Learn Concept Art: Sketch Robot 3D Photobashing

1. Class Intro: Hello everyone. My name is Ramsay. We'll hash and our director game and from production designer, graphic artists, product designer, concept artist, VFX artist, and a lot of other things. I made this course for anyone wants to become a great concept artist for film and gaming industry, is also creating amazing robot character. I share with you in this class on my experience about design and rewards with the 3D and photo bashing technique. This is the fastest technique and most effective we use in fulfilled in gaming industry. I will talk to you about how to become a great concept artists. As I will teach you or tips and tricks from inside the field. This is a high-quality training course. I tried to cover all the topics in text, our content. In this class we will learn storm brain in ideas, how to prepare your ideas about your character. Learn the way of choosing the perfect image and building a great image liver. Analyze the light. We will learn how to analyse the light for our artwork. 3d sculpting. We will learn how to scarred hard surface for concept art using ZBrush. Keep applying. We will learn about how to use Git Bash to speed up our workflow using Alpha. How to tell our models in the fastest way, we will learn how to export our design and decrease our geometry to work so fast when you're working in rendering, rendering layers, we'll learn how to render materials layers in key shot, photo bashing our models. We will learn how to add more details and finishing design with photo bashing techniques. Adding details to our model will learn how to add details to make our design loop manufactured. Whether in our model, we will learn to add texture to our model to make it look realistic and give it a background story. At Effects, will learn to add effects like smoked our model to make our shot look cinematic. We learned also working with ZBrush, T-Shirt Photoshop and a lot of other things. This class requires basic knowledge about ZBrush, key shot Photoshop. Although we'll see about all the tools, we're going to use, it easy to follow even for beginners. As a bonus, you will get six Photoshop square shapes for hard surface, a tie kit-based pieces as the IMM brush ready to use in ZBrush for your project, then alpha to use in any hard surface project along this class. I hope you like the class and teach you how to become great concept artists. I wait for you to join me in this journey and I hope you like it. Thank you. 2. Understand Concept Art: Concept art can be done with many ways. Example, illustration, sketching for the version, 3D design, and a lot of other ways. Your key here is to find the fastest and the most workflow that gives you the best results. Many concept artists they like to work with for the brushing technique because it's the most fastest one in give you the best results always when you are working with. That's what we're going to see in our class. Design a robot. Also one of the hardest because you are working with a hard surface. Yes, you need to practice what you learn here. And when you design a robot to try to give it a personality and background story. Either a dangerous and Kayla, either cool or funny or any other personality. Like are designing a human character or a creature. Whether in your design, will always help you sell your story. We're going to see all these techniques here. And I go, and I'm going to show you how so more about how to design a great concept art. 3. Concept Art Topics: Hello guys. I want to talk to you about our main topics for concept arts. And they are six topics. The first one is working fast. It's important as concept artists to be passed as a sketching, some rough sketches and make final concept of bees ready. You need always to work with the fastest workflow that gives you the best results to aim and port. Studios don't wait you to take your time work in any piece because time cost money. You will need to communicate with them from the first you start working on their project and update them with all the faces you reach. So if you start working on a project, you make a rough sketches you send to the studio in any weight for their critics to continue working on the project. Practice a lot. Practice on your own projects will help you always make mistakes and learn from them. And find where you are. Strong tools doesn't make you great concept artists need to work with what you are comfortable with and give you the best results you are aiming for. Make some studies. The main keys of becoming a great artists is to make studies in real life. Watch and observe. Ccds have been constructed during about human and animal anatomy if you want to do character design or creature design. Also the same for robot design, which also about mechanical that help you know how hard surface work. If you want to work in sci-fi. Although I like to work on all kind of a concept, art, sci-fi, fantasy or action, or wherever. Watching movies, comics, games, or whatever can feed your brain and make your imagination flow. Think out of the box when you work on a project pricing different from what other artistic. See what has been done already and try to come with a new IDs. Stood, you will get boring senior doing things similar to other artists. Did they want to check for a new talent in any new ideas? So try to be always authentic and put your own style on your art. The story that stand. When you design some sketches or character or wherever. Try always to link them to a story. You are not just designing. You are making a stories. You the one who created the script of the movie visually before it goes for production. So always try to design a story, not adjusted design. Build portfolio. Building portfolio in any platform will help your marketing yourself and engage in the community to exchange ideas with other artists. But also it helps to use your walk and decide if you are suitable for any of their projects. 4. Class Project : Guys, for our class project, I want you to create a robot concept art with a story background, same we learned in this class, using the same techniques and tricks. As you see here with my design, different concepts and ideas. I want you to do the same, create your own, not necessarily same we did, can be a soldier, can be a cyber pop, can be animal robot, whatever you like. I want to see how much you learned from this class. I'm so excited and waiting for you to upload your design to our class. Try to do your own project and go with your ideas. Thank you. 5. BrainStorming Your Ideas: Hello, guys, we are here in mind. This is a software for putting all your idea about what you're going to do with your work, like character, like the story or whatever you want to put here. This is very simple. I so easy to use. Here you have this net and it is also main topic, one, two, three, four, and the central topic like what you're going to be building here. Here as you see, there are many ways to make your net. As you see many forms. You just click create a new start. Let's see here how we're going to create our project. We're going to storm some ideas. I enjoy doing this kind of work guys at the beginning because this is going to put all the idea I have in my mind, what I'm going to do exactly and all that. We start here at the center here, we're going to put our product, which is going to be a soldier. We're going to build a soldier robot. So we're going to call it by now. The first main topic is going to be time. Here we go to think from which time it came robot, maybe from the future, maybe from another planet. Also the place, as we talked here, maybe it came from Lost City, maybe it came from some district on Earth or maybe on March or any other planet. The other topic is going to be weapons, what kind of weapon he's going to use. That is very important. You can design the weapon or photo bashing. We're going to see all that guys. No problem. The other main topic is going to be environment. We got to think from which environment came our soldier, maybe came from a war zone, where there is already being wars there. Maybe he came from place where there is a lot of water, maybe place like a desert. We got to think about all that guys. These are our main topics. But each one of them is going to explain it even more. We're going to put their subtopic. This is what we call subtopic, which came from the main topic. Here we're going to add subtopic to our time, and we're going to talk about something specific maybe which time it came our soldier form like example, the air. Maybe example we put 2060. He came from distant time in the future. Now we got to put also the subtopic of the place. Let's see, maybe we call it some kind of a district or something. I want to put it not from another planet. I want to put it from Earth. For the place, we're going to say it came from going to think it came from Earth. Maybe we add another subtopic. Because as you think this is a robot so it must be came from the future. You've got to think very well about your character the time, the environment, the place, the weapon. The idea you have not only make you build the character, but also could make you build a whole. It's like a war for a game or a movie or something like that. I like to do this is very nice and awesome to do. Now we're going to add also to the whipping subtopic category, maybe we're going to say machine or something, let's say machine gun. I think this is necessary. I prefer you do this all the time you are working on a project because this is make you think well about your character while you are working on it. Environment here we add war because sure he came from a war zone. Maybe we add another main topic to our project. We're going to talk about the clothes. I think the cloth is here sure is going to be military, we're going to add subtopic. We're going to say military military and form. So here we have some ideas how we're going to make our soldier Maybe for the war, I'm going to add another subtopic. This look kind of similar to sky or terminate or whatever, but no, no, human VS machine because you know, guys, not so much movie that they are talking about robots and the human friend and they fight together something else, liens, maybe or something like that. But could be a good idea to make something like that. We have to try always think of something not so cliche. Here we add to the war. Sure going to have smoke, maybe destroy buildings. Here we put our idea, but then later we decide what we're going to do exactly for real understand. When we are working, maybe we change our visions, maybe we have new ideas, maybe we change the old ideas, we delete some, we put new ones. It's all about your imagination while you are working. What you want to add, what you want to erase and all that. Here, for the weapon. Maybe I say it's a plasma, but I don't know. Maybe I let it just a traditional heavy machine because sometimes when you mix traditional with turistic it gives something more believable. I don't know. For me, it looks like more realistic, more nice, let's say. Try always guys to avoid working without having some idea on draft or something, what you're going to do because this will be a map for you to know what you're going to do with your work. Now we're going to save our work and just end the brainstorm. We can go even more and add more things like to our story to our soldier character, maybe we add what kind exactly of military uniform, what kind of a gun, is going to be all that. We can talk about all that here. We can even say which character he goes against, but this is not necessarily anyway because it's going to be only one picture of a soldier. So I hope was so clear with these guys. Now we're going to talk about how to build a photo delivery for your work, for photo bashing because this is what you're going to need to add for your character after you do the three D because this is some kind of a technique we use a lot for sketching so fast concept art. We're going to see you all about that. 6. Chose The Project Image: Here, guys, we are in splash.com. Here is a website very nice. You can choose a lot of nice pictures here with a very good quality. You can even choose the quality you want and everything it's free here. You can find all the category here. We're going to start and buy searching for a si images. As you see here, guys, there are a lot of the pictures of soldiers with weapons and you've got to see very well about the light. Example of pictures like the ones in the total dark we can't use because it's very dark and we can't show anything of our design. So here we need to search for an image clear and also a nice pos. Example, here many pictures, but none of them, I can see This picture could be nice for our project because it's clear and the posing is nice. But something more interesting like you see here there are many ones in the dark. This one can be used. Also, I don't like it's so small in the dark and this one so I don't like the lightning so much. I'm feeling very grateful this one, guys. I think this is a very good picture of what I have in mind. I want to show a soldier in the battlefield with a gun down and he's looking to the camera. I'm going to download this image. Always be careful when you choose when you choose an image because the lightning is very fort level up to your story and all that. You can search also for a whipping to use for photo bastion or maybe use for your character. This is a simple approach, guys. You can search for an image and then you block on that image. You can make your three D character, and then you choose some stuff and photobon over it. There are two kind way of working here, guys. In our work, we're going to choose the simplest way of blocking one or two images. We need to sketch so fast to deliver very nice concept art. You can have some ideas about where it could go. We keep on and mix glass. I. 7. Build Image Library: As you see guys here, we are on pinarrest because we need to search for image to build our library for photo bashing, our concept art. As you see here, we have engine pictures. Because as we are working, but we need to see mechanical stuff, we can search for the engine of the cars of the bikes. There is a lot of things here you can find and save and start building your library image. As you see here, also, we have the Ben we just save the picture. Then we put all in the folder and we make it example. This is for the robot photo basin. We make things for creature photobi. It's all the same techniques, guys. Well, some kind of a different in organic and hard surface. Today, we're going to learn about hard surface. We've got to search for the mechanical stuff, like we see here a lot of things. We can search in the rockets, we can search in the category of cars, bikes, search industrial mechanical, a lot of things you can You can search also about specific things like apart. Like you see here, we have many form and many image and you can use this, for example, the neck area. You can use this in the hand area. This is for me look like the van in human anatomy like the big vans of the neck where we'll be able to turn and move smoothly. Also, we can search for the military clothes. Search for a jacket example, for bullet proof. Many, many other things. You can use them as in your work, like the fabrics, and many other things. Well, here, guys, we are talking about the military, but when you are building your image library, you've got also to collect all the images you found on your way because you may use them in your artwork. If not, military, it's going to be another thing could be much all the images you have already in your library. Search also for military uniform, where you can find the jackets, you can find trousers, you can find the pants, you can find bulletproof, fabrics, pockets, everything you can use in your work, guys. As I told you before you can search on Pinterest, but also you can search in Google, you can search for other websites for free pictures like Nsplsh. I'm going to show you here. I put military pants to show you search. You can search for general things or specific things. Guys, if you know some names in the mechanical also stuff you can search by the name, guys, like you search for cables, like you search for crews, everything you can use in our bodic character or anything in the hard surface category. Okay. Image is not a problem. You can search it everywhere you want and just go to know what you're going to search for use in your artwork. Try always guys to build your image libery according to your style and not to any other artists style. That's make you more authentic with your photobi. I hope this was clear. Now we're going to search for the image. We're going to work on. 8. Analyse The Image Lights: Before I start working in my design, I want to take a look on my image and try to break it down the light and also I have some ideas where I'm going to go with my work with my blocking and rendering guys. As you see here we are in photoshop. We're just going to put the layer of the photo here. Then we're going to break down the light of the image. First of all, I want to add empty layer. Then I will choose a brush Here my favorite one is the square bruh. Choose a small size. First, before we start, guys, I need to know a lot about my picture, study it a little bit. I know even where I'm going to go with my design example. Maybe the colors, maybe the posing. I'm going to see the direction of the lights. I'm going to try to break it down here as you see, the direction of the light, where I'm putting these white arrows. As you see there are different shape of lights. Here, we have some areas has light, some are soft light, some area has a darkness. We got to know all about that before we start. I mean, you got to know very well about the light to do good quality art. This part of his half head, it's a soft light. Here, there is a soft light. I can tell from this that the environment either in the blue time in the blue light time or the sky is covered by the cloud. But from where I can see here there is kind blue color in the image, so I can tell this is in the blue time of the day. Here I see on the gun, there is a bluish color also on the clothes. You've got to always analyze the colors and the light very well in your images, guys. Try always to analyze it very well before you start. That's going to help you to make it more realistic when you're working on the render. See all this area I'm putting in the yellow dark area. This is so logic because these things blocking the light where his hand here, where is the gun. The light in this area can access. We're going to have some dark areas in the image. It's important to have three different kind of light in the image, guys. You've got to have the gray, the black and the white because that's make the picture more three D, not only flat pictures. Always try to make your work. Three color got to have your design, always that give more realism to your artwork. Avoid doing flat things. You can study more about the light, you can search on the Internet. You can do a lot of research. You can see some examples how light cast on object in the real life or even on character in a different light environment or a different time of the day. Try to practice that and see well about the lightning because lightning is the health of the art for me. Now we're going to start our blocking procedure guide. 9. Learn About Zbrush Tools: Hello, guys. We are in the brush. We're going to take a look about some of the tools we're going to need to use during our work. I'm going to be working also in a little bit of speed because it's going to take a lot of time to make it in the same time frame. Here as you see, I hope you know about the brush. But anyway, even if you don't know, I'm going to show you the tools we're going to need to use in our work. As you see here, I have these brushes. You're going to know each brush we're going to use when we are working anyway, but here, I'm going to show you what you're going to do. One of the important tools I use while I'm working is the mask. There is the mask lasso and there is the mask pen. When you click on the lasso, you click command and then you draw. The resolution here is very low, so I need to hire a little bit. I'm going to go to dynamic geometry dynamic here. I'm just going to hire the resolution little bit. As you see here, the resolution 872. Now the resolution make my draw clear. I'm going to draw just two lines. No, I'm going to use something I used a lot in my work, which called extract. This is you find it in the sub Tool at the bottom. I'm going to choose some thickness. Example, 0.006, and then I click Extract. Then I click Accept. You click accept only guys when you see you get the result you want. Not you click in higher or lower the thickness. I'm going to higher the resolution here, the dynamis before I do that, I'm going to show you something I use a lot also which called panel loop. I'm going to make it zero zero the pervle and the polish, the loops one, and I'm going to put also the thickness for something very low like 0.0 0/4. Okay. So as you see here, I think I like the stickness is not so much. Now I can go and put some resolution numbers and dynamic. Okay. Okay. As we are working with symmetry, I'm going to click on x to close the symmetry, and then with command and art, I'm going to choose only one and the other is going to be dens then I go to modify topology and I click Delete. This is the way I can work only on one piece. I don't want to work on two pieces together because sometimes make some artifact. As you see here, I'm using click curve to make some cut shapes. This is very nice brush guys. We use it a lot to cut some shapes, very straight. So I'm going to show the result here. Now, we go to click on command on the space to make the mask disappear. Now I'm going to go to modified topology, go to mirror and then and then I mirror my object. Now, I'm going to use another technique. So I'm going to get the half of the seper here with mask. Then I'm going to go to split. And he click split and Musket Point. Don't worry, guys, even if you don't understand very well about it right now during our work, you're going to understand more. You're going to talk a lot more about the technique we're using and the tools. Here, I'm just going to give you some idea to know what tools we're going to use exactly. As you see here, I have now separated pieces. When you click on the eye, you can hide and hide. This is the two pieces. Now we're going to use something called EMM brush with something I use also, I use the geometry here. This is the one that has primitive geometry like cube or cylinder or Spa. I use also lot in my work example here. When I click on the right and drag, I'm going to have a cube there. I'm going to click on the air with the command two times make union operation. As you see here, make the cylinder and the cube one piece. This is in three D, you call it union operation. Now I'm going to hold out and do the same drag and make square. As you see here, the square is not so clear, so I need to go to display properties and I'm going to make it double. Let click double here, all the square is going to appear. Now, I do the same two times. At this time, I made a substract operation guys. This is a technique, I use it a lot to substract some shapes in my object. This is also you can use it in the Bollin operation, which called substract If you work with three D software before you know what I'm talking about. We have boluin here also in Zbrush. I don't use it a lot because I like to use these two methods more fast for me. Now, I'm going to show you something else we're going to use called Alpha. We're going to choose a brush called layer. Then we should change the alpha of the brush. If you have some alpha, you can use them or you can use the ones you have here in Zbrush already. When you work on with Z brush, we're going to start collecting your own alpha or you do them alone because there is a course how you make your own alpha also to use them in hard surface or organic or whatever you like. I'm going to click Import and I'll bring some of my alpha here. Search for the folder is the folder. Here I have many alpha I work with. I'm going to put the Alpha we're going to use in this project for you in the class material source material, so you can use them and you can follow well along this class. Let's example choose one of these. I'm going to choose this one accent. Okay. As you see here, I have the shape. It's all the alpha are in black and white guy. White means one and black means zero. When you drag the alpha over your object, the black area is going to be substracted and the white area is going to be added. As you see here exactly. Now when I click Alt, the shape is going to be more substrated in my object. You can mix a lot between D and substract, you hold out. It's up to your imagination and your ideas. Brush, you can create them by your own or you can purchase them. You have some pieces of hard surface objects or even organic also. Also, you can have pieces like screw, some engine pieces, whatever use in the hard surface work. With the practice guys, I advise you always to build your own EMM brushes. Make hard surface pieces in any three D software. Then you create it as EMM brush and you use it in your project in the brush. That's cut you more time and make your workflow more fast. Example, if we need to add some screws to our project, we're going to use brush here just a drug and you place them wherever you want. Sure. Everything you add, it should be explainable, guys. You don't put it in the air. If you have a panel, show the panel, you got to have some screws in the corners. Okay. Okay, there it is, guys. Most of the tool we're going to use in our project. Now we're going to start working on our robots. Okay. 10. Avoid Hard Surface Mistakes: Hello guys. So before we start to blacken it on, you form something so you need to avoid why is cotton or other enhancers? Although it's not a program while working in concept art for the washing technique, because you can fix all in Photoshop, but it's a good habit to do two things very correctly. First, the edges. Be always careful from the Blumberg edges in hard surface. Always the edges should be sharp and straight. We are working with mechanical things. Always remember that. Also be careful of the defects in the corner of your model. In modeling for production example, you got to do the topology from the beginning in any 3D software Blender, Maya, or wherever. But in concept art technique we will do, we can pass with them. Surface different. When you Scott or a model, you should be careful about your surface. Straight and no bumpiness because the eye can see are released. But in rendering window light scattered on the surface, it will show all the defects very clean and your surface over should be smooth and straight. I will show you how to do that. 11. Prepare Robot Head And Arms: Hello, guys. Now we're going to start working on our project. We open Z brush and we open the light box here and search for the two. Here we have this guy. This is a mesh for my work. If you have your own base mesh, you can also use them. You can purchase these ones to use them for any project you're working on. Here we're going to use the one of Z brush. First thing I'm going to do is go to layers because this base mesh here has many layers. I'm going to change the opening of of the arms. Now, with the mask tool, I'm going to start cutting some shapes. I'm going to cut the head. Before you do this, you're going to click back all the layers. Now you can click and split mask point. Now you have only the head alone. Now we're going to go to resolution and going to dynam head. I'm going to give it more resolution to work with. I'm going to click active point here and we have add more resolution. Always keep an eye on the active point on and the total point. We want to see how much polygon and more can eat because I don't want to reach millions of polygon that's going to be so heavy for the program to work. Now I'm going to cut hand in the chest split and musket point. You find it in the S two. Dy mesh again. You go to the geometry. You click here it dynam find dynamic guys ways you'll find it there. I'm using a pop up menu. That's why I mean I don't go to the sub Tool or the geometry there, but you know exactly where you find them. Here with a mask pen, I'm going to try to mask the hands. I want to see very well here. Okay. After you mask the hand. You're going to click again, split and Musket point. Remember, split and Musket point, you find it in sub Tool under split. Then you dine mesh. You mesh so the chest. Anyway, I'm not going to use the chest, so it's not necessary. I'm going to cut and then I see maybe I use, but let's see the thing I need here in my work is the hand going to need the hand and I'm going to need the head. That's the only thing I'm going to show my image. Now with the clip curve, I'm trying to cut some pieces of the head there. We are sculpting actor guys. This is what we are doing, but just a digital, not like the traditional ones. If we're working with tradition, we're doing some knifes and stuff, but this is more fast and easy because this is digital. Now with the clap build, I'm trying to add some shapes. I'm going to add some shapes here and there. The I'm just trying to give it another shape, understand instead of a human head. I'm going to try to make it different form. That's why I and then I smooth when you hold shift guys and d over you smooth, as you see here, is smooth in my object, and then I add smooth d Now I'm going to use this brush which is called H polish. This bruh, we use it a lot in surface work. I'm going to make it more flat, but also it look more hard surface look as you see here. I'm trying to make the head more robotic. I put that in the face from the front, I shapes, then I subtract some shapes. Here I'm using the clay build up again. I'm trying to change some stuff as you see. Now, I smooth smooth smooth. We're going to use now the clip curve to cut some pieces. First, I want to use the move to change the form of the head, S with the move you drag No problem, guys, if you do mistakes or whatever. I mean, come back again and change what you did. Instead of, as you see there, we have the small lines. That's the history. We back one step or two or whatever you want. We can even start from the beginning. No problem. If you see yourself, you are going, very wrong direction. Here, I cut pieces front of the face to make kind of a geometric I see some smooth thing. This is just the rough blocking as the beginning blocking the head. That's it, we prepared our head, and we are ready to keep on. 12. Sculpting The Robot Head: She goes, we're going to start to block in our head. Now, as you see, there are some different things. A little bit here. Just use the clip curve to cut little bit from the chain and a card also from the neck. Just make it I'm gonna show you exactly what I did. I made like this here and then also iconic here to make it look more geometrical. Don't worry about my zipper. Note look differently. We are wondering why my ZBrush look different, but it's just I like to change the interface and the style to be more comfortable for me to work. Now as you see, this is how a cat, but we just got a little bit like I did at the beginning here, guys. Okay, I just saw now we're going to start baking panels and cut up to you and your imagination. I'm just showing you the tools and I will show you the workflow, but you can do the same project and doing, or even you start work on your own project. I advice you to work on your own project because that's teach you more how do the same work flow? So here I go to the stroke and I change the lazy mouse 95 and the steps also to seven. That way I can draw a straight line without any problem if you hold Shift in photoshop when you are drawing a straight line. Okay, here, I'm trying to make a panel on the head. This is the idea of getting my mind well, I'm just working guys, I'm just Colton and working in I see where he is gonna go. Now. I'm going to use the mask tool to cut this panel. Okay? I want to have weak panel on the head here. So I'm going to move the mask, ban, draw the mask here. And draw with holding command and altogether, okay. With command you draw without anchorman, do Andhra. Okay, So I make some mistake while it's good to have the history. So you can back, I click now split a musket point and I have two different pieces. They see the head now a clue because I cut the shape. No, the clip curve, I'm going to cut this part. C. Now. We're going to need to DynaMesh these, say, I give it some lotion, like maybe 1200, and then I'll DynaMesh here. Now. When you DynaMesh it close all the holes you have, right? Okay. So here I'm going to try to clean it with a curve. I'm going to follow the, the edges here to make them look more straight. Made a mistake. When it doesn't work, they could curve for you guys. You just changed the direction and stayed from the bottom. You go from the start, from the app. Now, it worked. Now as you see here, now it's clean. I'm going to choose the H polish. Want to try to clean it a little bit, make it flat. Okay. So that's it. We flatten the surface. Autosave is always well, it's annoying little bit autosave guys, but sometimes help you on that because if it crashed, we're going to start from the beginning. But as you have the autosave, you're gonna access to a project where you start to run the auto, say. So I don't prefer to close it. Okay guys, because saved me many times. Now I want to try to clean the panel. So I'm going to go to geometry and to the panel loop. While loop. The Polish and the bevel put them always in 0, and then I choose some thickness number 0.40. I think I'm going to let this okay. The parents should not be more thicker than this. Now, I want to clean it. So I'm going to use our usual the curve click. I want to reshape or the clip curve guys, two times on our n is going to make you follow the shape of the panel. Okay, now I want to DynaMesh this little bit. Now I'm going to need some rose lotion. Okay, great. What I need to clean it from the front to play. So first, before I start to clean it, I'm going to shut the symmetry by clicking on x and then Command and Shift. I'm going to choose these. Indiana, the hearing. I have only the half of the pen. Now I can walk without problem. Because if I let the symmetry or let all the panel is gonna make me so much defect is going to mirror the same, undo it on the other side. Effect guy as well. This is the way to solve that problem. Like this. I cut only the half and then mirror it late. I hope everything is clear by now guys anymore understanding this workflow, It's not complicated, it's very easy. I'm not using so much the sophisticated things here are tools to fix the verge, remove brush. I'm going to put it in small numbers and try to reshape. See, now look better. I go to the sub tool and I show the head. Now I'm going to try to mirror the panel. Go to mirror world. Well, we'll have some problem here. We have this opening in the head. I'm going to DynaMesh see how much is going to close with 11 at the animation, then I can show you how to fix that. Okay, I think I'll close it, steal a little bit, open up the bone and we're going to fix it later. No problem. Hey, now with a smooth I'm trying to smooth the surface. Now with the Damian standard. Put it on a lazy mouse. I'm going to draw some panel. Okay, let's see here. Each artist has his own technique, guys, this is the technical use most of the time when I'm trying to try to work on 3D photo question technique. And I use this technique when I tried to blow up only one picture, two different style you can, you can do and not working in ZBrush, this is one of the easiest workflow you can use. There are different ways of approaching your project when you are working in gaming. In this tree, you can make sketching by just walk in this workflow for use for the washing technique, dry painting, a bit of a 3D in ZBrush. But if you want to work in ready production design got our different workflow doing that. But to extract piece-by-piece, you walk and then you go to merge them. Then you need to take to another 3D software to work on the topology. And you got to read the pathology, all the product from the beginning. Then also you need to work on the uv maps because you're going to read it and you're going to animate it. So you need to have clean topology guys. This is for concept. We can go along with this. No problem. I mean, you can bark, doesn't decimate. I'm going to show you how to disseminate object and all that. I'm going to explain you everything very well, guys. Okay. So here as you see, we are still cut and some panels would have Damien standard brush on. Most fast and easy way of working guy. There are other way of working on your visit. Each each piece alone, even the schools and all that. You're going to have many, many, many, many sub tools. Then each store you're gonna give it a material. But what we do on here is the easiest workflow to make a concept art. You guys. So bear with me, I'm follow the workflow very well. So as you see here, I'm going to mask the neck because I wanted to put it on a different sub two. In this field guides, you got to be always fast or working okay guys, because there's a lot of pressure and there is time and time cost money. And you've got always to find the easiest workflow for you to do the job asking you to do. Okay? So here I'm showing you the fastest way of making a concept art. This is we call 3D photo bashing technique. See here with the mask path and I'm going to mask, this time, I'm going to mask the jaw here because I wanted them separate. And C, Thus the opening and the head, we're going to fix it later. No problem. Go to the sub two and split unmask. Dynamesh. Okay? You see here now we have it separated. Now. I won't also DynaMesh this part because we split part. You let it open. Okay? So you need to DynaMesh to close. Now with a curve. I'm trying to fix the shape. As I told you guys to follow the edges, you need to click double times on the Alt to make you a corner and then you follow the edges. I'm going to use the move tool to pull the shape here, close the gap. I'm going to go to the move tool as you see, when you are doing this workflow guys is not a problem that there are some things not perfect because later you're going to paint on Photoshop guys, okay, so you fix everything. You need the try to avoid, make much mistakes when you are working here because now we are supposedly working fast workflow. The client asked us supposedly to make one image concept art and we need to deliver it in few hours. Here is the easiest way and the fastest and give you very good results. You're going to see what I'm talking about. Okay? So here I'm shaking the head. Now I need to fix these. Maybe I Paul little bit with the brush. As you see when you click on X guys, you make symmetry open. When you click X again, it close. See, now I'm working with the same. Now with Command and click in the space to make DynaMesh. You should put it on Word DynaMesh, first guys, then you're going to click every time you want in the space and it's going to DynaMesh. I'm going to use MM brush to close the gap. I'm going to add object right here to close this. Autosave again. When I click on Command and drag the arrow, I'm just making a duplicate. Okay. That's how you duplicate the DynaMesh. And then with the clip curve, I cut the shape. They use the smooth brush. Here. I'm going to cut this out. So when you click on Alt one time guys, it makes you rounded edge. When you click double times, it makes you a sharp corner. Okay? Remember that always, and this is how you use the clip curve. Okay? So now I'm trying to clean this roommate at closing the gap. So the Move tool. Now with the H Polish, I'm trying to flatten the head flattened also, these parts here need to make it look more of a hard surface. So that's why we use the clip curve a lot to cut some sharp edges. You see? I'm trying to flatten the H polish. I think he, this workflow is not complicated guys and you can follow and understand it very well. If you don't understand, always stop the video and see it again and work in the same time. Use the tools in the same times. So that way a new practice, more of the tools and you understand how to work with them. I prefer your work on your own design guys combine video by video, you'll follow all I do and you apply it on your own project. Okay? This way you're going to learn more faster. See, I'm going to cut it. Got here some panels. This is the primary shaped Wordsworth later maybe even I can change everything. I can go another direction. I don't know, I'm just seeing what this is going to give me and I'm looking also for the happy accidents. Happy accident always happen. Maybe you are cut in some shape and it gives you another shape more interesting, okay, just be open for everything, but try to not see it. We're going to keep on in the next one. And the next one, we're going to try to add some kickback pieces for our head. Okay, I will show you all in the next one. 13. Work With Kitbash: Hello again, guys. Now we're going to add some kit bash pieces to our head. As you see here, I have some pieces. I already cloaded. This is my own liy. As I told you you can build your own livery, or you can purchase the brush. I have a big livery as you see here. I'm going to put you the pieces we're going to use for our head so you can follow the course, y? So as you see here, I'm searching for a piece. I want to put it in this side, this gap here to look like engine. So I'm going to put this one here. As you see, I'm adding this piece as an engine for the head, and I'm going to put it inside the gap right here. I'm using the move tool to place it. You know already how to add pieces. You just click on the piece you want to add and you just a drug where you're going to place it in your object. Now as you see, I'm trying to place it. Well, I'm just trying to place it, rotate, and move. This is what came to my mind to do, guys, but you can go different ways. You can do other things. But this is what I'm thinking to do to the head I'm working on. Now, I will try to add more pieces. The best thing when you work in robotic design guys is always to have keep bash. You go do first bash pieces, you make them in any other three D software, you prepare them, and then you work with them in your brush project. Because if you're going to do these pieces right now, it's going to take a lot of time guys, you've got to make delivery use it most of the time in your work, like example, screws, Sure. You can make many screws and then you can use them in each project. First of all, I need to split and Musket point to make this piece I head in a different sub. I don't want them to be merged already. I want it to be each one of them in a different sbt. Each time you drag a piece, you can click on split and MasketPoint and that way, you have each piece alone. If not, it's going to be already merged with the head. As you see, I'm going to place these two pistols. I want to put them on the sides inside sure I'm trying to zoom in here. Okay. So example here I'm putting the piston always make the head function the work like article for any robotic design guys, Okay? Always prepare your livery or your purchases, it's up to you guys. There are many artists they sell their own livery, you can purchase from them, or you build your own. It's up to you. It's your design, guys, do as you want. I mean, add any pieces you won't see what goes well with your design and then add it. But I prefer everything you add more justified, guys. It doesn't look just put it there, should look more justified it belonged to the design, not just add it wherever. It's more better if it has something with a functional in the design. Okay. The piston you find them everywhere in any robotic design or hard surfed design, they are so important for the functional of the design. Now I'm going to add these two cylinder right here. I want to add the bottom of the head. I thought this is will add more to the design. That's why I put them on the bottom because I wanted to look more like kind of animal and at the same time, also humanoid. So these pieces give it like ears for me, animal ears or something like that, but it's nice for design, I think. The design is up to you, it's your own, as you want, guys, you can add whatever you like for your design. You can add any pieces you want. Okay. Each artist do on the robots, always has his own ideas about how the robots should look. I don't want to give the robot defined eyes because they don't look so much robotic. For me, they look like a cartoon when you add to them some yes or something. If you're normally in the real life, robots work with the sensors. They don't work with yes. Most of them, they work with the sensors or small lenses or pieces before you find them maybe in the head, you find them in the front face, wherever. Now, here, I'm adding more pistons for the neck. I want to add two in the front and two in the back. This is for the functionality of the head where you help the head to turn and to move, okay? So I'm trying to place them very well. Now, I want to add also some cables. So I want to add some lables right here. First of all, I always told you guys, you need to separate keep bash pieces each one, you put them alone. I'm going to add these two cables in front. Sure. Is robotic design should have cable small cables and be cables. Either they're going to be obvious to the one who see or they're going to be from inside. It's up to you how you want to show in your design. But this is make it more robotic. When you add the pistons, the cables, each pieces they add to the design. They don't mess the design, guys. I don't want to add more bash pieces to my design. I'm trying to add the less I can, guys. Now here in the front of the jaw, I want to add this piece. Well, this is look nice to put it this way, but anyway, I think I'm going to place it other way. I like how I add it. I'm going to split and then I'm going to try to see what I'm going to do, I think. I'm going to cut a little bit of it. This time with the command and shift, I cut some piece and the piece didn't cut because it's hidden guy. I need to delete if I see, this is what I want, I can go and delete iden. If not, I let it and then I can bring it back whenever I want. When I click in the space, command and shift again and appear that green square. Right now, I'm going to delete the hidden. Delete hidden, you find it in geometry, modified topology, guys. Still not so clear, but later we do advance of the design guys, you're going to see where we are going exactly. Okay? This is enough bon, I think for the design. I don't want to add more. I don't want to add more complicated things to my design because already we're going to do photo in photoshop. So we keep on. 14. Extract The Robot Head Pieces: Welcome again, guys. Now we're going to keep on working after we put some bash pieces to our head. Now we're going to keep on blocking the shape. I'm going to use the demon standard here. I'm going to choose the lazy mouse radius to 59 and the lazy steps here to seven. I use the lazy mouse or loud guys because it makes you straight shapes as you see right here. You can make the cuts of the panel big or small up to you guys. When you're working on your design, you decide. The symmetry was off right here, but I just click mirror and wheel is going to mirror what you did in the side to the other side. Now, I'm going to use the mask tool. Try to extract some pieces, okay? I'm going to draw the shape of the mask I want. Now, I got to undo some also stuff right here. I see this is this part right here. This piece, I want to extract it to be a different piece. So I'm going to draw very well, see the shape. I think I'm going to use split and Musket point instead of extract that. Then I'm going to dye. This piece I extracted to be a different piece. Now this part also need to dye to make it because it has a gap open, so Okay right here, I'm going to ext this piece. You know, I'm going to kick and split must part. I don't like to split this. I'm going to extract this piece, guys, okay? So I'm going to back in the history, and then I'm going to go to extract. Extract. As I told you, you find it in the sub in the bar. You choose the thickness you want and then you click Accept. Now I have this piece on a different sub To. Okay, so I'm going to clean it now with the clip curve. Make the edges very clean and straight. Okay. Clean right here. Okay. Okay. Going to clean this part. I keep working with the symmetry guys if you want you can also work on only one side and then you mirror. So we're going to keep on cleaning the piece right here, guys, with the clip curve. Then you can add also some resolution with dynam if you want. You can add some resolution with dynam straighten the jaw, I'm going to see how it looks. Yes, it's more cleaner. For me, guys, when you do a robots, it should always have some kind of a little gaps between the design because it's a robot, it's not organic, it's not human, it's not a creature. I mean, it always it's made of panels, it's made of pieces, so it should be a little bit of gaps in the design, okay? Okay. So right here, I'm going to clean with the H polish. I'm going to flatten it. Okay. Flatten this part right here. Guys, when you click out and you draw with the H polis. You make shapes. It makes you add flatten shapes. I don't know, maybe circles, maybe squares. It's how you draw. Right here, example, I made these two circles in the end of the jaw. You see later, what we're going to add there, maybe. So I keep adding some panels. Now, the move tool, I want to put it in the exact shape. This is to fix. Guys right here. Polish. With the alta as I told you, you can make shapes there. H pulse is a great brush guys to work in hard surface. I think is the most important brush. With the clip curve and some other demi standard, you can make nice design surface designs. Here is little part, and then with a move tool to pull some shape there. Okay. See the design, I keep rotate around the design to see how it looks and then see if I can change if I'm going to change or let it the same. Now here's going to draw the mask to some other shape, and then I'm going to try to extract it. Okay. Okay. Maybe it's going to be a piece of a metal right here because when you are working guys, you should always think about the materials, about the functionality, maybe about where it's going to be where you're going to have some scratches, where you're going to have some dirt maybe where the plastic is going to be, where the metal, you may think also about the colors you're going to use for your pieces. Now here, I draw a little bit of mask and I'm going to pull some shapes. I'm going to do this. We move to I'm going to pull some shapes. I keep clicking on the lock guys. I do when you click on it to open, you can fix the move tool direction. Then when you click again again, you close it. Lock and unlock when you want to fix the move to direction. Now I'm going to use a clip to to fix shape. Okay. I'm going to take now this piece solo because I can't fix it very well alone. I'm going to add some dynamic resolution to the piece. Then going to try to use the clip curve to fix it right here. Okay. Be careful when you use the clip curve guys because you don't want to cut more than you should cut from your piece. A try to use it very carefully now. You just cut, use the smooth to dynamis and smooth dynamis and smooth to fix the shape. As you see here, I'm trying to cut more. I think I cut more than I should cut, but let's see when I see it on the design. I'm going to make mistakes. With the move tool now, I'm going to try to fix the shape more. Okay. I use the move tool to some shapes and see how is going to give me. This is also some of the technique I use. Then with the clip curve, I make it look more straight and sharp. Because this is very important. When you work in work guys, you need to work with the tools you are comfortable with because that doesn't make you problems, focus on how to use the tools. You need to focus on how to make the design. Matter what tools you are using. Because the important for us is the design, not the tools. You don't need to search for some sophisticated tools to use and not necessary if it's going to give you the same results, guys. You just use the thing you are comfortable of working with. 15. Design The Screw Holes: Guys, we keep on with our design. Here we'll reach up to now, some panels cut, we extracted some pieces, we add some keep bash, we make the head panel up. Now, maybe we're going to add some I'm thinking now of adding a little bit of more pieces to my head because I can't example cylindrical shapes. I should put some circular shapes right here to see like there is a hole where they are inserted. To make it look like I have a hole there, I'm going to add some cylindrical shape. Then I'm going to cylindrical circle here. Maybe I'm going to choose this one more nice. I'm going to add it here. Yes, I think this is much better. I let the symmetrical here work in and then try to pieces. Try to add them very correctly. So As you see guys in a few times, we already blocked some head. Even with this, I can stop right here and I render and then I start photobon but I prefer I add details as much as I can also I think of the photobon I'm going to add more of the photobon it's up to you. You can stay adding details and work and on your design. We can even work all the day on the design, guys and we add more details and more layers of details. But I prefer to do the half work here and the half in the photobon So I add how detail here is and how in the photoga. I don't want to go further. If not, we're going to take a lot of time doing this. Now I'm going to go and split a mask point to add these pieces on different sub too. Now I want to work on the neck also because I know it has different colors. I want to make only one color. With Command W, I make it only one color. Because it was different groups. The neck was in a different groups, and it means you can cut it in a different pieces. But I want it only in one group guys. That's why I click Command W and put it on one color, which is one group. Colors in brush define the groups you have in your object, guys. I hope you are familiar with this. Now I cut the neck in the sides and I made it more hard surface look because before it would look more like organic. As you see, I'm going to cut even this because I don't need it. As you remember, our picture guys, we just need the head. We don't need shoulders and more than that because the head, we're going to add it to our image. You're going to see later when we are working already, guys? Try working on. You don't concept art guys always try to adapt your workflow to the time you have. If I have more time, maybe I approach the design other ways. Maybe I started from the scratch instead of using the photo barge technique. But it's up to you guys, how are comfortable approaching your project guys? How much time you have to work on that project? Because in the industry in general, they always rush you to do the work. They always want you to block some things and then you see with them. Then you keep on if they give you the ok to keep on the same way, you keep on if not, you change even the design. You don't finish the design all and then you talk with the client. You just make some rough sketches, example, and then you show for them. Then maybe you block something so fast and then you show and then you discuss with them. Now, as you see here, I'm going trying to add some more bash pieces. A few things. I'm not trying to go so much here. But this is cut me a lot of time, guys. I make me win time and blow some designs so fast. As you see, I add a little bit tunnel on the neck here. Maybe because these panels maybe have some little cables under some kind of motor or something there for the neck to work. So I'm going to draw the lazy mouse the same we did before with Damian stander and trying to add some panel cuts here. I'm going to do straight line here. Draw here also. Then I'm going to use add cuts on the neck right here. As you see here, we are working on the neck guys and at the same time we are working on the neck. We're trying to add some cuts, and then maybe we change. We try to add some details to our neck to look more robotic. I'm going to draw the lines more deeper. Shape here. Sometimes I draw things here and some details, and maybe when I work in photo bashing I'm going to change those details. Maybe I led those detail and do another thing, guys. Guys, as I told you, I had some details here, but when I work on design and using the photo bash technique, for me, it's like you work on a movie and then the director shoot many things and maybe then in the montage is going to cut lot of scenes in the movies and try to go another direction because as they say in the film and history, The editing is the second script. As we do with the design here, maybe I do some details here in the Zbrush, but then when I go to the photobhon technique and photoshop, maybe I change some details, I edit in ZBrush and spent many time working on that. When I work with photoahion maybe I change it to something else come to my mind when I'm working in photoshop. What we're going to do here is not necessarily what is going to be the last thing we are doing. Well, not necessarily. I work so much on the back and the side of the neck and the back of the neck guys because as you saw in our image, the face is going to be a little bit of the profile, but the front is the most important is going to look in the picture, guys? Because we're not going to block many images here, we're going to do one image. So I'm going to draw some panels here. Then I clean them. No problem. I just a draw and then I clean while I'm working or even on photoshop. Try to be more cleaner when you are working in the brush because photoshop is going to make you win more time working on photo bushing then working on refining. I already have some ideas come to my mind details to add to my design right now, guys, but I'm not going to add a lot of details in Zbrush because this is just a sketching and I'm going to take more time to go to work on the small details in Zbrush. Here I'm going to do the most important details, and then in so I add the rest. Necessary because I'm not going to show the back anyway, but I just add some details on the back anyway. So as you see here. Keep turn it and see what we got up to now. Sure still some works here. I want to add also details to the panel. So I'm going to see how to do that later, what I'm going to add. I'm going to go to the layer. And then I'm going to put some screw alpha and then I want to add some screws to the panel, Okay? I Here, I need to add more resolution to my design to add the schools guys. I'm going to see what I'm going to do. First, I'm going to use this maybe. The intensity. I add more. Yes, this is better. I'm going to add holes for scores there. I uploaded the scalp and decided to go other direction, guys. You always think what goes better with your design. Here I added some hole for the screw Okay. I'm going to keep adding some holes for right there right here. If you want to add some screws alpha guys, you can just divide or higher the resolution, and then you can add that. No problem. I don't want to add so much here because I don't think it should make a so many screws in the design. I add there. You can use alpha to add screws, but for me, I'm going to add the holes and then add the screws as the M broach guy. I'm going to add out on the jaw right here. Okay. I think I should add in at the top also of the panel. Add there. I should on there also. That's it. Now, we're going to keep on in the next class glass, y? 16. Design The Head Panels: So here, guys, after we add some holes for the screws. Now we're going to keep on adding more details to our head, okay? I want to add more details to the big panel of the head. I'm going to search what I'm going to do there. As you see here, the design, it's already started looking a little bit. Now I'm going to use the alpha to add some details to the big panel of the head. In this alpha shape, I have it in my library, and I'm going to try to use but before. I want to change it a little bit. I'm going to draw the mask to some shape. I make straight line. When you use the mask guys and then you add the Alpha, it can give you a different shape. That's what I'm trying to do. Also, I want to mask the back because I don't want to surpass that area. Now I'm going to try to add the alpha shape, before I want also to some of the mask here. The mask is not straight, so I need to fix that. I'm going to fix that. Now it's better. I want to add another shape square like this example guard. Okay. Now, I had the shape. As you see guys, the shape. I think it's nice. It gives it more personality for me, I had the shape also over the first shape, but this time, I hold up to make some obstruction inside of the shape. Now I will dine in mesh. Now I'm going to try to clean shape of the head a little bit. So you see the shape we add it right now look a little bit messy and the edges, and I need to clean it with maybe the smooth brush. Pull shift and then you draw. W shift We're going to use V H polish to fix the shape. There was a mistake from the masking guys, you always be careful when you drop the mask. Do not let unmasked. Example, guys, I can add some mechanical piece in the head over. It's up to you guys. Just think well of what you are design, if you want to add more details there. I think for me, it's not necessary because I'm making one image and I'm showing only one part of the head. It's not going to show what is inside the head from up. I'm going to try to flatten also the shape right here. To fix. Be careful, even when you're using also the H polish guys because it could make a mess like this. Then you need to fix the shape. I'm trying to keep on shape and fix on the shape. Okay. He made so I got to fix it again because I'm not seeing well. I got to fix it from the up also. Okay. It's not necessary to keep on because, as I told you, we're not going to show that guys way, but if you're going to show that part, you got to be careful and clean it very, very well before you keep on. Okay. This is a sculpting guy, so I remember to use the brush low to fix to make the shape look more sharp. Now, I want to cut the panels I cut some shape demion tender and then I that. Okay. As you see here, we cut the panels and then we try to clean it and make it look more flat. So use the H polish again. Every time you find time to work on your own project, guys do that and make your portfolio because that's very important. I keep each class I teach, I always keep telling the artists to do this because that's very important to build your own portfolio and you put all your work there because then the client gets your work you do, and then he knows if you are adaptable for the things he's looking for or not. All of them, they ask you even to send your link for your portfolio to what you work before. This very important for you guys to make some portfolio. Keep on cleaning the panels up So you want to clean more this part also. Okay. Trying to give it a hard edged. Don't scare at all guys to pull new shapes in your design even after you refine it very well because maybe you discover something better than you did and give you more nice look. Always be open to try new things in your design and make it look more sophisticated and always try to think out of the box when you are doing some things, try to approach other way. Try to think of the detail so more guys because that's what makes the design better. So we keep on. Now we're going to block more shapes right here. Okay. So now we're going to refine more the panels. I made the cut between the panels big and deep. That's the style I work with most of the time, but I'd like to have some gaps between my panels. Now, I will fine so the back of the head. Use the H polish to clean. I had cyc shape here with the H polish clicking on the out. And now, I'm going to add maybe another one another shape right here. You just click on the Alt and then with the strokes you make, I'll give you the shape you may like. Now, here after adding the shapes, I'm going to use the demon stander to make look like a panel. So I'm going to draw them with a demon stander using a smaller size brush, the autosave here we need to fix this because it doesn't look. I'm going to change here. Okay. Well, never mind because later I mirror it and it's going to appear on the other side of. If there is something I need to fix, I can use the mirror to make both sides look so identical without any mistake. You don't scare one side doesn't look so much like the other one. You just mirror to the other side, and going to fix your design. Always use the mirror and we tool. It's very important and can help you fix many problems, and also can help you win time when you are working on a project. You work on one side and then you mirror to the other side and just that. We keep on in the next plus guys. 17. Learn Working With Alpha: We keep on our work guys. Now we're going to start working on the details. We're going to add some screws with the EMM brush. As you see we made holes for the screws and then we're going to add them in all the holes we made. You just drag and put the screws in the holes, and then you go to the sub Tool under split option and you put split and Musket point. As you see here, we keep on adding everywhere. If you don't want to add all the screws in the brush guys, you can add them also in photoshop with the photo brushing technique, we're going to see how we do that. As you see here, we have many parts where we led for there on the neck and the jaw on the back head, right here. As you see, we have many choices of the screws guys you can choose from so you can put the same one I'm putting here or put another one, y A lways you will have a sco because that explains how it's being hold there, okay? Yes as well. Remember, we are working on a mechanical things, should always explain what we are doing. We the head good searching here in the bash. So I decided to add some shapes here with using the primitive shapes that come with brush. I just wanted to add some details for the neck because I see the neck little bit empty and I need to add a little bit of details there. Even though I'm not going to show guys in the picture is not going to be shown because I need to show only the front part, okay. Here, I'm going to add also two more boxes. I thought it's going to be a nice detail to add there kind of I know boxes where there is some of wires or something inside, little wires. Okay? Now I'm going to use the alpha to start adding some shapes. I'm going to use this alpha here. It's like a porque where you can add some gaps inside the design and the panels or whatever you like. I'm going to dy mesh more because I need more resolution for my CT to appear better. Maybe here I'm going to rotate it and I put it vertical. You see here, think it's nice. You try your alpha shapes on your design and then see if it goes well with the design. If not, just get back with the history and change the shape or even smooth it. That's how you erase, I add cut right here. A think I'm going to add something here, maybe. I'm still thinking. I don't have any idea what I'm going to do, guys. I just try and things then I see if it look nice, if not, I'm going to change the other thing. Now, with the mask pen, I'm going to add some lines on the sides of the panel. But before that, I want to draw some straight lines while holding the command for the mask. I go to the stroke and then I'm going to activate the lazy mouse. Now as you see, we draw the lines on the sides. Then I click with the command on the space to invert the skin. Now with the move tool, I'm going to try to extrude some shapes. There you go. I think it's nice. I totally have no idea, guys what I'm doing here. I mean, I don't have sketches before I start my design. Usually, maybe I draw some rough sketches and then I start from there, but with this project, we didn't do anything. We just go with the flow. We just trying things and then see if they goes well or not like you see here, I made some shapes and then I can do that. Try to do the same guys. Don't be scared at all. Blocking the design is an experiment. You can find some nice shapes you can lead for your design or maybe you do them, do other things, go other direction, pull another shapes, or you change even completely all the shapes, okay? It's all about experiment and trying things and see what results you get from that. Use Alpha k bash. You can use the masking tool like I'm doing right here. I'm trying to mask some part in the neck and make some shape. Maybe here instead of extrude, I'm going to push inside to make a gap in the neck with the alpha tool, maybe some shapes here. I want some bigger shapes. As much as you keep drag guys, you get bigger shape. Okay. Right now, it happened happy accident because I forgot to mask the shape from behind normally do not pass to the back. But I let it and I see I have some interesting shape at the back. So I'm going to let it like that. No, I'm going to mask again some shapes here, maybe I try with the alpha or I go another direction. As you see When you work on the project, guys, try to do some rough sketches before you start like drafts, guys, maybe different shapes or some ideas you get in your mind. You put them on a notes or something and then you can start working on your project. We don't do the same as we did right now. We just started from the scratch without even making some sketches. This is my way of working sometimes, but I advise you, you better do your first sketches. Now, as you see, I just must get some part right here, and I add this accent Alpha and try to add some different shape on the sides of the panel. Okay. As you see here, I like the shape we just did. Now, it's the same alpha to add some shapes right here. Maybe here. As I told you guys, I'm trying to experiment with the design. I drag it as it is, or I hold I'll to make as a gap. I enjoy light working on robotic design because there is a lot of area where I can experiment where I can try new shapes, where I can go wide with my ideas. Unusually, my work all about science fiction guys because that's my passion since I was kid. I like the movie talking about science fiction like Carminator Chapin many, many movies I watched during childhood guys. I watched almost all the movies that have been released in the genre of science fiction. I think this was kind of a background that helped me to go wide with my imagination, working in some designs or work on some environment or whatever. I don't know if you watched Space guys, but that was one of my favorite movie I ever watched since I was a kid. Also, a blade runner was very awesome movie. I mean, that when I start admiring more much, the science fiction work. And I decide to become a concept artist and designer in the field of film and gaming. Here we keep on it in some details with the alpha. Nothing sophisticated right here. As you see. As I told you guys, whatever you watch, it's always helpful for you if you want to become a creature designer or something, you can guys try watch movies, play some games, include creature designs. Your mind is going to pick up alone all the stuff you are watching and all the stuff you are playing with Always going up your imagination to do some designs. We are using another alpha right here. All the alpha I'm using in design gas I'm going to let them for you to download for the source material of the class. Okay. I'm not trying to add so much details because I know I'm going to add some more details when I'm work on photoshop. That's why I may see things and change my mind. May I add a little bit here, but I don't go so much on the detail because later on the photoshop, we're going to add everything we want. I have this pattern. I like to use it a lot, so I'm going to use on the panel and also on the job. A you see. I don't think I'm going to add more and more details, guys. I think this is enough for me to start. Take a look and see whether I can add or not. Well, we keep on next class, okay? 18. Export The Head Robot: Here we are again guys, want to see what we can before we export the redesign is going to be the glass, this face. Here as you see, I just made the shape from the beginning, but this time I use the mask tool. Now here also I may make some shapes and then extract it. I'm going to use the mask pattern. Draft some shape right here. So now I'm going to extract the shape and thickness right here and then extract the shape. Maybe 006. Extract and except. Now we've got to refine the shape we just made. I don't like it. I'm trying to cut it in the middle, but I don't like it like this because it looks like eyebrows and I don't want that look in my designs. So I'm gonna try again a different clip curve to the symmetry in the Command and Shift. I got the half and half, I delete hidden. Now we have only the South we're going to work on. First of all, I need to DynaMesh it. Now. I'm going to use the clip curve. Clean it. Still. Use the smooth ER, the smooth brush, the H polish. I'm just refining the cleaner right numbers for the patients I extracted. We are using the same tools in the same techniques is not something new. So you're already going to practice all the tools I'm using right now. Because you're going to repeat them many times. You want to learn them very well. As you see here, I'm trying to clean. This is a concept art guys. I don't break my head a lot on working on the topology. Make it clean to pause example for the area that will not appear in my sketching adult work on it. So much. I just left it as it is because it's not going to appear in my sketching. Here we are not to make any 3D design here, we're just working with the 3D and then sketch it in Photoshop. So the main idea here is a sketch in Photoshop and using the photo brush technique thing. I'm trying to clean it with the move tool. Then certainly I mirror pool with the move to now go mirroring. And that's it. Now we're going to use the demon standard to clean the carts little bit. Not a problem guys, because this is a sketch and we're going to make all three design. You got to make everything clean. And if you're gonna make it already designed for production, you're going to need to take all the design you make in ZBrush to another 3D software anyway, to polish it from the beginning. Like the ZBrush design is gonna be just a guidelines for our design. I may use my Cinema 4D. You can use whatever you like. It's not a permanent. Just adding some lines with a demean standard. I may add some lines in energy for later nutty. Experiment with my design right now. Need to clean some stuff with the smooth brush, the age polish brush again to clean the panel right here. We are cleaning the surface, tried to be careful not to make some bumpiness because guys, when you are rendering and the light scatter over, the design is going to appear on the defects you have in your design. Almost dry. Be aware of that. Okay. Just clean there so we need to fix with fixed mesh integrity or close Hall. I keep on refining the LAH polish and brush. Keep refining. I think we're not going to add more details, guys, because we're going to add more why we're working in Photoshop. So for me this is, let say this is enough by now and I don't want to spend more time working in ZBrush. It took a lot of time because also we're going to need to block the arms. We do the same procedure for that. Okay? So H polish, as I told you, try to work on your own design better than do the same design I'm doing right here. You can do the same techniques on your own project. I want to see in the project student of this course were all designed, you made using the same techniques you learned from this course. I'm trying to do the demonstration. There are some cards. This is called the pinch brush, can help you close gaps or straight some edges. I don't use it much. Just to try and ear if it can give me some great results or something. Other than that, I don't lose it night sky. I don't need any way because when I'm painting the design in the Photoshop, I'm going to also fix on the bed edges. I'm going to use this pattern. Maybe in a place. I decided not to search another Alpha. I'm going to use the square. But before I want to divide it to get more resolution, I subdivided four times. Then I add my driver here, divide maybe the head right here. See you when I divided, it gives me more resolution, became more clean. But anyway, I want to go wide with the geometry polygon. Always keep an eye on the reactive point and the total point. Because you don't need to get like millions of polygons for your design is going to become so heavy for you to work with. So I'm trying to see if I can add more shapes or you may be with a mask tool. I add some shape and make some gaps or something. You make it a little bit smaller than ln. Inside. Nothing is going to appear in the design anyway, because they told us, they told you that only the front of the design, as we saw in our image of the soldier relook at the front ladies little bit of the profile appearing in the picture. So we've got to copy the same position for the head. As you see, we have 1,000,675 thousand polygon active. So we want to make that down before exporting. And I'm going to show you what tricks to do that. So first of all, I want to see all the sides of the design. Are we decimate, we need to merge. So I'm going to merge Visible. And then we have the head merchant one sub two dice. We turn it all the pieces of the head in one sub tool. You can decimate sure, each sub tool alone if you want to export it with a different set of tools. But I prefer to do this because as I told you, I'm just doing some sketch and I'm going to show you how to render only one sub tool to get all the materials inky shot. Okay. Now as you see, I clicked pre-process servant. After the ZBrush finish the process, we want to click this summit on. So first, need to merge visible when it on once a tool, then you go to the plugin and you go to decimate muster. You click on process. All after ZBrush, finish the process. You just go again and click decimate. Okay? And there you have smaller number now, 260 thousand active point from 1,000,675 thousand active point. Okay. Now I need to go to Export and exported as OBJ. Okay, So I'm gonna pull the file on the desktop. That's it guys. Now we're going to start working on our arms. We finished the process of a block in the head. Now we're going to work on blocking the arms, okay. 19. Sculpting The Robot Arms: So we are in ZBrush again and now we're going to work the hands. I decided to use the immune brush. And here it is, the brush come with ZBrush called ANN, the parts. So we're going to choose this male fore arm. I let the object right here, the star, because you need to have object to use VMM brush. So now I'm going to read and musket point, and then I'm going to delete the star. The star. Now we have arm. We're going to start working on this. Now we're going to start to blocking the robot are. So first thing, first thing I need to do is DynaMesh the hand and get more resolution. So I DynaMesh it on 1696. Now I'm going to use the H polish brush to sculpt the hand. First. I put it on a bigger size. So I'm going to use it also holding the Alt to add some shapes when flatten it in there. Because I wanted to have robotic design is not organic, so each orange is the best choice to add in, flatten the object. Okay? So as you see here, It's already given me the shape I want. I do the same for all the sizes. Wanted to geometric we're seeing or something. Nice. I prefer guys, you learn about the human anatomy. It's important also to work. It's very helpful if you are working for the robots also because that's helped you to know how human body function or the articles and all. And then you imitate that in your robotic design. So you will have idea how good your robot function or the Arctic we want to add for the knee, for the feeds and all that. And rotate and see what I'm going to add, what I'm going to flatten. As you see already have some kind of a geometric hand. You see guys Molina me guys, I am just working but I don't know what I'm doing exactly. And as I told you, always undoes, experiment with the design. I use the brushes and see what I am going to get. The only thing I'm sure here is that I need to separate the pieces of the hand on a different sub to the elbow in the shoulder and the arm. Here also going to separate this part. Undo some of the masking. Use command and out for that guys. You can use the Lasso masking tool. You can use the curve masking tool. You can use the mask pen tool wherever you like. Nope, we just need to mask the part that we want to separate it. So here I decided to use the mask pen tool. So we're still going to separate each part on the sub tool alone and work on each one of them solo. This is the fastest way of doing the things guys, because there are other ways of work of designing in ZBrush and could take much more time. So sometimes I need to speed up a little bit to the video because it's going to take like day is working on one design. Okay guys, so here you see the mask to try and to most companies. I already my skin. Some shapes come to my mind and I think when I start having idea how I'm going to lock my hand, they are missing. The idea. Come along while you are working on the design. Maybe already noted some ideas, but then when you are working on the designs, you go different way because that's how things goes. You need always to be opened up. As I always tell you this, you got to be always open up. You don't scare, you, don't desperate when you go on the road, you are thinking of going right, annotating the role you are thinking of, hidden. You just can go on the road and it's gonna be much better than what you already have in your mind. Just be always open for experiment in UID is and what your design. Okay, here I'm going to click Split, unmasking point and musket point. And I'm going to separate the elbow parts on different sub two. Now we have three different, now we have three different sub tools for the arm. We're going to walk through each one of them alone. Now I need to DynaMesh each piece. We're going to DynaMesh it to give it more resolution. Also close the gaps. You don't see the gaps right now, guys, but wherever it makes a split, a musket point, you always have some gaps. You only need to DynaMesh. Then image each subtour. You see here, this is the first draft blocking in. Then we're going to keep on in the next one. 20. Design The Arms Joins: Now I'm going to add article to the hand. The first thing I want to need to do is to upload my Bash. M Brush. I put my kit Bh pieces on M brush in there. I use them wherever I need. I load the brush right here. Then when I click on, I can see the list of all the pieces I have, and then I decide which one I'm going to use for hand article. I may choose another one. So I keep searching for a piece. I made my designs so searching here. I see all the kibsh I have and Then I see which one I'm going to use for as an article. I think this one is interesting. I'm going to try use it and see if it's good for my design. First of all, I need to push away pieces from each other, where we're going to add the articles. Because as you know, the robots always human, they have articles between the pieces of the hand that make them move and function as a human body. When you work on Mica, that's also maybe other thing. I think with a mecA, I may think of the animal anatomy. But with the humanoid robot, I always use the anatomy of the human to try to make my design. Here, I'm going to try to add the piece. So we're going to add this article right here and we're going to add this piece as an article for the hand in the middle between the elbow and upper arm piece. Then we move to and try to place it very well. So I think first of all, I need to split a Musket point to put it on a different sub T and then I'm going to try to place it better. So as you see, rotate. We are just keep on trying to place it here. I speed up right here, guys because I'm just placing these. I'm not doing something important. Here, I'm using the clip curve to cut some pieces. I want the big piece of the article to appear in my design. It's up to you guys. If you want it to appear a little bit in the design of the em, or you want it to appear more, it's up to you. Now I want to cut right here. When you use the clip curve and you see it make wrong cut, you just need to invert the side you are cutting with. Example, if you cut from the down to the top and it made a mistake, you need to go and drag up to the bottom to cut. Now, I want to mask some part and I'm trying to add some shape right here, I'm using the masks, and then I use the move to exert Now, I want to cut shape right here. I drag the clip curve and then I click Alt and click Alt. That the way I make a round shape to cut. I want to put it on the solemn mode to work on its alone, as you see, I'm making a round shape making a round shape right here to cut. Click out in drug, click out in drug. I'm going to mow the shape. I move to to push it direction. Rotate. I'm just experiment. I'm trying to find something interesting in my design, but I see there's some kind of the circular shape if I'm going to let it or not, I may cut another shapes in the arms Okay, this is the shape of song because it's not straight. So rotate and move I'm not sure if I'm going to design the hand because the hand, I don't think it shows in the design, guys. So I'm still don't have any idea about that if I'm going to lock the hand or not. For now, we're going to keep on working on the other design. So I'm going to keep on working on the article for the arms. So I'm searching for another article design. I may design it from the boom. I think I'm going to use the cylindrpi here as an article. The cylindri in the arms make the arm rotate in twist. Okay? This is the idea about the cylindrical article for the robot. Okay. I advise you also guys to take a look on the robots on the Internet or in the movies, and you see how it's been designed, how they put the articles for a body, where they put the wires, you got to watch always movies in real world machinery, like the industrial designs. I always like to watch example Boston dynamic robots and see how they've been designed. It's an idea also in real life, how robots may function because for the concept art and real life is not similar guys because something we do in the concept art for movies or a games It's hard to make them as a functional product in real life. It's better if you know to do both of them. It's always better to think as an artist and the same time as an engineer and think, well, the functional of the design and also the beauty of the design. When you master both things, you will be the most great designers in the world, guys, believe me, because it's very important when you design robots or something, you know how it could function and understand because maybe later when you are working on a project, you're going to make a production design ready for some film, maybe or again, You need to work with the rigger and the animator, and then you need to discuss how the design function. Maybe you make some great design and beautiful, but then when they try to animate it, is going to be hard to make animation from that design. You always got to think of all the while you are designing your robots. That's it. We're going to keep on in the next one. 21. Design Robot Arms Panels: So after we add the articles, now we're going to add some big shapes for the hand. I'm going to use another technique here I'm going to import some alpha shapes and then I mask the back of the hand and I try. This is what's wrong skin, rotate it to make it straight and then I'm going to mask it. With a mask pain, I make square and musk. When I work in the design, guys, I always do the same. I work from the bigger thing til the most smaller things. I work on the rough design, the, the cutting, the splitting of the subtols example with the hand and work on the articles. Then I'm going to add the bigger shapes, make panels, and then I start working on the smaller details, y? You got to be always organized guys. You start from the bigger till the small. I avoid adding small details from the beginning because for sure, you're going to erase later and you need to do it again, okay? Start organized from the bigger the small. Here, I'm emploding alphas and I'm trying to use them to make some shapes, big shapes in the hand, like cuttings or whatever. Okay. So As you so the first alpha holding the. I made a big gap inside the hands. Also, I'm trying to do this. Before I do that, I need to mask as we did before because when you drag so much, it's going to pass to the other side. As you see here, I made this shape then I invert the dragon and I make another small shape inside. Here so I think I'm going to let it this way because it's like happy accident again. I'm always open up guys. I do something. Maybe it's not what I'm thinking to do, but then by mistakes happen, something. I think it's interesting, so I let it. I don't try to change it already have in my mind. Okay? You should be always like that when you are working on your design. No, I want to rotate and see what I can add big shapes here. I'm going to use another alpha here and try to add it somewhere. I mask before, and then I want to ask more right here. Mask mask this part. Okay? No. I'm going to add this first to check my making if it's correct or not, and it was. So See when I add it go to the other side, guys. As I told you, we always need to mask. Let me see right here. It's much better. Now I'm going to add maybe the same but small details. The part, I'm going to add small details there. I know I'm not going to add something bigger there or I'm not going to add something there, right here, I'm going to use the See, guys, I'm just using the alpha to scalting the hand now. This is another technique you can use. The kit bash and the alpha are important to when you work your design, guys. It's not necessary, but it's always helpful to make your work flow so fast. But always you can do everything from the scratch. But then it's going to take a lot of time to finish work on an arm like this, maybe maybe take two days, three days or something when you can finish it in 2 hours. So try to search for another offer I can. So I'm going to add more details right here. I'm going to use the lazy mouse. Now I'm going to start dividing some panels right here in the R. Divide some panels. Make small panel right here. Sure here also, we need to have some cut. Okay. The panel right here also. We keep on dividing panels much as you guys. Even with the cutting right here now, I'm trying to think in real time, guys. I didn't prepare which cut I'm going to do for the design. I'm just making letting the design. Okay. As we see here, we are using the same techniques we used for the head, but we experiment also with the new technique of blocking with Alpha because I thought that is going to be so nice to learn faster workflow and make you gain much more time working on your designs. Anyone you from is going to tell you about this, but guys, believe me, in any workshop I make or class, I always talk to them so about the time because I know what I'm talking about always you are under pressure working on time because you're not going to take all the time you want working on a design. They're always going to rush you to finish the design so fast because they don't have time to wait more for your design to finish. As you know in this field, time costs money and the work needs to be so fast. If you are not fast enough, you're not going to finish the work and deliver it in time and that's going to become very bad for your reputation as an artist guys. As you see here, I'm trying to cut Anyway, when you are working in your own project, you can take your time and work little by little every day as I do the same. I work first on the things I need to finish for a client, and then I try to take a little bit time. I try to if I have because it's hard now to find time to work on your own project. So sometimes I may have my own project. Maybe it could finish in one week, but it may take three months to finish because every day I work a little bit on that project. I told you the time is very, very important. Even for you as an artist, you got to know how to organize your time working on your project and on client projects, okay? I'm just still dividing some shapes. I'm working on hand here, guys, but I don't think I'm going to show the hand because as I remember in the image, we don't have hand shown only the ones from the other side holding the gun, but even with that, I'm thinking I'm going to do it photov I'm not going to do it this way. So now, I'm just showing you how to block the hand, give you some idea how to divide the hand and make some shapes. But for the hand holding the gun, I think I'm going to photograph it, okay? So we keep on on the next one. 22. Extract The Robot Arms Pieces: So we keep on guys are working on extracting some pieces for arm and all that. So we're going to have on hand here, I want to separate each piece of the finger in the sub tool alone. We're going to move mass cluster. And then I'm going to mask each piece and then click Split and musket point. That way I put them in different subtour. Want to split these three fingers and then I duplicate it. You see here each piece of wire. You see we separated the pieces of the finger because we need to add our two core between each piece, the hand of the robot should have article like the human body, the fingers to move and function. That's what we're gonna do. We're gonna add article to the fingers. But first, I'm going to extract some pieces in the hand of the reward. Here, I want to put some panel to have some shape of a box right here. We have some details. Then I clean the edges where the curve as we did before. The same tools and techniques we're repeating in this way, you're going to learn them very well. You can, if you are not familiar with working in ZBrush, think anyone guys can learn this workflow even if you don't know about ZBrush so much. Because we are using the same techniques and the tools all the time. We got, just keep repeating that. So here I'm going to extract another piece also by another panel. When you look to robots guarantee you see they have the engine under the mechanical, but outside you see the panels, some wires or some other details of the mechanical. And I want to have combination of two when I walk on my design, but to show the mechanical from inside and also the panelists. I want to add more. I'm just practicing bit with you. The hand in my wall because I'm not going to use it. I'm just going to photo bashing. I already have the idea and what I'm going to do because I already put the question. So now we're going to add the articles. Do our fingers that we need to move the pieces away from each other. And to make space for the cylinder. There they will, like articles. Here I'm searching for the ENM brush, the perimeter virion brush. I'm going to add this empty cylinder shape of the articles. You can do wherever you like, Guys me, I'm just putting some simple cylinder. You want to use another way kind of article units according to you guys, okay. So rotate and place, scale, Split, Mask, point. The pieces, the articles. I always had in my mind, some of their board I saw during a child who died variables in the movies. We've got to always keep observing the mechanical in real life guys. So you have idea how the pieces work. You can feed in your imagination with all the things you see in a real life. Or we can recall, or wherever those things will help you know what you are doing when you are designing our votes or any other hearts of a design. Z here, I'm going to try to clean with a quick curve. Also a very important tool. Also just don't go over with it, okay? Always to be careful when you use it. We don't need to cut all the piece and then change its former completely only if you want to do that. Right now I'm trying to cut some edges, make the articles appear more. And I check. All I need to do. Here. I'm going to extract some piece. This is look like a panel for me. Let me to extract it. We can keep working on the head or the arms all the day. And even more days to add more details and see more things. Maybe we didn't see before why we're working in, because we're tired already. Eyes don't see new things. Maybe could be interested in the design. If you want to work that way, you can do that. But as I, as I told you when you work in total version, you don't need to walk so much on the details in ZBrush. The autosave. Now I extract the piece and then I mask it. We're going to need to DynaMesh it to give it more, give it more resolution to work with. Especially if we're going to use some alpha, we need always to have enough resolution for the Alpha to appear clean. Now, let's drag this little piece right here. Also. You see we worked on the beak shape, that medium, and the small essential pieces are design habits. We can keep working on the details right now and extract maybe more pieces. Or we can even stop right here and we'll go to the Render procedure. I want to extract more pieces, mask and then extract the pieces. You want to extract, maybe extract some boxes, panels. Cleaning the edges right now. Also this small piece. Okay, we'll keep protected and search for interesting things to do with the design right now. So we keep Maschine and extracting more pieces, creating some new shape layer here, like something holding the article of the arm, the upper part of the elbow. The edges. You're going to also make your own 3D design. And then you photo ******** in the Photoshop instead of searching for an image and then you work on that image. There are two ways of doing this. For us. We're doing the other technique of finding an interesting image and then make a design starting from death. So here I'm making a new shape also trying to see if I may, if I do this or not. Seem not sure. Make another shape over here. I'm going to let it this way or I'm going to change it, not showing it. I think I'm gonna change it. Won't change the shape. I think this is this way more interesting. The shape. As you see guys now, I will use it the clip curves to change completely the shape, not just clean the edges. Okay, so there are two ways of working with the clicked card. As I told you. If you're gonna work on cleaning the edges, you have to be always careful when you use it to not cut so much from the shape. And if you want to change the shape, you can do whatever you like. So no problem, you got it wherever the way you want. Here we finished our work with extracting more pieces. I'm going to keep on and an extra class and add in more details. 23. Design The Robot Fingers: We'll come again, guys. Now we keep on working on our arm. I want to put the layers of each finger together under each other because I want to merge down those layers to make finger only one sub tool. That way I can duplicate it to make more fingers. Here I merging down Right now as you see, we have one fingers Now we can duplicate it as I told you, always always hold the command or the control in windows, and then that way we duplicate each piece. So I'm trying to make the size different because as you know, the fingers as in the human body, they are not the same size. I'm going to duplicate this one also make a charter Okay. Okay. When you duplicate each one after you place it guys, you need to click on a Speed MasketPint. Now we're going to make the small finger. See, right here, I see the other one is well placed. The other one is not well placed so we need to fix it again. Set I must get point first for the small one, and then I'm going to place the other one very well. It could at the eye from maybe it but it's not. Okay. Now I'm going to choose the layer of brush. I try to import some alphas to add some details to the fingers. I'm searching for interesting alpha right here. I want simple shapes. I don't want something complicated. I chose the shape. I'm going to try to use it on the hand. Okay. First, I see that we need to unmask there, and then I add the shape. Maybe I use it another place. Also, I'm trying to see. Okay. You got to zoom out and see it from far, how it looks, and then you zoom in and you keep try to see the design from far and I see if I need to add more details or not. Okay? So in here, I'm going to choose another alpha to add some shapes. And I'm going to import another alpha and try to add more details to the hand or the fingers. We will see what we're going to add. I didn't prepare sketches to do the design as I told you guys. I'm trying to work with experiment guys. I'm trying to add some shapes, and then I see what I can get from that. This is another work flow you can do. I also told you before you add some sketches and then you work from there. I tried to experiment with the details. I tried to add some details and I see how they look on the design when I'm skting and then I see if I'm going to change them or not. You got to know when you should stop when you add in details to your designs, guys, you can add a lot of details and make the design is not good to look at and it's not very nice. You always need to know where you should stop adding details. For you want to see the design can't add more details will make the design much better when usually I stop. Every time you're going to add the details, you say, this detail is going to add to the design or. If it's not going to add, then you don't add more. Okay. So as you see right here. So we're going to stop right here and we keep on in the next one, okay? 24. Add Details To The Arms: Hello, guys. Now back again, and we're going to add some details to our arm. A here, I'm going to try to use the mask to extract some new shapes. I always try to use the lazy, especially in the mask because it helps you draw very straight lines. So I'm going to draw square. I think I'm going to make some gap right here. I have a place for a box or something. Draw some shapes a little detail. Draw little details over here. Okay, I need to straighten the shape. Okay. Try to draw the edges straight. Okay. I think guys, skin is one of the first thing you need to learn to master Zbrush because it's a very important tool. You need to practice a lot. Masking is very important to extract to split pieces, and all that. Okay. So one of the first thing I learned when I was working on Zbrush. I was learning the masking tool and I was practicing a lot like hours per day practicing only the tool of masking. So I draw some shapes right here and trying to make the edges. I'm trying to straighten the edges always because I need them to look in straight geometry, and then I clean also with the clip curve. We're going to extract shape right here. Maybe this one is going to be a piece of metal, maybe chrome half metal. Later, I decide what this piece is going to be. But it's better to think of the detail of each piece you are making the color, the material and as I told you before. My work flow of three D modeling guys, I always try to use Z brush as a guide for the first blocking and then I go to the software three D and then start designing from the beginning, but using the scar met in Z brush. I wish it was very nice tool we can use in Z brush to make the automatical topology because I think that will help speed up the work. Much, we have zeros here, but it's not good enough to make a good topology for animation example, guys. Ally guys in ZBrush can make zero mess more powerful and make very clean topology for production design. There is a workflow we can do also in the brush to clean the topology and then project the details and all that. But I think most of the people working in the industry gaming in films, I always prefer to topology from the beginning pieces because that's the best way to get a very clean topology. Right here, you see, I'm trying to see here, I extracted this piece. Well, then I order to look like like a handle, so I'm going to move the shape up. A. We want to try to exclude the shape up, using the move tool. First, I want to dy mesh it to add more resolution to it, and then the move tool. Then mask it to mask and extrude. I just want to mask this part here and then invert the mask. I'm going to use the move brush to move the piece up because I wanted to look like I wanted to look like a handle here. Then I'm going to use the H polish brush to clean it and make it geometric. Now, the clip curve will clean the edges. Okay. I like how it look from here, so I'm not going to change something to clean the edges, so. Okay. So we keep cleaning the corner right here, clean the edges. The circle edges always is a little bit difficult to walk in, but anyway, it's not complicated. You just be patient and keep repeating until you get the shape that you want. So Now I'm going to use the move tool move this piece and clean the way it looks. That's the move tool I use it a lot guys to remove the pieces and clean the edges. The move brush is always nice to deform some pieces to give you some nice shapes. But here example, I got to make the edges better. Okay. The mask and then I try to clean the edges. As I told you, you hold out and you move till you make a circular shape. Click one time on out, and then drag one on time on out, and then drug you make a nice circular shape. Okay. There it is. I think we're not going to make so much details as we did with the head. Because we're going to work in photoshop, so we're going to paint over, going to photob nice way of creating concept art, mixing the three D and the photoshop is going to be one of your favorite work flow to do when you are making a concept art. Just follow me. Try to do as I told you work on your own project and I'd like to see what art you're going to create after you take this class. I'm going to wait for the art you're going to create and see what you learned from this class. Here with the mask tool again, I'm trying to make a new shape to extract a new piece. Striking the edges I always want to have the clean edges. Clean edges. I'm going to choose the thickness and then I'm going to strike Here, we have a first, we need to unmask and then dynam and clean the edges with the clip curve as we did before, the same work flow guys. Using the clip curve. Trying to make the edges look better. I don't think this part also of the hand is going to appear in the design, but anyway, we're just going to practice together the tools and the technique we use to create the head. I hope the techniques are very clear and you are getting them very well. You can do the same workflow to create your own project. I would want to see the robots you're going to create with this workflow. Let's see. We made some shapes here, small shapes, medium and big, and that's the essential of designing guys that always in your design, you've got to have small big pieces, and medium pieces. This is the fundamental of designing and sketching guys. Layer three size pieces like the, the small and the medium. Always remember this. As you see here, rotate and see if I still have some things to do. Let's keep on on the next class. Okay. 25. Export The Robot Arms: Hello guys again. Now we're going to keep on adding some details and extracting some pieces in our alarm. As you see my ZBrush look so different in black. All don't worry because I'm just changing the Enter fire service like to do that. Now I'm going to hold all masked pen tool and I go to the lazy mouse and I add some numbers. That way I can draw some straight lines to extract pieces. Example, I'm making some handler here for the article in the elbow. I'm thinking this piece could be a rubber example like you see in the engine. Or maybe I let it as a metal get inside and outside when the hand move. Okay. I'm gonna try to make it up here. Who should have put the move tool? As you see? The move tool to move it and clean. Think I change it. Yes, I know I made a mistake right here, so I need to straighten it very well. Then with the crypt curves. Sure, I'm going to try to clean the edges. I keep repeating these guys. Always be careful when you are using the clip curve because using it so much, you can destroy the shape you already created. As I'm telling you here, guys, I'm trying to not do so much details in the arm because I'm going to paint and photo verse in Photoshop. So it's not necessary to do a lot of details in there. Now I'm going to bring some alpha. I want to add some details to the hand. I'm trying this shape here, but maybe no, I don't like it. I think I'm going to import another Alpha and then I try a different shape. I'm going to choose this alpha. Let's see what we can do. This one. I don't think I'm going to add this alpha in the fingers. Maybe another place would be much better. I think I'm going to add the Alpha right here. I need to DynaMesh more to add more details. I already added that alpha to add some details and bring another alpha right now to add to the fingers little bit gaps on the fingers. I'm just experiment. As you see, guys were trying things and then change our mind and try different things. Can you see where the design is going to take us? Okay, so I add more details on the finger, more details on the fingers, and also indies. Now when I use the mask to add some shape right here. So as you see guys with a mask tool only we can make so many shapes and extract shapes in. We create many great things. So that's why I'm telling you it's very important to practice very well the masking tool. And if we think is going to be so much easier. Anyway, this workflow I think is the most easiest workflow incretin concept art because anyone even without background in ZBrush can follow and learn so much from this. Now I have this brush which is called shovel. I'm going to try to use it to add some lines, maybe grave. Sometimes you're going to see guys, How nice is this brush to add lots of details. As you see here holding Alt, I can draw some, engrave it, a line in the plastic. Normally these pieces is going to be plastic. Well, I'm not sure if I'm going to let this, but let me see first, when I add this line here, then I'm going to decide if I'm going to keep it or not. Okay. See here, because you've got to be careful when you use it because it could make some defect. Maybe. Yes. And it has also want to let it I don't think this is also straight. I don't know. I'm still thinking if I'm going to want to change it or not, also try some stuff or even fingers. I think no, I'm not going to do these neither in the finger or a hand. So guys, I try things and then I can back again and change my mind. That's how design and you got to try things and then see if they'll go well or not on your design. And then you change. Again, it's not a problem. It's not a mistake when you do that. This is the way design work. I think there is no designer in the work and do the things very perfect from the beginning they all do the same we are doing right now. They experiment, they always try things and then change their idea. They make mistakes and they fix those mistakes. Working in 3D most of the time is, I think you need to know how to solve some problems also guys, because that's important. Not stuck while all these you get by practicing. Here, I'm holding Alt and I'm adding some gray with line. As I told you. See what we can do only with one brush guys. Not necessarily, you know, a very complicated tools and make you spend most of the time trying to see how to work with these tools. That's not what designing is. You need to know the simplest way of recruiting great designs in give you the best results. I keep adding some lines and some gaps here. I didn't even use renewals for all that, a alpha even I'm just using a one brush to add all these details. Trying to add some line right here. Okay, That's why lazy mouse is helpful. You make a draw very slowly, a very straight line, as we use in Photoshop when we hold the shift key and then we make stroke with a brush, it's going to be so straight. Sure this is work only way. You're going to draw a horizontal or vertical line. We're going to make a juggernaut that you need to flip the documents. You're going to draw that well, you can learn that very easy. It's not a big deal guys. Okay, so we're going to keep on here, add in some details in vain. The last thing, we're going to export our design, we're going to do it the same way as we did with the head. The other way is to export. Your design is to export in many subdued in one file. But this is the easiest way of working is to merge all the sub tool on one sub tool and then you export one piece. This way work only when you're going to paint gun. Because if you want to render all the image in one software like T-Shirt or something the morning need to export your design in a different subject. And then each shot or any other software for rendering Arnold or VRA or something, then you can add a material to each piece alone. But example, if we want to paint on Photoshop or something, we can merge all the pieces in one sub tool and then we make different render with different materials and we take to paint in Photoshop. Or also you can even export it as one sub tool in texture it in 3D texture software like texture from tricky code or substance, painter, Murray, or any of these texturing software. But that way you need to have a UV maps for all your pieces, guys. Okay. That's why I'm telling you this way is the most easiest way of acquitting the concept art. But this way it doesn't work if you're going to make a production ready design. Okay guys, this is only for paint in a concept art. I go to Z plugin in the integral to decimate master, pre-process. All, wait until it finishes processing and then we go to the plugin again and click Submit. After we decimate all the MEC, the number we have is 487 thousand polygon. I want to decimate it more. So I'm gonna go again and click the Submit or four. Then we go again, guys and click precursors or in this summit on again. And we get a smaller number, I think 400,087 to work on the show. It's not a big deal, so I'm going to let it like this and export the file. When you work with the summating tools, guys, be careful, be careful always to keep decimating. Then you lose all the details and the shapes of your designs. So always when you decimate, few times, you need to decimate, see your design if it lose some of the details, if it's still okay, You can just submit it again and then look, if you didn't include details again, then you can keep on. When you do another decimate them and you see the details in the shape or you lose some of them already, you need to get to the previous number, okay? So I hope it's clear. Now we're going to export it and just that we're going to go to the other phase of the design, which is the rendering inky sharp. 26. Rendering The Robot Head In Keyshot: After all the pinky shot, I can just go to File and click import the OBJ file of the head or adjust, drag and drop it inside the t-shirt. There is also another way from ZBrush. You can click on the bridge of the shot and it's going to take your design from ZBrush directly took a shot without exploiting it. And as you see here, T-Shirt we have on this side the material, the lights and the texture and all these waves. In this place we have the environmental light and all. First thing can go to environment and then I check back plate image, I want to import our image. We're going to work in jobs who don't want to want to check the light and also pose the head. Okay, so now we're going to try to pose the head. I go to the Tools here and click Move to. Try to place the head very well. May scale bigger. Rotate. We need it to loop right here. Allied soldier look in the image. Scale. Rotate, rotate the head and try to place it. You can also do it other way guys. You just bring the image of the soldier. You can bring the image of the soldier to ZBrush and then you pose your character the same way you, the soldier is posing in the image, then you start working on your design. It posing in the correct pose. I don't do that so much guys. I just work on the design and then I post that later. Here. I'm trying to use the camera focal setting to try to pose the head. So as you see here, we are getting the same pose. Think, I think this way is, this way is correct. So I'm going to click Okay. I thought you guys were not going to see the back of the design. We're not going to see so much from a profile because the pose is pointing to the front. It's like the soldier is look into the camera. Okay. Now we're going to add material to our design. The first material I'm going to choose CTU think I'm going to choose the paint, metal, choose the basic color, which is the paint, middle green. So I'm going to search in the paint little option here. Blue, have middle gray. The search more in another area. I keep searching for something I may use, guys, I think I'm going to use this green. This green is much better. Let's see which one of the green middle we're going to use here. I see guys there is biting her material you can choose from and colors. Anyway, any material you can use here on marrow the color because you can change it later in the setting of the material, I choosing these dark porous material from the paint metal. Now as you see, I'm changing the color of the material to a darker gray. Okay. So that's this one here. We're going to change both colors of green to dark. So I choose always the two colors lung darker than the other, as you saw in the setting of the module. So you've got to copy that but darker way example. I'm changing more here, the post material, making them more darker and I keep watching by design. As you see guys like keep searching for the twisting color or dark gray interesting chord the most, the most famous monetary color is the green guy. So that's why I'm trying. You can use any other color, blue wherever you like. But just me, I want to use the green because it look for uniform soldier. I know. How I had HDR map here, I have them in your environment option in key shot. I just placed that and then I play with the settings and see if it gives me more or less the same light and I have in the image. That's why I use the black plate image to check the light. Okay, I'm gonna try another one. Rotate the ADR map here. You see guys, I'm trying to use different HDRI maps. And then I'm trying to find which one is more closer to the light we have in our design, I just drag and drop each file and then I try playing with a certain rotation and see what I'm going to get from that. So we keep on adding DRI file guys, tweak the setting. I think this is the most closer one to our image. As you see there are some clouds hovering the sun. I can also make the brightness and the contrast also tweak the setting and we see what we're going to get. Trying to rotate it. As you saw guys before when we were analyzing the light. You can take that. You can use the guide of the light analyzing to work on the key shots. You put it another panel and you watch well, light direction in the image and you copy the same in your design as you saw before. There is light softer than other light on the head parts and also there are the darker parts in the image. I add something light here, and that's us, another light, that's our point lights. We can add them to the HDRI file to add more light to our scene. We can use the pain to add light to our scene to help us enhance our HDRI map. Like we can add more light to some area. And also I can change the radius size to smaller or bigger as I want. As you see under the neck, normally it is darker guys because there is block waiting for the light to access these areas. Always got to think about real life. So we're going to now go to the settings render and we're going to change the setting there. First, I'm going to choose a name. I'm going to just say MIL for military. Okay, so now I'm going to choose the preset resolution. So I need on bus with my render because only helped me in for the show to select the pieces. You go to option here, you can change the same pulse, but I'm going to let them hear. You got to know guys, every time you add more samples to your render is going to take so much more time. For this project purpose. I'm going to let it only on the default. Now first before I do that, I got to close the image. Don't want to rent in the back plate image. So I'm gonna go to the environment and then I go to the setting here and check the back plate image and go to the color example and change the color maybe to gray or something like that. So any color just don't make something make a change the lightning or something where onchange just don't make a very bright color better. Always try to use a medium color or a darker. Now guys, I'm going to choose the resolution of my image. We have here presets. I'm going to choose maybe two thousand, five hundred sixty-three thousand eight hundred Okay. Sure. 3,858. And then I'm going to pick cranial. I wait till it's finished render and then I'm going to do the same within each material. So this is the method you do when you merge them all in one sub tools. You got to make, make different vendors with different materials. Then you're going to assemble all that in Photoshop. I'm going to show you how to do that. Okay, Just bear with me here this see the render is clean. Anyway, we're going to clean so much also in the Photoshop. The most important for me that I don't have so much ingrained in the image. I wanted to be clear. If you have grain, you can add more samples to your rendering. As you saw guys, we've finished our first render and we save the file in some folders we already made. Or if you didn't make specific path for your render, you will find them always under the shot render files. 27. Work With Materials Layers: Again guys, now we are on key shot. I'm going to show you how to apply the material. After we made the environment light, after the band played image, we prepared everything already when we made our first render, not going to change anything. So the first thing we're gonna do is we're going to apply material. Okay? That's what we're gonna do exactly Guys. We're not going to change anything, just just the material and then render, change the material. Renderer change the material and render. Then we're going to gather all our material layers we rendered already in the shot and then we put them in Photoshop. In Photoshop, we're going to apply the material to our design. Our first render here we're gonna do is paint texture orange. You'll find it in the paint metal. Okay guys. We just apply it to the head and then we'll change the color. You can get to them. In the render settings. Guys, we're gonna say we're gonna put the same. We're not going to change the render settings at all. We just need change the name to another layer of material. Okay? Now I'm going to apply another one which is bank middle yellow. And then I click two times. I try change the color to a little bit darker as we did with the orange. Okay guys. Now we're gonna go to the plastic and we go to clear wrath plastic to apply that to our head. Then also, we do the same random, okay, Then after we finish render, we go again in search for another material we use in our design. Maybe don't change even the material and I change only the color to gray and I have a different material. Okay guys. See sometimes if you want to do is the same material but the different colors, you can do that by changing the color the same I showed you right now. So now we're gonna go again to the material after sure, we put the material gray and then we render it. Now we're going to apply another material. We're going to apply a middle. I think of a middle. Or maybe Chrome. I think I'm gonna go with the Chrome graph. Okay guys. So apply to the head and then we do the same seat if you want to change the color or maybe if you want to change the brightness or anything of that. And then you go and hit render. That's how we apply the material for your head design. We just apply material and render. You don't need to change anything in the lighting or the position because we're going to apply the material in Photoshop. See you in next one. 28. Rendering The Arms In Keyshot: So as we save our project of the head with all the material will render with the same camera position, with the same light, with the same environment, do the same plate image as we saved our project with the same light. We're going to need to just know to delete the head and then we're going to drag and drop the arm and try to do the same as we did with the head, you know, already the procedure guys. So you see here, I have a bit of difficulty in the arm inside, but always be careful. This is I think he's a defect from decimated. So I'm going to go open again the debate plate image. And then I tried to place the Move Tool. Sure. Go here to the move tool, go to the scene, click on the tool again, delete it and try to post those in the image. That's why guys, I didn't pose my character at the beginning in ZBrush because I'm just making a different pieces for even though I'm going to make all the character, I'm going to pause it after I finish. There is a technique to you to pose your character in ZBrush, another workflow and another technique, I'm gonna try to pause the arm maximum. I can pose it as in the image. It doesn't matter if there is little bit different because as I told you, photoshop is the magic there. We're going to clean all there. So here I'm trying to make the most I can. I'm going to pose the arm. I think this is good enough. As you saw from the weight of the arm appear in the image. So I'm going to clean that in Photoshop. So now problem, now, I want to add material to our delight. I'm not going to change is the same light we use for the head because that's what supposed to be guys. We just change the material. Now after we pose it, we need to add a material first one is gonna be the dark porous material and military material as we did in the first one. See here is the dark forest green material. I'm going to edit. Now we're going to change also the color as we did in the first one, to the same color, the darker colors? Darker color. I think. A little bit more. So as you saw guys, we change it the both corner of the darker green as we did the head. So we have already the first material. Now we'll just close that plate image. I think this is the reflection of the ground. I'm gonna go to the ground right here and just uncheck the ground shadow. Okay. Now guys, that's all we need to do. We have the same line, the same line, the same setting. We're gonna go to Render Settings. I don't think I'm going to need to change the setting of the render. Now resolution the same, just change the name. The clown pass is checked. You can name it whatever you like as it's not a problem in any name you want, you can name it even 1231, hand to hand, whatever you like. Now click Render and we wait to finish the Render. Then what we're gonna do the same as we did with the head. We don't change anything, just the material we go to into material render as we did in the first one. Okay. So again change the material as we did in the first, the same materials we used in the head. This is the paint metal yellow. I'm going to change the color a little bit dark and then I just render the same we did before. Just changed the material. Maybe change the colors, render, finish the render, change the material till you get all the material you need. As you see here, we're going to make the yellow color more darker. Now we go to the Render. Render again the same as we did before. That's all we need to do, guys. You change the material you render change the material you render as you have already before. The light and everything. Don't change anything, just the material as I told you. After you get all the render and the process you need, you're going to import them to Photoshop. 29. Apply The Head Materials In Photoshop: Hello, guys. Now, after we have all the layer of the material on our photoshop. We're going to start applying the material we want for our head. Here I have the layer of the metal, the chrome, I'm going to add to my design. As you see here, I select the piece I want to make it metal and then with command NG, I cut it on another layer. So That way, anytime I want to put to add some metal pieces, I back to my I back to my metal material and then add to my design, okay? Now I'm going to try to cut some more pieces to be metal in the design. Here with a magnetic tool, I select the pieces I want to make them metal, and then the same way, common cut them in a different layer. See how easy this way to apply material to your design guys. It's more effective because when you add material to your design and you want to change your mind example, yes, you can do that, so easy by the material, you add it and then replaced by another material. Or maybe you have some places you didn't think of adding material into that specific part. Then when you are working this way, like I'm doing right here, guys. I didn't design a little piece right there, but I got a little bit of the middle material and I added there. It's like creating a new piece. It was not there from the beginning with my design. I'm going to select the piston here with the plastic plastic material layer, I'm going to cut also these pieces. Command the G sure to do that. Do the same, do the same for the other also. Okay. Even when I'm adding material, I need to think, maybe I have Ds I want to do like I did with the neck example. I didn't have piece there, but right away, I thought maybe it's going to be nice if I add some metal piece there. You see, where the little part also on the side with the black plastic material. Okay, this one again. Cut. Now, I have all the pistons, the middle part, and the plastic part. I want to add some plastic material to this box on the head. Same with the magnetic tool, I'm going to select this part. Take your time and be careful when selecting the pieces to select them correct. I'll select this part and then I'm going to cut it. Sure, go back to the plastic material render layer, and then with the ComanG I cut this new piece on a new layer. As you see here the layer is not so. I want to change the brightness. I'm going to use adjustment layer to change the brightness of the piece. You can do guys many materials and then you try them and see what goes with your design. Try always to have many many materials renders. You have them there when you need them at any time, guys, be authentic to yourself, never copy anyone, Mx many material together, guys. Also, I advise you to observe the light reflection on the material in real life. That is going to help you understand more how the material look in real life. So we're going to back again to our plastic material render, and I think I'm going to add a plastic material to the box on the head. Okay. First, I want to see more layers here. I like this orange paint layer. This is orange paint metal layer. When I hide and hide, I'm thinking where I'm going to add this material guys in my design. First of all, I'm going to check more layers right here. See while I'm adding the material, I'm just thinking guy. I don't have any idea what I'm going to do exactly Example. I was about to put black material there, but now I'm going to change it to use this yellow paint metal layer. I want to clean this part right here, and maybe it's not the final reserve, I'm going to leg here. Maybe I'm going to change it later for another thing. Let's see why we are working on our design guys because later come new ideas to my mind and I see much better my design and then go for it. I'm going to add also a little piece yellow right here. Command to cut it on a different layer. Always balance your material colors. Don't try to make many colors together. Be always in balance with your design shapes and your colors, guys. Material is the most important in your design, and also the reflection of it, how it's going to look in real life if you put it in a real environment guys. Also while you are applying material, think well of the weathering of your material means how it's going to adapt to the environment. See if we added different yellow paint metal in our design. Also, I'm going to use this one for this little part. I make it orange paint matter metal. Yes, I think I like it. Okay. Guys, I use this technique also even if I have many sub tools and I and I apply all the materials in shot example and then I bring it all the material already applied on my design. I make more bonus layer when after I apply all the materials for maybe later on photoshop, I change my idea about the material I want to add. Maybe I'm going to want to add a different material instead of the one, I already render it in shot. I already have the bonus layer where I can use them to change the material I didn't want. Okay. So always good to have many different renders to do your images, okay? Sure, we can do that if we want to make animation because animation has another work and another procedures, guys. So I put it the original render on a different color. I'm putting all the pieces there similar on the same group, guys, okay? As you see here, I put all the yellow layers in a group together. Then I'm going to use adjustment layer to change maybe the brightness and make them a little bit darker. The pistons metal pieces, you put them in a group together, the plastic pieces of the piston, you put them on a group together. All same pieces, you put them in a group. That way, it's going to be more easier for you to apply to all of them the same effects. Also you can change the color or do whatever you want. As you see here, also here for the metal trying to change its appearance from Crow maybe to rough metal or something like that, and not a new this is a soldier, should not have a new metal shining and all that because he supposedly he's a soldier already in the battlefield, he already was in the war. All the material would not be new or would not be perfect, okay. As I told you before you always got to think about the story of your character why you are designing it, okay? Here, also, I'm going to add a plastic piece. So I bag to the plastic render and I try to cut this piece and put it in a different layer also and I add it to plastic pieces. I'm going to make also this part metal back again to the chrome render and then I'm going to make these pieces. Cut this, got the other one. Both of them got to be in a different group also. This piece, I want to make it also paint a piece in the chain and the orange material. Cut the piece in the chain. This part, I want to make it also metal. See, guys, I don't have a piece there, but now I'm thinking of adding a little piece metal right there. I don't know how it's going to look, but anyway, I'm going to go for it. Okay. I'm trying to see. I don't know if I'm going to it. I change my mind. I'm going to make this little piece here metal in the chain Even with all the stuff we are doing right now, I'm still not sure, guys, what I'm going to let, what I'm going to add. Later, I'm going to decide after applying all the material I want to apply for my head. Back again to the plastic material, then I make also the cylinder of the head that the ones look like ears, want to make them also black. As you see with the image right now, I'm still not satisfied with the result, but we're going to keep on and see what we're going to go from there. 30. Apply The Arms Materials In Photoshop: So now, guys, we're going to add the material to our hand as we did the same with the head. We're going to see all the rendered layer for our hand material, and then we're going to add the different material to the parts we want. First of all, I think I'm going to change something with the head, guys. I bet a black plastic material of the head, and I decided to change all the parts to material. I don't want the yellow pieces. I'm going to add black instead all black. Again, with a magnetic tool, I'm going to select this part and I cut on a different layer with commG as we did before. Okay? You saw guys how many times I changed my mind. That's because I see some things I like right now, but when I look at the design again later, then I think this doesn't look nice enough for me, so I'll try to change it to other things. So now we have the material of the arm guys. I'm going to select this metal material and then I try to cut some middle pieces from it. I'm going to cut the cylinder right here. Co put it on the front layer and it's not well placed. I try to move it and place it with a move tool. I select also this part and I try to make it. Okay. Select command G to cut it on the front layer. Okay? Not in the correct place, so I try to also do the same and place it well. Okay. Here look nice. I'm going to make also the small cylinders metal. I select them with the select tool to erase some part of the selection you guys, cut it on a different layer, and then I place it correct. I also got this. As I see the layers of the arm in the same correct position. That's why I need to push them more right now. But when you are working in your design guys, be careful, the position of the arm doesn't change even a bit, like happened with us right now and that's make using them correctly. So I keep adding material to my design. Here, I'm going to add also this part metal. I choose this part cut it on a different layer, and then try to place it corrects. As I told you guys, be careful when you are rendering your layers for the object doesn't change its place. We need the material layers to be in the same correct position light and all setting guys. So Okay. I put now all the pieces of the metal in one group. Command G to make a group so guys. Then the original render, I give it another column. This range here, also, we're going to cut some pieces. This piece here, I'm going to cut it pan metal ornge. You can add a lot of materials to your design guys, but I'm trying to add only a little bit different materials for the R. I'm not going to go so much with the head. Here I'm going to add less materials to the R. With a magnetic tool, I select this piece is gap I'm going to make it a different material. So I commend to cut it in the fern layer. First, I need to clean the selection with the art. Okay. Okay. I think it looked nice. We're trying to place it correctly. Sure you move to or com. I'm taking a look at what other orange pieces I need to add. So I'm looking to the design. With a magnetic tool, I cut this little piece right here and make it range color also. So com the same replace it. I don't know what happened while rendering guys to make all the material of the arm not in the same position. But I always advise you to be careful when you are doing that before you render, try to see if everything is correct. I'm going to cut this piece and make it a yellow material, paint metal. So I cut this little piece. Okay. We need to cut it on a different material. As you see, I need to clean the part in the middle. So I select that part and you erase it. Okay? I think it's enough, not going to add more material to the arm, but I'm going to add more details with the photos, guys? We didn't finish. This is just the basic So let's say guys, we keep on in the next class. We have already the material for the arm and for the head bashed and now we're going to do the same for the ar. 31. Organize Your Materials Layers: Before we keep on working in our design, guys, need to take time to clean out, to clean our layers. Going to go and check called loops. What I'm gonna do here guys, I'm going to select all the layers of the head and I'm going to place them in one group alone. And then select all the layers of the arms and put them on a different group. Okay, so here I'm trying to find all the groups of the head and all the groups of the arm. So I hide and unhide and z, which ones are for the head, which one for the iron because they have a lot of small pieces right here. I don't see very well on the design. Shoot from the beginning. Try to put all the layers of the head alone. The bottom example in all the layers of the arm in the top and put any groups, we'd become more easier for you then do these and try to find all the layers unit. Okay, I could skip these guys and show you what I think is very important to show you for your work, how to clean your work in, put everything can a difference in. Anyway, we're going to put all the layers of the head on one group. That's because also we're going to need to move the head, replace it in the correct position. And we're going to do also the same for the art. It's necessary to put all the layers in one group and then move that group. If not, it's going to take a lot of time searching for all the layers and move them. Then again, you search for the layer and then move them so you better place everything in one group. Here I'm putting all the layers of the R group. Here. I put it over there or the arm in one group and call it hand layer. Okay? And then, and hide the layer and then try to find, and then I tried to do the same for the other layers. It is very important. So your goal is to do the same with each project you are working in, are working on. If not, it's gonna be a mess for you and make you lose more time. I'm selecting all the layers of the head and then I'm gonna put them on one group. Okay, so let's do that. Select all the layers of the head. There are too many layers with the adjustment layer also guys, a lot search in place. So he, he, he, he also too many layers for the hat. Guess. I'm trying to search all the layers. I keep a check in if I forget something. Now, I put them all in one group and I call the new head layers. Now, I select the other layers of the fingers and I put them also in a very different group. Recall it. Fingers left. So as you saw guys, we have all the pieces in different groups, so clear. And then we're going to drag them to the bottom and we're going to place them on the bottom. So I bring all the layers at the bottom so we can hide and unhide them. Now, then I'm going to try to cut some pieces of the soldier. I don't want I'm going to use the fingers should be under the gloves, not over. Okay. So that's why we cut it these part. Then we put the fingers under the gloves. The finger under the gloves. Now I'm going to try to place also the correct position, trying to make it a little bit and place it better. Now unhide the head layer and try to place it correctly. Okay? So I'm going to move the layer. I put it, the head layer is under the layer of the soldier because we want to place it correctly. Okay, I think I'm going to delete the part of the sweater. We're now everything's looking good, so we're going to keep on in the next class. 32. Photobashing The Robot Head: Hello again guys. Now after we apply in the materials for the head, now we're going to try to add more details with photo bashing techniques. As you see here on the layers we have the head material. I want to give them some color so I know all the random array. To see the layers, keep checking. Two layers, I need to put them on a callers. Want to change the payment of the head materials to choose this plastic material. See how it's going to do. Let's see trying to place it first and see maybe I let it to or not. Still don't know. Just want to see first. Okay. But do you see guys, it's not a complicated technique. We just cut the material we need for each pieces. It's more easy than having different sub tools in material to each sub tool. Because this way I can change what I don't like as I want. I can do whatever I like. Okay. See here is the rhabdo took the place value of the piece. Now I want to try, maybe I add some of the metal, trying to see more. If I need to add more details. I need also to refine it a bit. So I'm gonna, I'm gonna delete this part because I don't like it. Slow climb bad cards. But think the light, green light or something. I'm going to clean this part right here, guys, I don't know. I don't like how it looks. As you saw our picture example. We don't have rim light in the original image of the soldier because there is no light casting from behind. He was standing in front of the wall or in front of a military base? I don't know, but try to not use so much rim light because I don t think there was something casting and we might find this bird magnetic tool or the Lasso tool. They are so helpful to refine. I like so much this technique because you become independent, the design as you want. You can even change in real-time the things that come to your mind. Maybe in the moment 20 while you are working on applying the material or the photo version, you try things, you see how it looks with the design. If not, you can undo and then do other things again. So it's very nice to work this way, guys. As you see here, and I wanted to cut the gray piece. I want to add it to the design. Yes, I think I like that. I'm going to also add one right here. Then our like all the different players in inside the groups. And I add some effect on them together. I don t need to make effect on each layer alone. Okay? So we want to cut this piece also. Then I'm going to refine it later. Okay, so we'll look at this piece. It doesn't matter if the refining now guys, because now we just add in the material, the refining we're gonna do all late. So don't scare if there is some defect in the pieces you are codon or the design. Everything can be refined in later with painting, okay. See there this part and in the middle and I will need to refine that part. Refine that later. Uk has gotten a little bit defect right here. So I see what I can add more material, but we're going to add more detail by photo bashing. Okay, so I'm going to see what I have this image. I'm going to cut this piece and see what I can do with this. I still have no idea about that. Thinking of adding some details to the neck area. I tried in different areas here. Don't like it. Don't like it. See how put aversion working guys, you got pieces and then try and place them. Some were on the design and see if it's going to look nice or not. If not sure who got to change it to another place or even try another thing? I'm trying to place it in the neck area here. I think I'm going to knit it here by now and then later I see what I'm gonna do. Now we're going to use the level tool and I try to blend it with the design. I'm going to use iteration. Change the color a little bit or something, then the corner a little bit to the green. I'm going to make the mid tone more darker. Now I put all the layers together in one group. Then duplicate the group, and I make another piece, flip horizontal and place it on the other side. That's all you do. By now. I'm going to let this, but maybe I'll do another thing later because the idea start rushing in my head, guys. So I may use another, another pieces or may change my idea. I see no, now we see why it work. Now I have this image and I want to cut this little piece. I see the head area from the top need more pieces. So I'm thinking of placing nice piece on the top of the head with the command. I'm trying to twist the aim is to place it correctly right here and see we have some problems. Okay, now, when you use the level again to darken the image, I think this is more easier to blend then other pieces, I don't need to change the color. I think just to play with the mid tone in the high light and the dark shadows. You see him trying to blend it. The head part of it. I'm going to use the use iteration, maybe saturate the piece little bit. Also change the color. I think that's good. Now I'm going to put the layers in one group. I do the same, duplicate the group, and I place on the other side C, It's so easy method guys, you just need to observe very well, the color is observed very well, the contrast. So the brightness. That's the only thing you need to blend the pieces in your with your design to give it more realistic loop. See, I'm trying to place it here with the correct perspective. You've got to think always the perspective than we are alive. When you look to some objects, how the things look from different sites. These piecewise. It correctly. So example guys, when you look to the head, you see the cylinder, how it looked from this side and how it looks from the other side. Because there is more size. The camera look into the head. It shows little bit of the left side, then the right side. We've got always to think about that when we are placing our pieces. This is a mirror of a practice guides and they become so easy for you to use this technique with your work. And you're gonna be enjoying every day new and a new project, a new design. And challenge yourself to make more great designs before you cut anything or do anything, guys, you always try if you're going to use something and you're going to resize as always, you need to turn it to smart object. That's very important. So the resolution stay always in good-quality. Place it in the history of the jaw. Now, moves on the level again to blend. I put in one group and then duplicate it, duplicate guys by holding Alt, drag, Alt and drag to categorize k. That's the short key I'm using. Let's see, I'm trying to place a threat now the same as the other one. Okay, I'm thinking about the perspective also. Be correct. Let's see the image again. Tried to find some pieces, two cards. I'm going to cut this piece in the middle. You see here grinds. We're going to put this little piece on the chain and then we're going to try to blend it very well. We're going to use a level to each very nice tool in Photoshop. You can play with the shadows and the mid tone in the highlights, and also help allowed to blend pieces together and make them belong to the design. Also, I use a lot of the brighten the contrast, the use iteration, the same tools. I use them to blend my photo bashing. I'm trying to add a little bit of color, green. Now. Play with the highlights. I need to make it look like designs. There is not added as a photo, Okay, guys, always observe very well your design and try to make it possible. It can belong to the design. Here I use this technique a lot in my work, which making a new layer. And then I select the most obvious color in my design. And then with the bucket tool, I add the color to the layer and then you clip it to the piece. I want to blend it with the object. I just see you and now also dial down the opacity. I'm going to die and more the opacity because we don't have a solid color. We just have me to beat up that color to make it blend with the object. Now, as always do, I put all of the layers in a group and then a name the group. See those as the same technique we're going to use all the time, guys, just need some practice. We're going to keep on adding more pieces to our design. So I'm going to select piece to add it on the side of the head. Let me see. Really place it. Rotate. Holding command, I can rub it over the head. We do these holding Command guys, okay. To cut these little pieces for you. Horizontal. In vain, tried to place the piece. Neither. Always think of the respective wherever you're currently looking into the camera, anything I think we're going to appear when you place it. Here too. To take this little piece from this helmet. Your own research in the images guys and try to find some important shapes you may use in your design. Could look very nice fit for the design you are doing. Okay. So here I'm going to add this little piece, flip horizontal. And then as we did before, as we did before, we try to place it over the head using the command in the dragon. Okay? Mr. change the layers and place them very well. Put any groups at both colors for the images I cut pieces from. I put them on a color, so I always know which are the original images in my layers. Sometimes when you are working on photo bashing or design like this guy's going to get many, many layers. Maybe you can reach hundreds of layers. You're going to be always organized and try to put the pieces together. You put them in groups. That's where you make it a little bit cleaned for you. God, always to try zoom out and zoom in to see how my design look from far and from close. Now I'm going to level two pieces. Should not forget to clip it. When you click on that small square to affect only the pieces don't affect all the image. Okay, here I'm trying to use the level to the color. They use iteration to change the color, make it desaturated little bit, maybe so much. Then I tried to change the color to green. This way, it's good. So what I need to do, Convert to Smart Object, always the image you're gonna cut pieces for. So don't destroy the resolution guys. Okay, here I'm going to cut this piece in the middle and maybe added in the middle of the head of the robot. I enjoy allowed to work in this way. And then there's gonna be very nice technique to learn for you to also always work in this way because it wasn't easy and fast to get great results. So I'm going to try to place it with a hole in the command as usual. We're going to do again, the adjustment layer is the level and the user duration. Blend it with a level tool here, as you see, it's already blended. I think very well. I don't need to even use the use iteration for this piece. Now I have the image also of these machine gun and want to cut this piece where it, when it has gapes format. I think the neck is the most Laplace need more work and more details. So I'm going to try to put a toy. So as you see, we're holding the Command and dragging here and here from the corners and try to place it the correct perspective. See right now garden to worry about the pieces behind because they don't need them anymore. I want to add this piece instead. As I told you before, you may change your mind later while you are working in your design and you get more new ideas. We'll add them instead. Here we're going to use the level two. Other ways to try blended. As you know they're part there is darker. So you may think about the alto and make the piece look darker, same as the part of the neck. This way is better. Okay, guys, researched already the first part of what the version, we're going to keep on adding more details in the next class, okay. 33. Detailing The Robot Head : Hello again, guys. We're going to keep on photo bashing our head. Now to add some little details to the head to enhance the design. So we observe the head very well and see what we can add to the design to make it look much better. I think I need some small details could be helpful to enhance to enhance the design. Let's do it. As you see, I have this image I put it on a purple color. I'm going to cut this small square right here and then and then try to add it to the head design. Cut this with commanding G on a different layer. So you can use the lasso tool to select guys. You can use the magnetic tool, the quick select tool. Do any tool you are comfortable of working with to select the pieces you want to cut. This piece I'm going to add it to this black. But I don't think so. I think it's going to be much if I add it to black material of the head. I may put it on the side of the head. I place it then without and drug, I copy same layer and I try to place it on the other side, horizontal, then place it with command and drag. As you see this little detail can enhance the design of the head. But when you are working, avoid to add things. I doesn't doesn't look nice to add to your design. You always got to be careful when you add some little details. Think well before you choose the pieces and the detail you want me to put. Okay. You may observe image of some mechanical stuff in the world and then get some ideas and then you can add to as I always tell you keep on the same things because there is no magic guys. It's all about learning, observing, experiment, and try new things. I'm going to cut this little piece example here and I'm going to try to add it to the head. I want to add small metal pieces. Holding the plastic panel on the head. Okay. So first, I need to scale it, rotate, and then I place it over. So I place it on the top of the head, rotate, and then I place it there. This is my world. Science fiction is all my work. I like to design to science fiction world Cperpankbo robotic stuff, some flying cars. The idea is always work on a new project. That's practice even more and make you grow as an artist. This is very important. As an artist, you've got always to manage your day, you can work on projects some hours in the day. Then if you have some work, so you need to do for some client or something. You make hours in the day for that, but always try to keep some hours for your own work because because that's important for you to grow as an artist, do the things that you like to do, not the things that the client want you to do, okay? Okay. Most of the time, you may be working on some kind of a type of things you want to work in as an artist, the style of things you need to do, but also when you need to work to listen to all your client and then try to do them what they ask you to do. When a client approach you and ask you to do some concept art for him and he's going to describe for you what you need to do exactly. Always ask him about the back round of the story, what story you want to do ask him about the time, the place, the same what we did when we were brainstorm and the ideas for our concept arts. That way, you're going to know very well what kind of a concept you're going to need to do. If you want to need to do a damage character or you want to do a character like a cool one or make a very devilish character or whatever. It is whatever type of a character you need to do all come from the background. Okay, guys, even the clothes, even the weapons, the stuff he is having. It's also effect by the background and the time and the place of the story. So try always to discuss these with your client before you start working on the design. It's better if you make some rough sketches and send to your client and ask him if the sketches are near to the things he has in his mind or something like that. Now you're going to trace the road for your art. You're going to be doing the correct thing for guys. So it's all about communication with the client. Here we are trying to blend this little piece we added to the box of the head on the top, as we did before the same saturation and also the level. You can use the bright contract, you can use the curves. You can use many tools as you want. Just try to apply the same technique by blending the pieces with any kind of tool you want. So as you see here, we added some little details, I may added more to our design. It didn't mess it up. I think I'm still thinking of the little pieces on the top is in the color yellow. I don't like them that much, so I may change them or let all that panel black. We're going to see while we are working on the design, what we're going to do. Now, I did the same technique. I had an empty layer with a bucket tool, I select the color. From the plastic material, and then I clip it to the piece, dial down the opacity. This is a technique I made to blend the better the pieces with the design. Okay. So I put it the gap pieces on the sides of the head robots on a different group. Then also, I'm going to put the middle pieces also. We added in a different group and all the similar pieces, you better always put them on a different group as I'm doing right here guys. Also the images, the original image, try to put them on layers with the color. You give them a color you know already, which are the original images you cut pieces from. Here I have this image, but I don't know if I find something interesting to cut, maybe I'm going to cut this piece right here. I think I'm going to head it also to the head And, I already thinking of some part. I may put it, but I'm not sure yet. So I cut it on a different layer, then I tried to place it. I think I'm going to try to place it in this part of the job guy. It's kind of article for the job. Place it there, then I'm going to out and drag to copy. Place the other piece right there. The one also to the other side. When you watch terminator example, guys, you see that there is a different way of showing the robots in the movie because they made it look like a human under it has the mechanic, but over they give it a show on a look like a human. Anyway, that's kind of other approach, but for me for robots, I like to show a robots. I don't think the robot should have a human skin or whatever. I like the robot to look mechanic or read that look more nice and more beautiful, but robot look like a skin for his kind look like a stupid. Well, it was so successful in terminator because in some part of the movie, also, they made the mechanical under that skin show off in the screen. That's what makes it better, but I don't think it is going to go well if they that robot shown all the movie as a human. I don't know, guys. That's my idea. That's my opinion. I don't know what your opinion sure. Every artist he has his own things you admire. Some artists like other kind of robots guys. This is my style in design and robots, but some artists they like another style. Each one has his own style, that's how make us different as an artist guys. That's it. We're going to keep on in the next class. 34. Photobashing The Robot Arms: Hello guys. We're going to keep on photo version our head. I have this image right here and I'm going to cut this little piece, like this little piece right here. I want to add them to the head and maybe to the arms later or something. Let's try and see guys. Okay. When our photo bashing, you need to look at the material to your design. You put it in front of you and then you look on the image library you have and try to sink and emergent things that could go well in your design. Then you can maybe experiment with them and try to add the GeoDesign. Then if it doesn't work, Delete, do again, really do again. And also a way to find the right pieces for your design guys. Know on how to do that. Also by observing the rely of guys and also watching real mechanic, real designs, whatever it is and not necessarily watch a robot designs. You can watch example cars. You can watch the medical things, you can chew, Watch and destroy your thing. You can watch a lot of things. Can teach you how to do hard surface designs glass. So you see here I added these little pieces. They already blended to the design. Now I'm going to put the layer on a different color to know all the images are used for my photo bashing guys. I know all their places. So because already right now we have a lot of our layers. This little piece also right here, gluco, interesting for me, so I'm going to cut it and try to use it for my design. The Move tool, I place it on the head. Now, duplicate the piece by holding Alt and dragging the layer to the top. I have a new layer, duplicate it. Then I tried to place it on the other side of that. Think of the perspective as I always tell you guys how it could look different from the side. I want to also cut this piece and try to see where it would be useful. I purchased it and then I'm going to try to place it right here and C is useful right there or not. Kay? That tried to place a device perspective as I always tell you guys, and then also duplicate it and put it on the other side, Flip Horizontal. So guys, even little pieces can make the difference with the designs are always got to think about the small details and the big details and the medium details, because that's what makes a great design is having three sizes of pieces. Small, medium. And as I keep always tell you guys, okay, So this one, I need to blend it better so I'm going to use the level as we did before, the same technique. So for the bashing guys, you need always to make a big library for yourself. Maybe you add all the liberal rebooted in breach and you can open a bridge with Photoshop and you work in harmony together with that. Normally I use a bridge trying to drag and drop the images from the files. But I prefer you use bridge or some similar where to put all your images in and make it open another window and you can solve, you can drag and drop easy the images you need. Okay, so here I'm going to use the same level. Make those pieces also with a level to blend them better. Or maybe I desaturate. Also. Don't forget to click this square to clip them to only affect the pieces that all the image. I was telling you guys. Try to make it big liberal and you are working. I all I spent some time, some hours during the day trying to find many images. I may use it for my work. Try to find the images that goes well with your style because we are working on a redesign guys who are trying to put your own style, try to find your own style. I tried to find your own self making a design. When anyone see your designs, want to say, I know the artists, I mean, they know your name directly because that's your way of design and things. Each artist has his own way of designing. So try to find your own self and your own style and an artist who are working with projects in experiment and practice. All these will help you to grow and become a mature as an artist. Don't be afraid of trying new things, guys with the art. Try new tools, try everything you think it may be helpful in your workflow. Okay. As you see, same pieces, I placed them on the arms. Pay. The smart object. Here we have this hand guys are going to cut pieces, are weird and use them for our you can design your own hand and not necessarily use a picture from the net guy. You can design your own hand and then try to place it with your design. I'm trying to be more fast here, so I'm trying this image and on the net and cut in some pieces and try to place them there. They got these piece also. Be single or put it right here. You can even work more on the fingers unchanged, even more the design. But for me I'm going to let it go. This end is not going to appear so much in InDesign as we're going to add the smokes for our image, anything is going to be hidden under this model. Duplicate the layer, edit right here or this finger. Try to follow the position of the fingers in image of a soldier. Copy this one also. I think I need to cut part of it because as you saw with the image of the soldier, there is recent partner John. So I'm going to cut these Neptune's magnetic tool and then I cut it to hitting the delete key in the keyboard. Place it. Well, that's it guys. I think this is more correct, but I want to put all the fingers are grouped together. So I put all the fingers in group two, Gregor, and then I'm going to try to blend them with the image. So name the group two fingers. Select, use iteration. Sure. To plug in square to clip it to the pieces. I try to change the color. I'm going to try to change the color and the saturation, make the saturated. Then also I dial down the brackets. So let's see it because we need to dial down the brightness because in this part of our image there is a shadow. So we need to make the part there. Seat. We have all the fingers place it blended. Now I may make it longer because I think it should be. It's going to try to make pieces, to make it longer and place it better. I want to bring this image right now and cut some details. So neither steel thinking, yes, I'm going to cut all these parts from the image. I'm thinking directly to place these on the arm that so I'm going to cut it and then see how we're going to place it. Command G to group it. Now, holding the command that I tried to deform it and place it in the correct position. That's it, guys. We're going to keep on in the next one. 35. Add Screws With Photobashing: So guys, we keep on washing our hands. I'm going to place this piece using a command and dragging the corner. That's the way you before my piece, as we saw before, I'm going to use iteration. Click on the little square to clip it. And then I'm going to try to make the brightness darker because that part of the design is dark. And I keep on trying to deform the piece to the right perspective, bringing in the image. And then I'm going to cut another piece from the image may be this one right here. Look like a square box. Use a lot of boxes because I think anything hard surface should add a lot of boxes because they can hide some mechanical pieces or wires or stuff like that. I'm going to grab this piece and try to place it on the hand. I bring this piece rotate command, then Dr. corner to place it also as we did before, same techniques and tools. I don t think this is how I hopefully these techniques very well in make a great art to the same technique. Okay. I keep deform the fees to place it correctly. The right perspective, as I always say, be saturate the piece would use a duration and just change the color also. I think this is correct. There is a lot of refining guys we're going to need to do after applying all the material and put in all the bees with a foot of washing technique. We want to clean very well later redesign in. You're going to see how we're going to do that. I'm going to keep on it and pieces to the hand to bring again the same image. The same image guys, because when I look to the image, I come directly to my mind some ideas of some pieces. I may place it in some area of the arm. So I don't hesitate and go cut these pieces and try them on the arm and see if they match the idea in my head. So I'm going to go to these bees, command G to cut the curve it on a different layer. I'll do wave guides. Now. I want to place this piece inside these girls on the shoulder right here, exactly, guys. It look like we can put part of the arm so the command G or use the same technique as always try and deform the piece and place it in the correct perspective. You see a folded inside the gap. Tweak the form. Then we want to sell checking for something else in the same image. Yes, I think I'm gonna get this little piece right here. I think I like it. So I've got this small piece with the magnetic tool and then I'm going to try to find a place for it. I'm thinking more or less the middle part of the head, which is middle. So I'm going to try to move it to the place I want to edit. We can stay bashing the head all the time. Also the hand. I'm trying to not go over with the design guy who want to try to make a balance. But you are working in design. You can stay adding layers and layers of details all the time to go design. Can you get the results you are aiming for? Now we don't just want to, I'm going to try to blend this piece saturated little bit, and then change the color. I think it's blended already. Need to add anything more. Maybe a search if there is something else interesting I can use. I don't think so. You guys, I beg to the screw PNG file I have. And it got some screws. And then I'm going to try to add them to the art. I like this one, so I'm going to try to add it to the arm. The same technique we did before. How the command, and then drag the corner. Do you place it very correctly? I can add a lot of pieces to the arm. I can stay working on it all day long against their work and add in little pieces and details and make it maybe even change the material. But I got to think always what is over for my design, what is the right pieces in the right places? When I add also effect to the design like the smoke. So we're going to see that later in some of the design is not going to be even show on. So it's not necessary to work a lot on the details because some of it is going to be hidden under the smoke. So you got to think of all these things guys, while you are working on a new design. And you try to gain the time you need to finish your design. Working in this field is working deadlines guy. So you got to always optimize your workflow to the time you have to work on your designs. Always keep thinking of that. When I start this field, The worst enemy was in my work is the time guys. Before, as a beginner, I didn't know how to manage my time, how to find the right workflow. The easiest way that make me finish the thing so fast and get the result. I'm hoping for. What I'm trying to do here is I'm going to try to cut you all the time. I spend to try find the right workflow to finish my designs. Do as I do girls and you're going to be okay. Okay. I added screws for the arm. I think that's enough. I don't want to add more. But if you want to add more screws, you can do that. One needs to do the same idea exactly. Another told you also you try to work on your project instead of doing the same project I did right here. Because I think that's where you're going to see your first artwork with the same techniques and you're going to be so great with what you did with yourself taking this class. 36. Create The Robot Tools: Back again, the work, now we're going to keep on photobon and refining guy. So as you see here, I have this image. I want to cut all the pieces on a different layer. I'm going to select this piece. I select this piece and then with command G, I got it on a different layer. Now I rotate it flip zontal want to put it on the back because you need to add some military stuff on his back. I pull the layer behind the layer of the robot and then I try to deform it and place it the correct perspective, So I move to holding command, and then I try to place it very well. Okay. I'm thinking that in military, they have radio on the back, they have backpack, they have more tools, they have more guns, more weapons. You need to think about that while you are working on your design also because any little detail is important to make your design look more realistic. Okay, guys. This is the best way to place it on the back of the soldier and image of the radio I'm going to put it on another layer, and then also try to place it on the back of the soldier. Okay. Do you see the design already start appearing more clearer than before? Okay. I keep on adding on the back of the soldier or these designs. I got to also select all the wires because that's the most important part in my image. Put it on a different layer with command N G, and then you have it alone now. We're going to try to place it on the back flip horizontal. You can let the other image guys or you can take it no problem. For me, I'm going to let them both. Now, I have also this image. I want to cut this piece right here and then I'm going to try to place it in another part of the design. I'm thinking of making a piece that can charge also the machine gun. The idea there is that this kind of a gun can be charged directly from the robot and also a laser gun. While you are working, you think of the details of your design. You think about some ideas try and see if they suit your design or not. Keep your mind always open guys in think out of the box and don't scare to try new things at all. As you see, to make it link to the gun, like kind of a charger. Okay. So I'm going to make an empty layer and try to pe blend it with the gun. Here, trying to draw wires. Okay. Now, I'm trying to refine also the gun, guys, so it's some to change the design of the gun. So I'm going to put kind of a battery right here. Mm. This guy right here is his guy to look so dangerous and so deadly in the design cell to make I don't give it an ice doesn't look kind of friendly or something, I know why, but I think when you give eye for the robots, they could look like kind of friendly and not dangerous. The idea I want to put it here is that a soldier robot from the future, he's dangerous and deadly and he's fighting against human. We can think like he's a robot made by human to fight in the battlefield another human because sure guys, I think this idea is more reasonable because robots are made by human and who's going to control all this robot is human well. In the case of our story here, I want this robot to look like made by human, but here, the idea of our soldier is a robot made by human, but he has his own character, drive himself, take his decisions and fight. He choose to kill or not. He has all the decision. We aren't making concept art guys, we aren't making a story. We got to think while designing, we've got to think what we want to show with our concept art, what we want to make people see in that image because this image is supposedly to be any kind of a story like film or game or anything. I want to give it a background, okay? So I have this image here. I want to cut this little antenna and I place it over the head of my soldier. This kind of a connection antenna that makes the soldier connected to the military base. Okay. I'm trying to make it a smaller and try to place it on the head. Okay. Any details I, guys, I always think about I'm going to put the detail in my design. I need to justify what I'm doing. With some pieces I put that why they are what kind of things are the sensors, lenses, what kind of things I put for my design. Always guys try to avoid put some pieces without thinking of the reason of putting them there. Does that make your design more realistic and more beautiful? We finish this part. Now we're going to keep on in the next class. Okay. 37. Learn To Add Decales In Photoshop: In this section guys, we're going to add some details to our design. As you know, each hard surface object or robots or no car or wherever. Always there are some details in the designs and we need to do the same for our design. As you see here, I have some details PNG, I'm going to add them to the source file material for this class. You can download them and use them for your designs. So I have this small plus symbol. I wanted to add it in front of the head. So let's go ahead and do that. Replace it in the correct place right there. Now I bring another decay will also be sworn in. Here. I think I'm going to try to place it on the head. You can even make your own details and use them guys, because in some of my artwork I use my own because I already designed them. This is another beaker I'm using for my design. As you see, I want to blend them so I don't want them to look contrasty. And then they make the eyes of the observer go directly there on the observer, see all the designs of the head and the body Nazi in the contrasty parts. Always be careful when you are working because we don t, The idea is we make them see what we want them to see. So we got their eyes the way we want. Here. When I add the details, I don't want to look so obvious in the design, in the eyes of the one who's looking go directly there. Also, we need to blend them to look realistic part of the design. So are you the Soft Light blend right here as we did before, we can even brush them little b to make some part of just erase it. You can try to think of the real life and do the same guys. Here also, I have this yellow. See how contrasty it is. I don't want it to look so clear in my design. I wanted to edit and blended with the design. As we did before. Soft light. See that way is more realistic. So avoid to make the details so obvious and contrasty and you'll design with this danger because I'm thinking where to apply it. I'm going to apply it in the arm. Okay? So I'm going to put it right here. Exactly. The place ID, same technique we did before. This is our design. This is art gets belong to us who design as we want. We don't have rules. Thus the most thing I like about are that we don't have rules. We got to follow guys. We just learned techniques and use them to create our own yard as we want. We don't need to follow any rules. And I also hate when someone tell me these things can be done. These things can be added to this. You don't listen to the pupil hotel. You know, this design is not impossible. You can't do these things. You can do this thing. We don't listen to these people understand. We just get free where our mind and do wherever we want to do and try to achieve the results we have already in our imagination. The difference between a great artist, normal artists, is that great artist tried to do all he can to make the art look exactly the same as he imagined it. Some artists can imagine crazy things, but when they tried to realize that they can't do anything guys, in their stock. It's like you have someone example, maybe learning theatre and maybe he has doctor and theatre and then you tell him to act, He's gonna stack is not going to know what to do. So I'm trying to refine with the eraser that are simple. I don't want to erase these a lot of things. We need to find it. So as we were saying, as a designer, the most thing you need to learn is to be a great observer. You got to observe real life. You observe how things are in real life and tried to adapt them to what you have in your head. So I'm trying to cleaning little bit right here and then I'm going to say, I'm going to create it like this, okay, but right now I don't want to distract me with this white paper. Here. I'm using the Chrome to try and clone some part. There. I go and make zoom out and see how I'm grateful about the result up to now guys. But of course, we're going to keep on adding more details and refine the design better. 38. Learn Refining Arms And Head: Hello again. Now we're going to start refining our design. So I'm going to find the layers that I want to refine right now. I just see I'm going to unhide the layer of the head and then I want to clean this part. Don't want this watercolor in my design here. So I'm going to cut this out to delete it. So I'm going to put it on a different layer, enterocyte if on it or I delete the copy on another layer. That way guys, I see if I want to edit or I want to delete it. That's how you guys to work on different layers. You don't put all your work on the same layer. You put always things on a different layer and then you want to fix something, you can make a visit, no problem. Okay, so always remember to put everything on different layers. So I'm going to select the head group. And then we're going to add a empty layer. Then I'm going to choose a brush. I have this square brush, I'm going to include it in the material for this class. Okay guys, this is my favorite brush because when I work in the hard surface, I need the brush that make nice straight lines. Okay? So I'm going to use this brush. I select the color from my design without example right here as you see, I'm trying to select the colors and then refine. I'm trying to refine this part also. See refining we do with painting guys, okay, we paint over our design so then we will fix all the problem and the straight lines and we blend even more pieces we added to our design. The way of refining your design guy when you guys, when you are working on as concept art sketches in Photoshop. If you afford to have a doublet webcam, it's gonna be more easier to work with, but other than that, this is no problem to work with the mouse. Just the word comb is more, a faster and easier for to buy any kind of a tablet. You better try something like that. I'm going to define all the edges right here. Keep refining and fixed, fixing all dancing multiple edges. Time to get the details here. But then I say yes or no, I don't think so. You see guys, I try things and then I delete. I try and lead and see what good goes well, what else would fix the edges and blend of these is better. Now, we're going to also pay into this part is missing from the neck of the jacket. They see. You select the same course from the design and then you try to paint, to paint. As you see here, we already painted the missing part. Now I'm going to paint this part. Shortest paths would be black because it's in the shadow girls. So go ahead and do that. Why you are painting, you got the same in the real world, how things are as always tell you here this part, I want to make it shadowed, dark because I want it to look like a gap. I want I want a jacket to be light jacket without the sleeves because he has the arms out of the jacket. It's cover only the part of the chest. So all these details are necessary to think about the cell. Don't forget that. I'm trying to make the line of the stitches go even further. We try to find more. As you see concept art or design or any of the art, it's always about the little details that maybe enhance the design or make it look better. As also when you go over you, you can make it look bad when you go over it. Okay. Observe always the designs and CD amount of details they had and they put it in each design, you think how to place it to look so balanced? We keep on refining my here with the painting. I keep painting parts from the design. Seen many things when you're going to need to paint the eye. So this is just the first part of the finding when I keep refining more in the other classes. Okay, so now I'm painting the hand, the elbow right here, trying to make it loop geometric. So you see, you see here, instead of designing the piece, I decided to paint here. Okay. We're going to create these armed to look the same as the other one. We keep painting. Now I'm going to be the shoulder with the same color of the other arm. This part also I'm going to put like a cruder and then I keep on painting some, some cuts in the design. And then I paint also the same color. But anyway, I don't know if I'm going to let it painted or maybe I keep on bashing. Okay guys, up to now, we just refine it this way after we keep on bashing in working with going to see how we're going to refine, refine even further. Okay? I always look to your design and see the parts you will need to refine later. Observed very well the edges. Here I'm trying to refine the thesis and try to blend the pieces I made. Please be seated me straight. This part also want to make in class like this. I'm trying to walk with the mouse now to the tablet because I want to show that it's easier to work with a mouse. Not necessarily mean you have a tablet. We always think art is about the artists, not about the tools. And I can make art with any tools I find or I afford to have. You can make great artwork later once you have enough food because it's all about the artist Annette, about the two. Don't always think about that in don't start if you don't find the necessary tools to do your art Omega. I find this little piece right here. I'm going to define this part. You should have the defect. You're trying to paint over all the edges. C will give on fixing the edges. Okay, it looks so much better now. So as you saw guys, we just made the first refinement. It was very helpful to clean your design. So always try to clean your design by painting all the defects. Okay, Glass. We keep on in the next class. 39. Learn Refining The Robot Gun: Hello guys. Now we're going to keep on refining in photo question our design in. I want to add some details to the clothes and also I'm going to add some details to the guns. Were going to redesign little bit the gun and make it look different. First of all, I have these military bag I cut, I want to edit in the place where we had before this liquid paper because it's way it should be more nice than just painting. Okay guys. So the last minute I decided to add this piece right here. Now, we're going to try to place it over the jacket, right? To place it correctly. Okay. As I always tell you, you hold the Command T and try to move the corner from the object to place it over, like it belonged to the design. The design. Now I'm going to use the rep to. This is more powerful because it's going to use many dots. You can wrap the bees over the design. Now, I want to change the brightness and also be saturated and it changes a bit the color. So that way we try to blend it better guys. You see here try to write it because sure, it'd be objectives all do because he's already in the battlefield. He's not to just get out from the factory. Here. I tried to scale it. I'm still trying to place it very correctly with the correct perspective I was telling you guys. I keep on in the piece. Now here I'm going to make a new empty layer it over and going to draw some shadow with the paint. Now, I'm going to cut this piece. This piece. Here, I got it, this little piece and I will try to place it where I've already painted. I lower the opacity because I want to delete the parts I don t need which are over the gun and also see the under shape, any shape it correctly do that. Now, I'm going to dry cleaning the parts in the gun. See here, this part, I need to delete it. Now. Keep on. Drown this bird lady, nice and clean the hand I already added. I'm refining the edges. As you saw guys is all about the small detail. You got to clean very well. And if you don't see more things, you need to fix you back again in another day. Or you look again to the image again and again and again till you see what you need to refine. See here example what I didn't hide the background galaxy and have a lot of things I need to clean because I painted it a background color. As you saw, I painted with a background color, so it was not obvious for the eyes be incorrect lines I made. So now I got to delete all these neat because our soldier is going to be over another background is not gonna be on the gray background. We just say edit, temporary. Now to see how many ages I need to refine the gun also. So let's try to delete some parts we don't need in the loop and then we'll clean them with the paint. So I'm gonna make an empty layer and then C again to draw very straight line. So I'm going to use some technique here. I'm going to make a straight line with the magnetic tool and then with a brush I paint inside. So guys, when you make a shape with the magnetic tool, it's so easy for you to draw a very straight lines and then you paint inside it. Okay. I have this image, so I'm going to try to cut some pieces and see how they're gonna do in my design because I want to change the design of the gun right now. So let's see some interesting pieces. It may goes well with the design of the gun. Now what I'm doing even with these peas, but let's try and find a place for them to try blending. So as we have this piece, we need to change the brightness of it. So we're going to select adjustment layer, hue saturation. And then I'm going to try to do the color and also with the brightness. No, I choose the level also. And then I try to blend into play with the mid tone, the shadows and the highlights. See he didn't blend very well. Change the type of a blended from normal to maybe missed by maybe pin light. Yes. I think I like it ends and instead of adding details there, I added imperfection of like the gun already been shooting in, burned in that area. Okay guys. So here also I have this video image. So I'm going to select the Display and I add it to my god, it's a futuristic glands. So we're going to try to add a display screen for it to dry place it. So as you saw, we place the screen there and now we're going to try to change the color. I want to change the corner of the screen to arrange. What I need. I clip the user duration to affect only the screen in vain or change its color to orange. I just saw that with a little bit of details. We already change it, redesign of the gun. And he made it look more realistic. I don't want to cut this piece right here. When I added inside the design lie the batteries. I'm going to cut this part. Any added When a more rounded down right now, I'm thinking maybe I can add wires, maybe I can add this isn't your batteries or cylindrical, and they can even add lances. I can add many, many ideas come to my mind, but I'm not going to try to go further with this design expecting, I'm going to try to make this smaller. That Megan who because of realistic, because if we're going to keep on adding more and more design course is going to be like maybe 20 hours or even more. We added this piece now we're going to try to blend it with the gun. The idea of this course guys are going to show you how to make would be the smallest way and the smallest things. Great concept art and also show you the techniques that you can use them for your own artwork. Okay. I'm going to put a two in this part right here and try to blend it better. I don't want it to be completely of these gabled to be kind of a little bit on the edge of the gun. Because if I want to pull it inside guys and we need to cut part of that gun and put it on a different layer and then place this piece. Now I'm going to try to change the color to yellow down the brightness and the use of duration. Add a new layer. Then I'm going to add empty layer. Now I'm going to try to blend it with the paint a little bit. But as I told you, this is going to take a lot over time. So here we tried to add little bit of details that make it look futuristic. Okay, I'm keep on painting some part. Now I'm going to select this piece right here. See if I can place it somewhere. I'm not sure yet. We're going to get it in Beirut. I place it over our values. I'm going to make it blue, kind of a pattern, not a piece. Okay? So first of all, I'm going to blend it with the level. So this is what I'm looking for, so I'm going to change its blend option. I like it this way. I'm not going to find another piece by that. Then I'm going to let it this way. It's going to do kind of imperfection. Sometimes we may designs or use some pieces to use them as an imperfection or some pottery. My head. The design. Sometimes I add them as a pieces. It's up to the ideate come my mind while working on the design in that time. You saw here guys, now, we're going to keep on working on the design in another video. 40. Add Effects To The Image: Hello, guys. I'm glad we're reaching the final section, the final details to our design. We're going to put our soldier in his environment. First of all, with a lasso tool, I'm going to erase character from the background. You can use a different background if you want. I want to use the we already matched the light of the background to our design, but if you want to do a new background, and you need to match your design color and light to the new background, okay? Here I go to contend to where feel. Appear right here, Kickok wait and there it is. The soldier gone. First of all, I need to make command to blend the new layer and the original one. Command D, select the as two. Now I bring my character and place it on the background. Here I have some PNG files of scratching and dust. I drop in my photoshop and I try to add them to my character because as we were talking before, guys, he is a soldier, he's in the battlefield. Normally he's going to have a lot of imperfection in his body. We're going to have some scratches, we're going to have dust, maybe we're going to have a blood. I don't know yet if I'm going to add the blood or not. But right now I'm trying to add scratching and dust to my design. As you see here, I'm adding it, and then I delete the part I don't want. I need to see maybe if I change the blender. To overlay maybe soft light. I think I'm going to it soft light. I make a layer mask, then command I inverted, and then with a brush on the white color, I try to reveal part of the MPN G file. This is the best technique I use guys. I put the layer and then I make layer mask invert the layer mask and then instead of applying and then erase the part I don't need. I just to reveal the layer in part I want. You see here I duplicate the layer and then I raise it from the part I don't want. So I add on the gun also. I add everywhere everywhere I think I should add guys, okay? So the same? No, I'm going to add this texture. Because as you think guys in the battlefield, there is a lot of bombs. They've been thrown and a lot of dust is going to be thrown on the soldiers. Normally in the real life, it should have layer of dust also. I did the same layer mask and then invert the mask with command, and then I try to reveal the dust in the parts I want. Sure, when you want to reveal, you put on the white collar, when you want to erase, you put on the black color. Don't forget that also, the brush should be always on a lower opacity. Hey. Glad we reached the glass part and the design looks so awesome right now. I'm so happy with the results. I just need more details and then it's going to be ready. I'm going to add a little bit dust to the gun to the hand. Adds to the metal sticks. I'm going to add also to the antenna This is antennas of the military radio guys. The low the opacity. Convert to smart object to another layer of scratching. Then I try to place it over the head. Okay? Do I, guys. You see guys all the texture we added to our design. It makes it look even more realistic and blended with the environment. I have also this PNG file of blood I'm going to add. But first, I want to change the blending mode to multiply. Then as we did before layer mask invert the layer mask. And then with the brush, I try to reveal some blood in. He's in the war in the battlefield. Normally, you should have some blood on his clothes or even his face. That's the reality of the war, guys, no matter, it is very ugly and all, but I mean, but when you think of a war, you know what thing is going to appear on the soldiers, like blood, dust, scratching. Maybe even gun holes as he is robot, is going to have some holes from gun shooted on him. I don't think I'm going to add bus to the design, but if you want to add that to your design, you can search PNG file of bullet holes, and then you blend them to your design. Sign. Right now, I decided to change the color of my soldier. I tried to change the color of my design completely. Let's go and do that. Would I select adjustment layer use saturation, then I will find a color I like. The brightness maybe a little bit. I let it on the color I like, guys. Now I'm going to also make a layer mask for my use seration color and try to erase a little bit of the color from another parts. I drop a smoke PNG file, and then I try to place it with my design right here and duplicate the smoke also and I place one behind. I think I like it how it looks there is burning behind him where he is. There is things burning behind him. Also, the smoke is very contrasty, so I'm trying to lower the opacity and make less contrasty. And then I keep on try to place the smoke where I want. Lower the opacity. So as we zoom, it's very nice, guys, I like the design. I like the result up to now. It looks so great the image. We made a great concept art up to now, still a little bit of refining. I don't want to convert the layer of the soldier to smart object, and I need to use the go blurt bit. I'm going to add a little bit blur. You make A bit amount of a blur to the design 02.0 0.2. Would the last I select some part I want to blur. Then I go to Booz blur. And then I try blur We are trying to add the field of the camera lenses to our image. As you saw guys, we make some part of blur. Now we're going to use adjustment layer bright and contrast, try to make it dark and then I'm going to invert the mask layer and try to dark some places right here example under the arm. With the white color, I try to add some shadows to this part. Dark part because I think that's the correct thing to do, guys, dark in the part I need. Yeah. Then also with a gradient tool right here, choosing the black color and I add some vignette to my design, and then Now, I go to the color and I choose layer, then the opacity. I chose in this one. So we finish already, guys, we can merge all the image, and then I bring it back to the photoshop and then you see all the things maybe you need to refine or anything, and then you can save the image and you send it to your client or you post your portfolio or wherever you want, guys. I'm going to show you on the last video details we need to refine to make the image even more perfect because with all project guys, we need to refine some things, okay? Okay. I may wait another day to bring it back to photoshop guys and see it again because that time as my eyes get tired working on the design many hours and many hours. My eyes already get tired and I don't see the little details or the defects in the image. I got to back another day and see the image again, and then my eyes is going to see new things I didn't see before, guys, always do that. You finish the design today, tomorrow, bring it back to photoshop or wherever and look at it again to see if there are some things you need to refine. Always do these guys. This is very important, a because always the eye is going to see things didn't see before from the other time as you get tired working and seeing the same things hours and hours and hours. Guys. Guys, we make a great concept art and think it look amazing and cinematic. We're going to keep talking on the last one, and then we look to the design again and see what we're going to refine more. 41. Final Refinement : Okay guys, I'm so happy we're finished already the class and we created good concept art. Now you can design robots and go wild with your ideas. The last thing we need to do is refining our texture. After applying our texture, we revealed it in places without thinking. I wanted to show you how to fix this when it happened to you. But you should always be careful when you invert mask layer and start revealing texture. Take your time to reveal any places to look realistic. Here it's a mess. We have continuous lines and texture are floating in space. To fix all that, you just make empty layer. Then with the brush, select the same color from the place you need to fix and you paint over it to erase it. Then we're going to have a realistic result. Watch on your image and try to fix that in the head and the arms, the glowed is anywhere. Okay guys. The last things I want to advise you guys is to practice a lot, the techniques and tips and tricks and try to work on another project. Then try to create your own portfolio because that would make you a great artist. Thank you so much for taking my class. I really appreciate it. I hope you learned a lot from it and it was very, very clear for you. I will be waiting to see all the art you're going to create, guys. Okay? So after you create your project, I want you to upload it to our class so I can see them and they give you my opinion on them. Okay. Keep a nice guys on my profile. I will be uploading lot of high-quality courses about many fields, design, graphic animation, 3D illustration, concept art, and a lot of other things. Thank you again for taking my class and I hope to see you soon in the next classes.