we're happy with that, we can click Render. So in this instance, I more or less satisfied with this. But for the material, I do want to actually add slight little bit from maybe blue tint to my background. Not too much though, but just like. So I can have a little bit to variation between warm, which is gold and cold, which is this background. So this is maybe too much, maybe a little bit like this. So now I get this really nice reflection on my ring, which I, which I, which I really liked red. Now, if you want to add some dynamic, you can play with the perspective, which is right over here. But for me 76, we'll do the job. Once you're happy with more or less light setup and everything, you can click the Render button. So let me just do the final adjustments. I'm going to pick up this pin is controlling my black bar points. Then I'm going to move it a little bit around just to see what kind of shadows I can achieve. This one, it's too much. Let's try to see something like this. Okay? This is something this moment are paddle-like. I'm going to move it a little bit like this. So I have this really nice reflection on the bottom and nice shape of my diamond drink. I'm going to click the Render button. Select the folder where you can render everything. That's gonna be my engagement drink. And I'm going to call it final rendered. Then once I click render, rendering window start. And this is what we get. Now at four or 5% is going to depend on your computer processing power. But it's for still images which are not too big. Like maybe one K like nineteen hundred, ten hundred for those kinds of images. Rendering speed would be fairly okay. Yeah, got to render quite quick. Wanting that you can also do is you can render smaller images. And once you run this smaller images, you can then move to when you're satisfied with the result, you can move to render much bigger image that you can use right now. So for now, let's wait a little bit for this rendering to see how that will end up. And, um, let's see also. Take a look at our model, for example. So for example, you can take a look at these edges just in a second. Now we see that my rendering is finished. So this is my final image, which I'm quite satisfied right now. And another thing I'm going to show you why we did all of this in this way is so we can create this fairly realistic look of handmade done model. So if you just did this in Rhino, you'll never be able to achieve this edges. So that's why combining right now with ZBrush were able to achieve much smoother edges and also the feeling the tomato was done by hand, which a lot of clients these days really like to see. Because when they see some really computerized models, that's not good. And they prefer to see something that's more done by hand. So I believe that this workflow will also teach you how to utilize this best. Of course, all of these images you can let her play in your post-production and maybe even add more feeling or artistic expression to them. I hope this tutorial helped you achieve some certain level of design for this kind of a specific engagement drink. And see you in my next tutorial where I'm going to talk more about rhinos, ZBrush, and T-Shirt for jewelry design. Thinking very much. My name is Duchenne Popovich, and I've been a professional jewelry designer as well as the 3D modeler for many years now. And thank you for following my tutorial.