Mechanical Creature Making for Production

1. Introduction: Hi guys. Really want to improve your modeling skills. Would you like to master the hard surface workflows? Do want to create production ready acids and present them in the best possible way. If that is the case, then they welcome you to the next. It's mechanical creature making for production. My name is Abraham Lille. I have 12 years of experience in the industry and I will be your instructor throughout this course. Hard surface modeling is a fundamental skill to have as a 3D model. The skills you will learn here will make you a better model or as I will show you the full pipeline to create a production ready mechanical animal. Starting with the blocking and going all the way to the final render. In this course, we will go over initial blogging, subdivision modeling, modeling for production, UV, texturing, cameras and lights and rendering. In this course, I will guide you through the full production pipeline. We will start by analyzing the concept and preparing our workflow. We will then jump into modeling the inner skeleton while making sure that all of our choices make sense for future rigging, we will continue with the full armor onto our lie on garden is fully prepared to defend this abandoned. In the last chapters, we will go over UV texturing and finally, rendering to showcase our work in the best possible way. The course is aimed at intermediate level students. The basic understanding of Maya and Substance Painter is expected. However, I will be covering every single step. We will be using Maya 2023 and Substance Painter in its most recent version. So make sure to have the latest updates. If you want to become an amazing 3D modeler, then look no further. The join us and become an amazing 3D artists in no time. 2. Project Setup: Hey guys, welcome to the first video in this series. My name is Abraham wheel and throughout the series I'm gonna guide you through the creation of our mechanical alliance. Now, it's always funny for me to record this first video because it's kinda like traveling back in time. You just saw me explaining the intermediate with the renders and now we have nothing. And I actually haven't seen the final results were gonna be discovering it together throughout this series. So I'm going to show you real quick how to set up a Maya to make sure that we get the best possible performance and so that we're ready to start working on our character. First of all, we need to create a project. This is the most important part of this video. We need to create a project because everything we're gonna be doing is going to live inside of this project. You can create your own project or you can copy the files that are gonna be provided to you so that you can start working. But if you're going to create your own and you're gonna go here to project window. You're going to create a new project. You're gonna name it whatever you want and you're going to place it on whatever place you want on your computer. By default, projects are placed inside of documents and then the Maya file, and then projects. If you don't have extra hard drives, then that's probably going to be the place where you can find that as you can see, I have a slightly different place. This is the same thing. Once you hit Accept with your new project, you're going to have this folder right here, which is going to have all of these different sub folders where we're going to be placing and storing all of the different assets that we're gonna be using throughout the D series. So the most important folders in this guy is actually going to be the Assets folder, the scenes folder, and the source images folder. We're probably going to be using the images folder as well, but those three that I mentioned are going to be the most essential ones. If you're using your own project, make sure to go to the source images and copy all of these images that we have right here. This is a concept piece that they asked my good friend, Eduardo Domingo's to create for me. You can find his stuff as, as fox on art station. And as you can see, he created this very, very cool looking lion, a skeleton like a, like a robotic skeleton. Then we have armor plates on top, and then we have this very cool main as well, like finalizing the concept. So we're gonna be doing every single bit that you see right here. And we're gonna be making sure that it's not only properly model, but also functional. We want to keep functionality as one of our outmost or topmost priorities. Okay? So, yeah, all of those guys right here, they're the same it's the same concept piece, but it's just on different abuse as you can see, yes, they're slightly pixelated because they were taken from the other one. But we're gonna be using them a nonetheless and they should be working perfectly fine as long as we can see the main silhouette of the pieces, we should be fine. Now, now that we have this, we need to go back to Maya. And there's again a couple of things that I want to show you that can increase and give you a better performance. First of all, if you go down here to the little guy that's running the little like Options icon. You can go to animation. And on the evaluation mode, we're not gonna be using animation, but it also helps with degenerate the viewport thing. You can change this to dg, which usually gives you a better result. If this doesn't work for you, go back to parallel and that one should also be a good one. Then if we go to display, sorry, where is it? I think it's here on the renderer viewport to 0.0 options. There we go. You can change, you can add GPU instances. This is going to again, use your GPU to help you, especially if we're instancing a lot of geometries two together, a weather effect. There's also another option that I can't find it right now. Where is it? This will change the options. You're using. Direct X 11, 1 s right here under display, down here on viewport to point. Now, you can see that right now I'm using OpenGL core compatibility. You can change this to Direct X 11 as well. You're going to have to restart Maya. And usually, usually you will get a slightly better boost. But there are certain things. I don't think we're gonna be using them in this particular project. But there are certain things such as particles and simulations and stuff that don't work really well with a Direct X 11. So just, just keep that in mind. Again, I'm going to have to restart for direct x2 to take or to work properly. That's one thing that you can do right there. The second thing that we're gonna do is we are going to change the undo option. This is a very common thing that a lot of people miss. If you go back here to preferences, you can change the undo option. And as you can see right now, I have this cute to infinite. I don t think infinite this a good idea, especially if you're gonna be working for a long periods of time. Let's say you're working for 6 h, 7 h in a day, then your Q is going to become bigger and bigger and bigger. And that is prone to generate some sort of like crashes and stuff. I personally like using finite and usually I do increase this to something like 300, 300 because even camera movements sometimes count as a queue size. And you're gonna get there, you gotta run out of options. If you made more mistakes than 300 on those, then it's probably a better idea to just start over with that particular piece or that particular part of your character. Some people like to use autosave. I personally don't like autosave because it can interrupt you in the middle of something. And if you're saving something that's really heavy, it can take quite a while and that could also cause crashes. So I personally don't like auto saving, but we're gonna be using one function called increment and save, which has this one right here, Control Alt plus S. What this will do, like let's save this real quick. I'm going to say File Save Scene. As you can see, the project is set, very important that the product is set as well. I'm gonna call this blocking. So if I save that as a blogging and then I started like creating stuff and placing stuff here on my scene. And then I say file Increment and Save. It's going to save it as blocking.00, 01. And this is very important because again, if the file gets corrupted, if it crashes and you lose it for whatever reason, you always have some other files that you can come back to. One of the saddest things that have happened to me and to my students is when they are working on something on a single file. And after weeks of working on, the file gets corrupted, unfortunately, there's no way to change that, there's no way to fix it. And you're going to have to start over and you would hate if that happened to you guys. Finally, we're going to create our own shelf. As you can see, I've created my own shelf right here, and I'm going to guide you real quick on how to create your own. These are the most common tools that we're gonna be using for modeling. We might be adding more tools as the lessons keep going. And it's very easy. You just click this little cog wheel over here and you create a new shelf. Once you do this, you place or you add your shelf or the name to the shelf, and you're gonna be ready to start adding icons. How do you add icons here? You just look them up on the menu. So let's say I wanted to add, for instance, the UV editor, right? So to just go for this one and you press Control Shift and click. And that's going to add the icon right there. You can right-click and delete the icon if you don't want it. You can middle mouse and drag it if you want to move it into a different part of the shelf. Now, what are the icons that I have right here? Let's start with this first one, delete history. We know that every time that we select an element and we start doing things to the elements such as, let's say like an extrusion and then like a bevel. And then like another extrusion, a history is being formed, right? Like all of these guys right here are the inputs. These are all of the tools that I've been using for this particular elements so that the little history will, of course, delete that history is very important to keep things clean and to keep the Maya file in a small size. The second thing is a deep freeze transformation. While working you find this is edit, delete by type history. So Control Shift and click to add that button. Then we have Freeze Transformations. Freeze transformation is when you move an object, rotate around the skillet and you want to make this new shape where this new orientation, It's based orientation. You want all of these transformations to be cleaned. Just freeze the transformations. So now if anyone comes to my file, moves things around and mess them up, I can very easily just go back to zero out that translates the rotates and set a one to my skills. And the shape is going to go back to its original position. Very important as well. You're going to find that one in Modify and then freeze transformations against control. And click to add the button. Center pivot, as the name implies, will center the pivot to the mass of the object or to the volume of the object. So if I go modify center pivot right here, the field will go to the volume, to the center of volume of the object, which has that one right there. Very helpful as well. Again, Control Shift and click on center pivot. Then I have my six main primitives that I use for creating pretty much any single element. We have our sphere, we have our cube, we have our cylinder, we have our tourists, we have our plane, and we have our pipe. Those are the six main ones. You can add more if you want. And all of those you can find inside of Create Polygon Primitives. And again, control shift. And you just start clicking on all of the ones that you want. If you want, you can add all of them, but you're going to run out of space very quickly on your shelf. So I recommend keeping this six right here. Then we have this tree. I call them the special meshes that we're gonna be using. The first one is a nurbs circle, which has just a curve in the shape of a circle. Very, very helpful. There's one right here is called an EP Curve, which is a curve that we can draw on top of the, in this case the floor, as you can see right there. And this one is a new tool introduced in Maya 2022 and available in Maya 2023, which is the sweep mesh tool. So I'm going to grab both elements right here and click that. And as you can see, it extrudes the shape alongside that specific element, which again, super, super, super helpful. So these guys are going to find here in create NURBS primitives. Here's the circle, create curve tools. Here's the EP Curve and create sweep mesh. That's the sweet brush. So those three guys right there, after that, we're going to jump to the mesh tap right here. And we're going to select a coupon. We're going to select combine separate and feel hole, which has combined separate and feel home, very important ones as well. Then we jump into Edit Mesh and we're going to select bevel, rich and extrude. So Edit Mesh. Bevel, bridge and extrude, which again are one of the most common ones that we're gonna be using. Then we jumped to mesh tools and we're going to use Insert Edge Loop, offset edge loop, multi-cloud two and quadrant four of them, Insert Edge Loop, offset, edge loop multi got quadrant two, this four right here. And finally we're gonna go to Mesh display and we're going to use hardened edge, softer niche and the reverse. This have to do with the normals. If you have a blender user, you are familiar with this one as well because you can change the way that objects are displayed without having to smooth it. Just a visual display of how things look here on the assets. Once you're done with this and make sure to go to this little cogwheel again and just select, save all shelves. So all of the changes that you've done right here are safe and we can continue with the, with the elements. Two more things, that word you can add. This thing right here and this thing right here. What are these things? Well, this thing right here is the object information or actually the scene information. So it will tell you how many vertices, edges, faces, triangles and UVs we have on the scene. And when you select an object is going to tell you how many that object has. And if you go into the components, you're going to select components has got to tell you how many components you have selected. Super, super helpful as well. And this one you can turn it on by going to display, heads up, display it, That's called, and that's called, Sorry, poly count. We've turned on the polygon. I also like to turn on the object details, which is this one right here, which allows me to know whether this thing has back faces. What is an instance in this case, it's not whether the display layers and the default, and the distance from the camera and how many objects I have selected. Again, it's important information that's quite useful to work with. Yeah, I think that's pretty much it. Now, since this is a set of project, I do want to talk about a resetting Maya. This is a very common thing. You probably already know how to do it, but I'm just going to refresh your memory. If at any point Maja starts acting weirdly and you're using Windows, the way you can reset it back to factory default, you're going to lose a lot of the stuff that we just changed. But the way you can change that if you navigate to documents, maya, the version of Maya that you're using, and you literally delete all of these things. If you have scrapes or presets or things like that, you are going to lose them. So you're going to have to re-install them. But it will solve most, I would say like a 99% of your Maya issues. Now, if you want to save your shelf, you can actually save it. You can go to Preferences, you can go to shelves. And if you find your shelf, which in this case it's this empty guardian, I can copy this to the test Dilbert to another folder. Delete everything, open Maya so that the folders are created again. Close my hair again, and then just bring back all of the things that I like safe in other places. Once you do that, my I should be back to default and you should be able to continue working normally. Other than Maya, we're probably going to be using a couple of other softwares, but we'll talk about those later. With this, we're pretty much done. Again, just make sure that you place the images that I mentioned inside of your source images folder. Because on the next video, we're going to start building our image planes right here. And we're gonna take a look at our reference to understand how we're gonna be approaching this concept. So, yeah, hang on tight and I'll see you back on the next one. Bye bye. 3. Setting Image Planes: Hey guys, welcome to the next part of the series. Today we're going to continue with the image planes, which is an important part of the process. Make sure to set up your project and make sure you're ready. And we're going to jump the jump straight into the right view. This is the first view of the work in that place here. Going to say file or sorry, over here at BYU. And we say image plane, import image. And you can see we have all of our stuff right here. We're going to start with the skeleton. So I'm gonna go right view. Not armor, not caps. It's the right view. Where is it? Right. That is one right here. I'm going to hit Open. And there we go, you can see has a little bit of transparency. That's fine. I'm going to leave it exactly as it is. Very important. We're going to go to the front and B0 now. Now, if you don't like this like option over here, there's a shortcut, which is this little button that says image plane. If you click that one and it's the exact same thing, we're going to go front view, which is where is it? Not have a front view? There we go. I mistakenly name at a front view, but it's a bacteria or actually I mistakenly they met back view on the final but it's the front. There we go. So as you can see, this is important because I made sure to get this things as close as possible to the proper size. If we bring this forward, you can see the BRI much, much it, we only need to bring this up a little bit. And that way we match perfectly with the front view. Again, it's not very often there's, you're gonna be able to get this sort of like planes for your projects. But if you can get them, it's a really, really useful because it makes things a lot easier to match. I'm gonna go to the top view now, same stuff, view, image plane, import image and we're going to import a d double BU. That will be why? Because it has the top view right there. So we're going to rotate this thing around 90 degrees. Very important here. 90 degrees. There we go. And we're going to move it so that we can center the back part right there. There we go. So technically it should match. And again, you can move this forward. I'm using the border of the head to match things. So I'm trying to get this and get as close as possible to the proper matching information. So as you can see that matches pretty nicely. There might be a couple of things that don't match as nicely. For instance, actually, feels like the ribcage is not matching, this case molar. Oh, I think this one's a little bit smaller. Okay, that's fine. Now, see how there's some lines that might constitute what is Drew. Well, we can actually scale this thing so we can find the proper lines. There we go. And that should give us something a lot closer. Perfect. So now this should match a matching dislike lines back here. And again, we don't need a perfect match, but the closer we can get, the better. Let's go to top view here and just make sure that we're right down the center. Cool. Now this image, we're going to push it down because it's gonna be the top image. Well, actually, before we do that, I'm going to grab all of the images. And right now we scaled all of them at different rates, but we need to continue to scale them so that we get a proper world scale element. But what does world's kill me? And for those of you that are unaware, anytime you create something inside of Maya like this cube. This cube measures one by one by one on the scale. That means is this is 1 cm by 1 cm by 1 cm. Maya works by default in centimeters or their software such as blender, they work in meters by default. A lion of course, is not that small. Actually just look this up and it says that a male lion grows up to 3 m in length. So I would guess it's 3 m from the head to probably the tail. I guess. That's roughly the size that we want. So we're going to create a queue. I'm going to change this cube to a scale of 300 on the c-axis. That's how big we want our lion to be. And then on the y-axis, let's say 100, which is like a meter. And this one, let's say 100 as well. So I'm not saying that this is gonna be the final volume, but this is roughly the volume that we want. I'm going to bring this up on top of the floor. And then I'm going to go to my image planes, all of them. We're going to select the 3D image planes right there. And at the same time, very important, at the same time, we're going to scale them up. Why? Because we want to keep the proportion. So I'm focusing here on the side view. When I get it as close as possible to those 3 m. That's seems about right. And we're going to move all of them up. The legs are touching the ground. Now you can see again that my concept artists did the legs in such a way that they're sort of like three-quarter view so that we could see how the mechanisms were working. Well, we're going to do them perfectly on a side view. So I'm gonna go to the heel, which is the part of the character does normally going to be touching the ground. And that's it. I think it's a little bit too big to be honest, so I'm gonna make it a little bit smaller, roughly around there. There we go. In my case, it's 36 now we will want to be precise. Well, I didn't want to add 35 because the numbers are gonna be different, so I'm just gonna leave it like that, but you could round them off. Now, this guy right here, which is the top view, as you can see, it moved a little bit when we did this whole thing. I'm going to have to re, position it right around there. I personally like to change the Alpha Gain of my image planes to something like a 0.5 or sometimes even like a pointed to. So they can see through them and I can see that the the grid a little bit better. Let's try 0.01, 0.0, 0.1. There we go. Now this guy, we're going to the top plane, we're going to push it down. This guy. Again, we're going to bring the alpha again, 2.1. And we're going to bring this one back. This one, it's the front but we're gonna be seeing or it should be on the back. Same stuff. We're going to change the alpha again, 2.1, and we're going to push it to the back. We don't need this box anymore. And there we go. Now, we have the whole scene properly setup. There's one more thing I would like to do here, and that is the grid. A lot of people have this sort of like fear inside of Maya Island though it's kind of like psychological. I used to have it. Where do you feel that if you're modeling outside of the grid, things for just gone like fall out or whatever. So let's change the grid size, okay? And this is only going to affect all of your myosins. So be wary of this change, but it's a very simple way to bring it back. So you're gonna go to display a grid, display a great option box, and you're going to change this to 100 units units. And the one subdivision I hit Apply. And this will make it look a little bit better than what we had before. Now the only thing that's gonna be different is when we create pieces such as a cube, you're going to see that the cube is really, really, really small. It's not that big of a deal. You can just scale it up and freeze transformations. But again, just keep that in mind. There are ways to change the tool so that the basic cubes or like a scaled them more than they should, but again, not really needed. Now, do not make this mistake. Do not go here and change the scales. There's an option here that you can do. I believe it's under settings. There we go. Do not change this because there's a lot of tools and things inside of Maya work properly with centimeters. If you change this, you might encounter more issues. And there you go. You're gonna go back to another Maya project and you want your grid back to normal size, just display Griffith and Edit Reset Settings. And that's going to reset your grid back to the original size. And that's pretty much it guys. Would this, everything is set up. I'm going to save this scene real quick File, Save CNS. This is gonna be my blocking. And yeah, that's pretty much it. I'll see you back on the next video. 4. Understanding the Concept: Hey guys, welcome to the next part of the series. We're going to take a look at understanding the concept. And this is a chapter that I always like to add. They've either they're always like to add. Because I find that this is one of the things that people forget or ignore the most. And understanding the concept is really, really, really important because it will allow us to prepare ourselves mentally and technically for, for what we're about to do. So when I was a woman word sentences concert, I asked my friend Eduardo to be really mindful about the rigging potential than we could have later on with this constant was like think about this as a mechanical thing that they would have built at the MIT similar to this or robots that they show in like Facebook and stuff. So as you can see, every single point of the robot works as a rig. So eventually, if we built this properly, we should be able to rig it relatively easy. This works as a huge mass. Of course it has an extra little things that we can modify. But then all of these sections should move and rotate in the way that I normally like human or in this case lion body would rotate. You can even see the tail right here. Look at that. I love this. Every single chain here on the tail has a little connection. So it will be movable even though we're going to cover it with a membrane or something on top. So this is the sign. So this is the first thing that I would need to think about. Is this thing going to be able to move? Yes. Then we have the next part which is how are we going to be attaching all of these things? Well, we know that they're gonna be overlapping. They're gonna be stuck to the different pieces. We don't really need to think about all like all of the connections such as nuts and bolts. But we do need to be mindful about how we're going to attach this to the overall shapes. So for instance, this thing right here, there's a three-quarter box. You can see he drew the ligand is sort of like a three-quarter view. That's fine. And this thing right here is going to sit on top of this section right here. And they also asked him to make it so that it will be easier to see the inner mechanisms. And you can see it on the drawing right here, how we can see the little outlines where the inner skeleton is gonna be covered by this armor. Finally, we're going to have to attach the main and actually on purpose told him Don't show me the connections because I want us to figure it out during the videos. How we're going to be like connecting all of these things to the neck, but all of this like plates we're gonna do, of course, one individual plane and then the sizes are going to change. And all of these plates are going to be attached somehow to the body of the lion in a way that makes it easier or easy for us to rig it. Eventually, other things that we need to take into account is how many pieces do we have? This is another thing that people quite often forget that, but they will see the elements that will check the elements and the pieces that we get are like, we just forget how many pieces we have. So for instance, on the head right here, the armor we have. Let's count them real quick. Let me make the brush a little bit smaller. There we go. So we have one piece on the neck, two pieces on the neck on the head. It's pretty much one main piece right here. And then the job, but of course this main piece right here and even the jaw is middle of a couple of pieces. Each of these things, That's 123, the antenna that's for we need to count and to see how many of those businesses we have, because we're going to have to make them. And if we understand what those are, it's going to be a lot easier to, to create them. Another thing that I wanted to show you with this video is a technique that I like to call the wireframe technique. Every now and then, you're going to find specific pieces that you might be like a little bit curious about how to model like this piece right here. How are we going to model this piece? It's a, it's a slightly tricky piece. Well, if you are at any point modeling any sort of thing, one thing that you can do is draw on top of this thing, a wireframe and think, Okay, this is the main shape right here. The lines pretty much guide me through the whole thing. So that's the main shape. And then this main ship has to go down to create this thing right here. Well, how are we going to connect this with another big face right here? And then this phase goes like this. And then like this, and then we have this. What do we do? Do we continue down or do we turn around with her? That that's the kind of questions that we're gonna be asking ourselves quite a bit for all of these pieces. It's fairly obvious, we just keep going straight and that's fine. Keep going straight, and that's fine. But here do we go a straight or do we change directions? The question is gonna be answered depending on the type of thing that you'll want to have when you sub-divide. Remember that if you have a corner and the corner is like this, when you subdivide this thing is going to change to a round. The fact that thanks to the cathode Klux of division approximation, we're going to get this change right here. However, if your topology is like this, we have this sort of like a corner. When you solve the right, it's going to remain like that's going to remain really, really sharp. And that's pretty much what I want right here. So I'm just going to keep going. Like this. So the edge loop does not flow with the rest of the elements. It just keeps going. Now this of course, a 3D piece right now, I'm drawing the wireframe him rowing and flat. But I know that if I had to make this piece, it will probably be like a box that has some three-dimensionality to it like this. So there's a couple of angles. And that's why studying the concept is really important because again, I can see this piece, it looks flat, but if I were to make a side view, it will be like this. That's the side view and this is a three-quarter view. So all of those positions, so all of those elements are the things that we need to take into account when we're analyzing the concept right now so that we understand all of the things that we're going to do. We need to point out where do we have circular pieces? If you've seen the previous hard surface course, when we talk about circular pieces, circular pieces have a specific way of creating the topology. So being very aware of where all of these pieces are is going to be quite important as well. Another thing that we can do here when analyzing the concept is dividing the concept into sections or regions. I really liked doing this. It's one of the ways that keeps me more debated. And so one of the ways we're going to be dividing the whole chapter. So what are the main section as well? We have the head section. We have the front leg, we have the torso. We have the pelvis, have the back leg, which kinda like overlaps a little bit with the pelvis, of course. And then we have the tail. Okay, So those are gonna be our chapter. So what? We're going to have one chapter here, two chapters here, three chapters here, four chapters here have five chapters. Here's the tail is probably going to be combined with the pelvis. I think it's a it's an ECP is to combine right there. So that's the way I would normally advance. However, I'm not going to jump into doing the first. The first thing we need to do is the skeleton, because if we have the proper skeleton done, then we can very comfortably start modeling all of the armor pieces around that skeleton. Okay, So does a sketch right here. This is like big concept piece. It's actually a very good indication of how we're going to go. We're going to start with our skeleton. We're gonna go then to our main armor pieces and that the end after we have that, we're going to add the lion's mane on top. And yeah, that's, that's pretty much it. This is again, the analysis of the concept. And it's very important that we have a very clear outline of how we're going to be proceeding because there's nothing more frustrating than seeing a concept and then not knowing where to start, like just being completely, completely paralyzed and not knowing how to begin with something. In our case, we're not only going to start here, we're actually going to go back into time and we're going to start with something called a blocking. You guys know, I love doing blockings. It's a great way to see a concepts start to exist to get SHA-2 or not get shipped. What's the proper words? It's the perfect way to understand the main forms of our objects. Before we actually do it, I'm actually going to be showing a very interesting, uh, blocking method, one that I haven't shown before. So hopefully you guys like it and yeah, that's it for this one guys. In the next one, we jump straight to the Blocking. I'll see you back on the next video. 5. Block In Construction: Hey guys, welcome back to the next part of our series today we're going to start with a very, very, very quick blocked. And I want to show you a very nice little trick here that we can use just to get an idea of where things are going to be. It's a very, this is the most basics of block and we're not even going to create cylinders and stuff. We're gonna be creating using another tool called the Create Polygon Tool Control Shift to add it to our shelf, I'm going to click this guy right here. And what I'm gonna do is I'm going to trace the main shape or form of this like ribcage like that. And then we're gonna go to the top view. And we're going to extrude this thing to the side until we get roughly the shape that we want, which is about there. I can see that this middle points that go in, so I'm just going to push them in if needed. And that is at this you can see we've created the very basic blocking of the chest. I'm going to delete this face and remember that I told you that I don't like using the mirror button to access the mirror function. By the way, let me turn on this thing which is the shortcuts. You're going to press Shift, shift, right-click, and then you're gonna go mirror. And you're going to mirror this on the x-axis, negative combined with original points 001 on costume merge threshold. This is very important. Make sure you have the settings anytime that we're gonna be doing a mirror so that things are actually welded together. We can apply and there we go. That's our chest. And then we take a look at the front side, should be able to get something that looks similar. I can see that the front side actually it's not line up. Let's line this up. Let me grab the image plane. Move it. There we go. And this is where things might be slightly off because for instance, I can definitely tell that we have the proper size right here. The front view, it looks a little bit too wide. So let's just bring this back end. And we're gonna be jumping between the front view and the side view to try and find the best possible balance. Let's go back here and let's block in the next shape, which is going to be the head. So I'm gonna go here with this tool right here, and this is like the jaw. There we go. I wanted to save a little bit of time. So I'm gonna do this immediately with this guy right here. Like that. And grab both these elements, control E. Go to the front view. You can see it's not that big. There. I feel like, oh, this guy is, it's on the bottom. Raise this thing a little bit more. So go to object mode, grab the image plane again. Move this up right there. That's a little bit better, right about there. We go again to the top view. And let's take a look at that seems about right for the size. Because the eyes are going to be on the side. I'm going to grab this two objects, mesh display, reverse. Grab this face deleted, grab this face deleted, or both objects and mirror. That's gonna give us the basic shape of the head. Now I'm gonna go to the front view. You can see those are like the eyes and those are indeed cylinders. I'm going to add this cylinder right here. A little bit bigger, right there. Bring it all the way forward. Let's go to the right view into the cylinders are right there. I'm going to overlay the side view more than I do the right view. That's very important. Usually the side view and the front view are the ones that we're gonna be using the most. But in this case, our side view is gonna be like the master, the master wants. So that's the main one that we're gonna be like putting attention to grab another cylinder in here. That's gonna be the the jaw, jaw hinge right around there. And actually we have a lot of cylinders. So I'm gonna go to ride with them already. Going to start like placing all of them. So that's the it's like the neck joint right there. Then I can see we have another one right here at some sort of like sternum, like right around there. We have another one right here. Would be like a knee. This is like the hip. Okay. So we're just capturing your positions as closely as we can. And then we're going to of course modify this one, is gonna be a little bit closer to the side of the equal to sidebar here. You can see how much it like folks out right around there. That's mirror the sternum. I think this term is going to be a lot thinner. So I'm gonna go with something like that. This is the knee goes right around there. Actually that's like an elbow. Go to a top view. This guy right here is the hip. Against roughly that size. This is the knee should be roughly that size. We can grab all of these guys and mirror them to the other side. You can see we're building a very, very basic blocking. Now some of you might be like, why do we need to do this? Why are we doing a blocking where we could very easily just jump straight ahead and do the actual modeling. The main reason is because whenever you're working in the project and there's more people involved, let's say you have a client or you have an arc length. It's very important that you can show them progress and by doing this a blockchain. So I'm actually going to this case right there as well. If you can show them this blockings, it helps them visualize how things are going to look before you finish them. So if you take a look at the block and they're like, Yeah, that looks good. I like how that's looking. I like the general proportions. I like the general flow of the whole thing. Then that's going to save you a lot of time later on from having to redo things. One of the things that I hate the most when I'm working on a project, he's moving along. I don't know, like working 2345 days and then showing your client the progress is you've done so far. And then they look at and they're like, Now, I don't like it. Let's change this and they want to change things that are really, really basic in regards to the, to the, to the silhouette. And so I was like, Dude, if you could have told me that you wanted this change from the very beginning, we could've saved so much time, right? But people sometimes have a hard time visualizing things, especially people who are not into the creative industries. They have a hard time visualizing things. And even if you present them a really nice concept, they don't really know how to, how to extrapolate that into a finished product. So by doing this, what's the word is blocking right here that we're doing? It helps them visualize how things are going to end up looking. And E, they are convinced that things are going to look fine, then you are, you have a green light to keep on going. It also protects you if you're working with a client. It also protects you because imagine that they do charge them X amount of money and then they're like, yeah, we don't like it. You can be like, well, you said you did like it when we were doing the blocking. So what's changed? Now? I'm going to move this guy is right here. I'm going to extrude them, all of them at the same time. You can see that I'm going to press W to move this right here. Of course this guy and this guy sees are black. We're going to say reverse, mesh display reversed, which was one of the tools that we did before. And then combine them all. Just easier to do it that way and delete this guy is right here. And now when we do the mirror, shift right-click and go into mirror, we're going to change world to bounding box because they're no longer on the symmetry line. And we're going to say mirror, and that's gonna give us roughly the thickness of the skeleton. Now I'm going to do a second mirror, but this one is going to be a world that we're working to get this thing on the other side. It seems like this thing did not like mirrored properly. So I'm just going to do it again. There we go. Maybe saying for that one. That one, that one. There we go. So same deal here with this leg right here. We're going to move it into position. Be like right around there. Then press Control E, W with a little bit to the side. Flip around the ones that are black. Let's combine them just for ease of selection. This guy, this guy and this guy, there we go. And then we're gonna mirror first on bounding box. There we go. And then on world. We get it on the other side. Does the hip or the spine control E, Push it out. And then I'm going to use my cut tool here to cut that face right there. But from one point to the other like that so that they can grab this face and just extended it a little bit more. Because that's like that like the hip connection, right? I'm going to be like give it a little bit of a change there just to make it a little bit more interesting. And grab the face. And we're going to mirror on the world. That's where we go. Pale, easy, just like that. Interface, the object and the world. And I think finally the last one is this neck, so we can just press Control. E will be a little bit like that. Again. This guy right there and a mirror on the wall. There we go. Now, you can see that we're missing some sort of like contraption here. Easiest thing for blocking, just grab one of the pieces that you already have. Hill it down and reuse, right? Because the only thing we wanna do is we want to show the, again the, the client that we have something that looks interesting. It says there's this scapula. It's like pointing out right around there. So just grab this guy right here, make it thinner, thinner like that. And replicate this sort of like scapula. We'll, we'll get right around there. Near this to the other side. There we go. So with this, we've successfully created the blocking of the character. And this is going to serve for a couple of, it's going to help us quite a bit. First of all, we can actually create a, one more thing. I feel like the connection here might be, that's fine, That's fine. So one thing that we can do, first of all, is a weekend actually send this to the Reading Department. And if we promised that this is the proportions that we're going to get, they can start building a very rudimentary like skeleton and use that to do some blocking, so on, so not poses, but on the set. Like they can decide where the character is going to be and then kick into a general idea of how things are going to look. Even these simple blocking that took us 10 min to do is already useful for other departments in the production pipeline. And that's why this is very important because they don't have to wait until we're done with the whole modeling to start experimenting with other things. In our case, the next thing that we're gonna do before we start with the whole modeling process is I'm going to set up a render scene. Because one thing that we're gonna be doing throughout the series is we're going to be saving snapshots of the progress. That we can have a sort of evidence or a trail of evidence of how things are moving on. And this is our first random, this is gonna be our first render or our first presentation render. So yeah, that's pretty much it guys. Hang on tight and I'll see you back on the next one. 6. WIP Render Setup: Hey guys, welcome back to the next part of our series. Today we're going to continue with a render setup. And this is a very basic render setup. I've done this 1,000 times, but it's a really good one again, to create a library of, of progress that what we're going to be able to see how we're progressing throughout this project. So as you guys know, I love this poly haven site is free, it has all of this free HDRI that we can use. And I'm going to be using this a Christmas photo studio 07. Why? Because it has this sort of like warm tone to it and it looks very, very nice. So once you download this, you are going to copy this whole thing or the HDRI to the source images of your project. Very, very important. We jump to our project. And inside of our project, we go to source images. Because remember that this is the part where this is the place where Maya is always going to look for a new metric first. Once we have that, I'm going to create a, an infinite plane, which is a very basic background for a character. I'm going to grab this edge back here. I'm going to move it all the way up so that we can create a nice backdrop. There's a couple of ways to do this. I personally like to just grab this excellence right here. Double-click to select them and create a nice smooth transition. So when we press number three, we get this very nice soft effect. I'm going to push this like this. I'm going to extend this a little bit more so we get more space and the character is not really close to that, to the background. I'm going to scale this and this thing right here. We're going to delete the history, freeze transformations and center the pivot. We're going to call this a backdrop underscore. Go because it's a geo here inside the foreseen. And that's it. I'm going to as you can see, I accidentally created several cameras and you can see this cameras right here. I hate sitting them. So on the outliner, which is this little thing right here at the side, you can press H to hide those. And then this perspective one we delete and that's pretty much it. So all of these geometries that we have right here, I'm going to Control G to group them. So now there is single group and this group, of course we're going to call this lion blocking. Now, one thing that I don't like about this line blocking is that all of the pieces that we have right here have names and history, and that can be problematic. So how do we solve that very easily? First, we tell the history, we freeze the transformations. No need to center the pivot really, but we do need to rename this because as you can see, we have this P cylinder one. And if at any point I import anything out from a different source, that's called pc lender one, it's going to create a conflict because inside of Maya, you can never have two things that are named the same. So to alleviate that, remedy that I'm going to select all of these guys. And up here, there's this option. Usually it's set to absolute transform, but if you click this guy right here, you can change this to rename. And we're going to call this blocking lock in underscore. Underscore. And if I hit Enter, you're going to see all of these guys get renamed to a different number, blocking 1234567. We're not really going to be using this guys are, but we need to have them right? So that way we avoid any potential issue with having things that are named the same. This three image planes, I'm going to Control G, group them up. And I'm going to call this for the mesh plates. Again, just to have an easy access to all of them in case we need to hide them or we need to change this, or change them or do whatever. I'm actually going to grab this group, this image planes group. And over here, under Display layers, I'm going to create a layer called a, it's just a new layer, but I'm going to use this last button which creates a new layer with the selected objects. And this layer right here, I'm going to call image plates. You can change the color if you want. It's fine. I'd already image planes. There we go. See how he got the message. Like, Hey, you can't have two things named the same thing. There we go. So we've got image plants with you. At any point, I can just turn off the visibility and they're gonna be gone. Now that we have this, we need to bring in our HDRI. We're gonna be using Arnold renderer if you've never used it before, don't worry, it's gonna be very easy. Windows Settings and Preferences Plug-in Manager. And we're going to look for MTO a Maya to Arnold. This is the basic plug-in and as you can see, it's turned on. We shouldn't have any issues. I have mindset to all the load so that we don't have to load it every single time. And that's gonna give me access to all of the things inside of the Arnold tab right Here's Arnold and all of these things right here. I'm going to go to lights, sky dome light. It's going to create this big sphere right here. You can make this bigger. The scale to really doesn't matter. You can make this as big or as small as you want. I'm going to make it a little bit bigger. Then if I press Control a, we're going to jump into the Properties. And under color, we can select the file. And on that file we can select our XR, which probably you might know, this XOR, this HDRI images, they are called high dynamic range images because they have a lot of information inside of them. They are not normal images, so it knows what parts of the image are like darker or brighter. Now this one, I'm going to rotate a little bit. So we get this very nice intense light hitting my subject from the front. So somewhere around that line right there. This right here, I'm going to change its name and I'm going to call this HDRI. Again to cap things clean. Then I'm then going to create a new camera because we needed camera. That's gonna be the camera that we're always, always going to be using. So rendering camera panels look through selected. The other way we're inside this camera, which is pretty much like a perspective camera. I'm not sure on the resolution gate right here. And we're going to look for a sort of a nice like three-quarter view. Like we can go perfectly to the side view, but I think I wanted to go a little bit to the three-quarter view like this. So we can see a little bit more of the lion and we can see the evolution. Now, I know that we're eventually going to have the main, so I don't want to change anything about the camera. I want this camera to be the same camera from now until the very end. So I'm going to like calculate that there's gonna be a little bit of extra volume. I'm going to keep my character like this. I don't want to see a little bit more of the tail. So I'm going to do something like this. There we go. Now, this backdrop right here, as you can see, it's no longer in line with the camera. So I'm going to rotate the backdrop a little bit, move it along like this. Let's go back to the camera panels literal selected, so that we can see a straight backdrop on the back. There we go. So now we're going to go to the camera and we're going to call this shot cam again, it's going to be the main camera there are always going to be using and things are gonna get a little bit more intense as we keep going. I'm going to just rotate that a little bit. Do not rotate the character. It's the camera that's rotating the characters always gonna be modeled in the exact same position. There we go. Now, just to make this a little bit fancier, I'm going to add three spheres that you normally find in some renders. This is fierce or references fears that you can use to make sure that the exposure values and everything that you have on your Render are properly calibrated this and we're going to have this three spheres on the top right corner, make them smaller. We don't need them to be like super, super big one. The main thing to be our character right here. And that's it. Now we can do a quick test. So let's Control S. And if I go Arnold and render, we're gonna get the render of the perspective view. To get the render or for actual view, I'm gonna go here and change this to schottky. Now if we render, this is what the shotgun mics are looking at. And as you can see, we get some very nice lights, very, very nice colors. It's a little bit noisy. It doesn't have the best quality. Let's fix that. So since again, we want to build up our evidence or folder of evidence here, I'm going to change the system to GPU. I wonder render to be done with the GPU. So the first time it might take a little bit longer, but it's gonna be faster. And I want to change the size of my render from 960 by 542, full HD, which is HD. Now when we render, it's going to take a little bit longer, but it should be less noisy because we have more pixels. There we go. Now, I think this visual a little bit small. So let's go back to our shotgun panels, look through selected. But it can take up this guys right here, make them a little bit bigger. There we go. It's a little bit better. Let's do another render that it looks way better. Cool. Now that we have a nice composition, I think I'm gonna go a little bit lower with the composition. So we're kind of looking at the character from, from the lower section. There we go. Let's bring the camera up. Again. I'm imagining that Here's where there were the main is going to be air we go, That's a lot better. So now we can assign anything about this thing a little bit. We can assign the materials that we're gonna be using, the background. I'm going to assign a new material. Arnold. Again, I'm right-clicking assign new material or not. And I'm going to assign an AI standard surface. This AI standard surface is gonna be really rough and we're gonna make it a dark. Why darker? Because when we do the render, I want a lion to be the important character. So it seems like we can go even darker. There we go, That's a lot better. So really dark background, really rough so that we don't get any reflections or anything. And that way we can pay more attention to the character. The character itself, the lie on blocking, right-click, assign new material. Arnold, AI standard surface. And this one is going to be a sort of beige color. I like using this sort of beige color. It reminds me of like clay. And this that we're building is pretty much like a clay render. I'm going to do a render right there. And there we go. As you can see, it's also a little bit lighter, which is great because we can see the character even better. Things a little bit too light though. So I'm going to bring this down a little bit more. There we go. That's perfect. Finally, the spheres, we're going to add some materials. Right-click, assign new material. Arnold, AI standard surface. The first one is going to be pure white. Pure white with a high roughness. And as you can see, even though I do a pure white here, we're not really seeing a pure white. Let's do it rather and see, yeah, that looks good. And this is furiously important because it's going to tell us how the whites are going to react on our scene. So as long as we don't overexpose the sphere, which is pure white, then usually arsine is gonna be good. The second one is going to be a middle gray. So Arnold AI standard surface. And here's a very common like a confusion. People will normally select this and say 0.5. And they think that that's middle grade, but that's not actually a middle gray as you can see. It's quite lighter than middle gray. And that's because it's using this rendering space. I'm going to change this to display space. I'm going to make sure that on display space it says 0.5. That's middle gray. Then if I render, That's going to give us a middle gray result, we can, of course, I do think I'm going to increase the roughness as well so we can appreciate them integrate better. And finally, this one is going to be a crumble, assign a new material or no AI standard surface. And this is gonna be full metal, full white, and low roughness, really low roughness. What that's gonna do, it's gonna create a crumble. And again, that's gonna be useful to see how our reflections are happening in our scene. So this is not looking back, is looking quite, quite nice. What we're gonna do now is I'm gonna bring this thing down a little bit more, probably like half point right there. So it's a little bit darker and we can see way more contrast. I like that. Some people like to keep it really light. It gives more of a photo studio vibe. I think we could probably around there, I think that looks good. Now we need to play with lights a little bit. I'm just going to add a very, very simple three-point light setup. So the way I like to do my setup is I like to grab my HDRI. I'm going to reduce the exposure to something like a minus two. This is going to bring the amount of light on her way, way lower. You can see the reflections become way, way more like the saturated or there's a lot less reflection there. And now we're gonna go to Arnold lights and we're going to create a new area light. This area light is going to be a big area lights so that we get soft shadows. The bigger the light, the softer the shadows. And we're going to point us towards our character in this direction. Exposure wise, we usually need big numbers when the scene is really big like this real-world scale. So I'm gonna start with 18 exposure and let's give it a shot. As you can see, not enough straight 20, lot better. 21. There we go. 22, a little bit too much. I think 21 is our magic number. If I want more light closer to the character, well, we can bring the light closer as well, like that. Once we render, we're gonna have a really nice presentation here for our character. Nice soft shadow on the ground as well. Stop the render. I'm going to duplicate this light, bring it to the other side. And this is going to help us something called my rim light. Now this one, I'm going to make it smaller. And I am going to use color temperature and bring this up so that we get a cool color temperature. And if we do this, you're going to see that we get this very cool effect. However, it's contaminating the scene a little bit on this side, as you can see, in this happens because the area light is pretty much a spreading in 180 degree radius. If we bring this a spread down, we're gonna be focusing the light, but we're also going to be overexposing certain things. This case is not that bad. It seems to be working quite nice. I'm gonna do it a little bit more. There we go. That's a lot better. You can see how we're getting the long shadow now on this side, but it's a little bit too overexposed. So I'm going to bring this down to something like 19. So we don't have as much light. That's going to be a nice slide right here. It's going to heat, as you can see the spheres. The spheres are also a really good example of how this light is affecting our scene. But we're not going to overdo it. And that's it. Final thing that we need to do. We need to do a quick clean-up. So let's call this sphere. That's the second one, that's M gray. Let's just call this gray sphere underscore, GO, GO. This is from chromosphere underscore GO, and this is white sphere underscore GO. This is gonna be our key light, and this is going to be our rim light. Okay? Now one more thing that I forgot to do when I was grading the materials. We also need to name these materials what they are. So this is gonna be m backdrop. This is gonna be M, as in material play. This is gonna be m white. This is going to be m ray, and this is going to be m row. There we go. Grab all of these guys, Freeze Transformations of the history center, pivot the shotgun, It's right there. One quick thing about the shotgun. A lot of people like to scale this up so they can see it on the scene. I don't recommend that you should go here to the display options. And there's the locators scale, object, display. Loci Roskilde, change this one. It's like a Twain. You're like 100 if you want, so that it's easier to select. Don't scale the camera. It could cause a lot of features the camera, we know that this is the position that we want. Locket right-click Lock Selected, that's not going to move. Okay? And now I'm going to graph the HDRI, the shortcut, the three spheres and the two lights Control G. I'm going to call this a render setup. Okay? So when we're modeling, we're just going to hide that backdrop as well. But Madison drug into, There we go. When we're modeling, we're just going to drag that one. And that's it, which is which is model without having any any interference. And at any point that can just bring it in and just do a quick render to save our progress. So if we rendered out should be exactly the same. How do we eliminate the noise? If you are the proud owner of a NVIDIA GPU, you can go to imagers and use the optics imager. If you don't have a GPU from Nvidia, I believe you can still use that the noise or oil, which might be a little bit slower, but still gonna give you a really nice result. So if I add this the nicer right here, you can see it's right here on the little cogwheel. I'm, the image is going to be perfectly, perfectly look at that beautiful. And again, at the end. And you probably already saw this in the intro video. You're going to see all of the different stages through which we went with this particular character until we have the final result. So I'm going to save this image roadkill real quick here. Very important thing on Save Image Options. You want to make sure that you're using this transform. Use display settings so that you get exactly what we're seeing right here. Save Image. And it's gonna be saved two images. We're going to call this lion, guardian underscore 001. And there we go. That's it for now, guys. I'll see you back on the next one. Bye bye. 7. Modelling the Jaw: Hi guys. Welcome back to the first part of this chapter, which is D jaw. We're going to start with the head. This Chapter two is going to be about the head sculpting and we're going to start with the jaw. So right here we have, of course are blocking and I actually hit the render setup. It's all here. It's gonna be here. Every single time that we need to do a render is gonna be right there. And same for the image planes. If you remember, we have them over here on our display layers. So I'm actually going to grab the lie on blocking, and I'm also going to get this into a display layer of its own that make this a blue. And let's call this lion blocking layer. There we go. That way if we need to. Blake, Hi there as well so that we don't see it. It's also a good idea. Now, we want to start with the jaw and I want to start with the job because I think it's a fun little thing that we can think about. And it's gonna give us a nice understanding of how we are going to be connecting everything. Because one of the things that we want is we want everything to be believable. It doesn't need to be perfectly like engineered. It doesn't have to be something that could be, could exist in real life, but the people will look at it. It should be fairly, fairly easy to see. So I'm going to start with this a jaw joint that we have right here. I'm going to start with this cylinder. Then I'm bringing this up. I'm going to rotate this and 90 degrees, so that's facing us. Once we do that, I'm going to scale this up and that's going to be my adult life. Now of course, if we go to the front view, you're gonna see that the cylinder is not as big. It's roughly about this size right here, and it has an extrusion. We don't see the extrusion front, the front of the right view. And this is very important. That's why we have multiple abuse so that we can appreciate all of the different details. So let's go to the right view again. And I can see that that cylinder right there is the expression that we want. So let me just very quickly turn on Karnak. I'm gonna go to vertex, grab this one and there's a shock that I love using, which is Control F 11, that will convert a selection from a vertex selection if I select that vertex right there and then press Control F 11, all of the faces that are connected to that will be selected. I'm going to press Control E Now to extrude, I'm going to press R to scale this down. And that's gonna be the scale or the point at which the new cylinder is going to be appearing. Now, here's where I'm going to start making some artistic decisions to make this thing look a little bit cooler. Instead of just extruding this out and having like two cylinders, one on top of each other, I'm actually going to extrude once again, an extrude in a little bit more like this. So that now we can select this guy right here, press Control E, and extrude forward. How much? It depends on the front of it, which is right around there. Then I do want to add a little border here. So I'm going to extrude again with offset. Extrude again control E. Push this in, extrude the ones more offset. And that's it. Now why did I include that last extra? Extra right there? Because I want to add an extra line. So I'm going to select this edge right here and I'm going to bevel it when you select an actual venue, babble it. What you do is you split the edge into multiple elements. And now what they can do is I can grab this guy right here, Control E, and push it in. So that when we smooth things out, we get a nice little detail right there. Okay? Now that details some of you might be like, well, why can we add that detail in texturing, right? Like just adding alpha that has a circle effect in that set. Well, remember that even though texturing is great to add extra little details, some hard details are details that really changed the way that objects look should be model, you'll get the best result if you monitor. I'm also going to grab this edge right here. I'm going to Control E. I'm going to do a little bit of a thickness here, a little bit of offset, and then Control E again and pushed us in. Okay, That's gonna give me another sort of like little detail right there. And we're gonna get this very, very cool looking piece. Now, you guys will know or might already know that I'm a huge fan of babbling. And babbling is a perfect way to add extra detail to certain areas of your object without really changing the geometry that much, it will increase the topology or the poly count. But it's, It's very rare to have an object in the real world that's like perfect 90 degree angles. So by doing a babble, we make sure that things look a little bit more believable and we get a softer effect. So I'm going to bevel all of those edges that I just select it. And I'm going to keep a low fraction like this. I am going to keep this two segments though. Why two segments? Because I'm going to explain something called texture stretch, stretching later on. And this helps alleviate it a little bit. So, yeah, there we go. Now, if I press number three, as you can see, we get this very nice clean shape. That's gonna be the hinge of our jobs. So our element in this case at this piece right here, will be, will be born or will be following this shape that we have right here. Once you finish a piece, this is very important that we wanted to delete all of the information that we have right here because we love this information is being saved on our local cache and our RAM, and it becomes heavier and it can cause some corruption. Later on, I'm going to grab this guy, delete history, freeze transformation, and center people, all these three guys right here. Or if we go to our stuff, it's this guy right here. That's it. We got our jaw hinge, are ready. Now for the jaw line, this one right here. That's actually why I wanted to start with this one. We're gonna be extracting the bass topology for this jaw line from this piece right here. So that when we move this guy right here, we get a perfect circle as well. And it makes it look super, super sharp. I'm gonna go to the face to face mode, to this side right here. And what I'm gonna do is I'm gonna select this guy right here. And all the way to this guy right here. Once we have all of these faces selected, now we can go to the right view again, and I'm going to duplicate them. I'm gonna go a mesh or Edit Mesh and duplicate this one of those tools that I don't have on the palette or on the shelf because we're not going to be using it as much. Or maybe we will, maybe we want to add it, just control-click and we can add it. So by duplicating this, as you can see, we can pretty much extrude those phases without eliminating the previous ones. I'm going to leave them right there. Now. I'm going to grab this face right here, delete that one because I won. Outside of the realm of what we neither of the area that we need. I'm going to grab this whole thing. I'm just gonna give them a very simple extrusion, just very simple. So we can get this thing right here, which is just a border. Once we have that border, I'm actually going to delete all of the other faces. I just want that flat board that right there. And we're going to use this flat border to build or rebuild at the proper topology for the job. And here's where we're gonna be using one of my favorite tools, which is the quadro tool, this one right here. Quadro works very, very easily. You select an object, which is that there's one, and then you click a couple of times and you add points to the grid. Once you do this, if you press shift inside of the element, you're going to create a new face. And we can use this new phase to start building up our profile for this whole thing. Now as you can see, right now, I'm doing very long and like stretched out faces. That's not something that we want. However, for this initial construction is fine. I'm gonna do one more here. And then here we're gonna do something called a change in flow. This is one of those things that we're gonna be talking quite a bit, which is topology, how we organize the order of our polygons. And you can see this point right here is going to play a really important role because this point right here will change the way the flow works. Some of these faces will go down towards the front of the jaw and some of these faces will go lower to worst this side, as you can see, that's the star. It's a five-point like etch those, again, really, really important. We just finished this up and there we go. As you can see, we've successfully created the border there for the job. Now over here, again, we're just going to continue 33. And we just continue or finished pretty much like this. Now you can see that here on the front, this where missing one like division. So let's just add one more division. You can add a division by pressing control. And one of the things that they want to do is I want to try to keep things as straight as possible. So I'm gonna go to vertex mode, grab all of these guys and with our, I'm going to flatten them out. Same for this one, flatten them out. Same for the bottom jaw. Like I can grab this guy, this guy, this guy, this guy, this guy, this guy, and all of these guys in the flatten them and then rotate them around, scale them, and just repurpose the whole edge. But now I know since we scale them that they're all sharing a very similar, very similar transition. We can know what the right there, a little bit of change there shouldn't be that much of a problem because you don't want to have a lot of like really close together. Now, some of you might be wondering, like, why, why were we so worried about this proper edge flow up here? And we really don't care about the proper edge flow down here. That's a great question. And the answer is, we need to control how curved corners will be smoothing out. If you have a corner that has proper edge flow, meaning the edge flows along the curve like this. When just move this out, you're gonna get a round corner. Because the way that the codon of the Clarks of the vision works is it will try to smooth from this point to this point and it will create this average of a curve right here. However, if you have a corner and the elements do not flow, as you can see, this flows like this. And this flows like that. If the elements do not flow, when you smooth this out, it's going to remain very sharp. And that's what we want for this particular piece because we want all of this hard angles to be perfectly straight. So we want it to be soft on this side, smooth transition here, but we want it to be hard on all of this other elements. And that's it. With that, we pretty much have the silhouette of the jaw. Now it's time to start creating the volume that we're going to need. So I'm going to press Control E to the whole thing. I'm going to give this the thickness. I think something like this should be more than enough. We can use the right view to get a general idea of how this, as you can see, this object, It's not where we have it. It's a little bit closer, right around there. And it's a little bit thinner. Let's sensitive pivot point and make it a little bit thinner so we match that element right there. Now you can see that the object is black. We've mentioned this before. This is when the normals are facing inwards. So just reverse the normals and there we go. Now if we've pressed number three, as you can see right here, we're going to get a really smooth transition on this side. And now we want to create the sharp transition that we need on this other part right here. How do we do that? Support edges? Again, going back to the catalog Clark's of division thing, when you have three edges are tree vertices and you do a Kevin Clarkson of division. This thing is that smooths out. The farther apart they are, the smooth ER and software that curve is going to be that close or they are like if I have a vertex right here, right here, and right here, the smaller the subdivision is gonna be. So what we normally do when we want to create or use this method, the sub-division method is we add support edges on the areas where we want things to be a lot harder. So again, if I do this, you can see how we get this very round effect. We don't want that Insert Edge Loop and we're going to insert one edge loop. Double-click here, and let's reset the tool. We're going to insert one that's really close to this border and really close to this border. Am I doing that as you can see, now, we don't lose a lot of thickness. We don't get this round effect on the thickness. We keep this leg back. Now, how do we keep this really sharp corners? Because that's really soft. That doesn't, it's not intimidating, right? Again, we grab a subdivision surface or a line, sorry, and we add one support edge right there. Once reportage right there and one more support edge right here. Usually you want three support edges or to support i just for the edge, did you want us to work? And that's gonna give you a really, really, really sharp line right there. Look at that. Now. Do we want the same thing here? Yes. So I'm going to actually going to go with two lines. We go and let's do one right there. Let's do one right here and one right here. And we can even do one right here because since it's a follows the edge flow, it should keep it quite tight. One more right here. And one final one right here with the number three. That's where we get look at that super, super sharp effect. Now, you can see, and this is very common when doing hard surface stuff. You will get this sort of like pinches. There's one right here. And that's because this is pretty much the topology telling me like, Hey, I need you, or I would like you to have one edge loop right here to help me support the whole front part of the element. But if I do this, even though it looks really good down here, you can see, look at that like super sharp effect. It looks really good down here. It's going to destroy, as you can see up here, the curvature of what we have, right? So by adding this, instead of having this really clean and uniform division, we get an extra edge loop right there that breaks in, sharpens that specific area. So how do we fix that? Well, so very cool technique that I'd like to call stitching. What I'm gonna do first is I'm going to add a couple of edge loops, one right there and one right there. You usually want your geometries to be as uniform as possible. So as you can see, when I see this from afar, I wouldn't be able to see a very uniform, sorry, a very uniform distribution of our topology. So those were really long elements. And this is also going to help with the texture stretching that we mentioned. It is of course going to increase the poly count. This is not an optimized model, but usually for cinema, for commercials, for movies. You don't want this. I recently saw the making off of another very new movie, but it was a Shanxi the moment that they did for marble. And they were showing the wireframes of a scaffolding seen that they have in every cylinder on the scaffolding was made out of thousands of polygons. So polygon count is no longer an issue for high level production. Okay? So this right here is perfectly, perfectly fine. So now if I smooth, I still get that sort of like weird pinch right there. How do we solve this again? I know that I need to insert a natural right there, but what I'm gonna do is I'm going to delete this face right here and this face right here. Okay? I'm going to delete them for just a second. I'm going to insert the edge loop that I need, which is this one right here. Which actually benefits maybe because it helps with the hardened edge over to this side. And now what I'm gonna do is I'm going to grab this edge right here. I'm going to collapse it or merge to center. The tool is here, Edit Mesh, collapse, collapse, and that's going to create a triangle. Now, triangles break the flow of topology. We know that, but since this triangle is on a flat area, this flat surface right here, it really doesn't affect us in any way, shape, or form. So once we do that, we can just fill this in, feel whole and feel, whoa. And what's going to happen now is we're going to get rid of the pinch, as you can see, no more pinch on this specific corner. And this triangle is not going all the way to this really clean surface that we have over here. And therefore, we don't have any sort of issues. And there we go. With that done, we pretty much have a solve this issue. Now. I'm just gonna do one more thing and this has to do a little bit with like engineering. If this thing rotates, I would love this. Let's center the pivot point. Of course, if this thing rotates, I would love for this thing to be connected somehow to this thing may be welded together or something. Let's just add another extra little piece here. I'm going to grab this face right here. Control E offset to give them a little bit of a border. Control E, push them out. Control E pushed them out again to create the support edge right there. You can see that one. There we go. That's just gonna give me another sort of like loop that when you see it combined with this thing right here, it's gonna give us that little connection. If you want to, you could of course, add another extra line right here to create the actual connection. But I think something like that, just like a welded together piece should be more than enough. Now for this one, we definitely want to add one support edge right here. And we can add one temperature right here. It's not going to hurt us. Same for another one right here. It's not going to hurt. We're gonna get a really nice straight plate. Look at that. Beautiful. So that pretty much finishes or connects the jaw to the, to our elements like we're creating exactly what we need. However, I would like to finally connect this thing to the other side of the element. And as you see here, we're going to need an extra plate. So I'm going to Shift, right-click and mirror this x and negative apply. And that's gonna be the other jaw right there. Same for this one. Mirror. And here's a very common mistake like I wanted to bridge these two guys together and create the math over here. A very common mistake that people would make is they will try to breach phases from here to here, and it can be done, but it's going to create a really, really complex topology that not only is it going to be difficult to UV is also gonna be difficult to properly like calibrate them and the form and everything. So what is the easiest solution to bridge these two things and create like the, like the bottom part of the jaw, which is just a plane. Let's go to the front view. Let's grab a cube. Bring this cube for worth. Scale it so that it matches the proper length. Something like that. Bring it forward. Let's scale it on the long axis, on the long diagonal. Rotate this, push it back. And we can go to the right view and actually find the perfect rotation. Remember how we made sure to flatten this things as close as possible. So look at that. And this, not only is it going to be easier, like way, way easier, it's also going to be faster and we can create some interesting details. So for instance, let's say I'm going to add a line. I will add it right in the center. So I'm going to double-click here multiple tools. One, that one's gonna go exactly to the center like that. And then we can offset this. Offset. So something like this. Okay? I'm going to add another line right around here. Grab this to vertex and this vertex pushed them out. Delete this faces that I'm going to bridge from here to here. Rich. Look at how nice this piece looks now, without having to worry about all of the different things that we did, we don't need to worry about having the exact same resolution for this. That's it. That's all we need. This piece right here. I would definitely give it a bevel, like everywhere, two segments and a small fraction. There we go. We have the jaw ready to go and you can add any time. Just combine these two. Combine these two into a single piece or even this tree, like all of these pieces, could be combined into a single piece. And this is gonna be the job of delay. The one thing that I'm going to do finally is just move this pivot point with the V and snap it to that pivot point right there. So when we move this, if we were to animate this, we would move the whole thing like that. See how easy that was. Again, this is a very common thing that I like to say, which is we create complexity, right? A very complex piece out of simplicity, cylinder, plane and cube, which is give them a little bit of form. We play around with the topology. We add the support I just where we need to and we create something that looks really, really good in a really, really simple way. So, yeah, that's pretty much it for this one guy. So I'm going to stop the video right here and I'll see you back on the next one when we continue with another piece. 8. Head Top Modelling: Hey guys, welcome back to the next part of our series. Today we're going to continue with the top of the head. And the domestic cat is a rather interesting parts of the character because as you can see here on the perspective view, it's really flat. It's just like another block of metal that's on top and then everything is attached to it. So yeah, we're gonna, we're gonna go for that. Let's go right view here. And I'm gonna show you a different way in which we can approach this. Now, we could still use the same method of the cylinder and I think it's actually the best option. So I'm gonna go to disguise right here. We're going to select some of the curves. And we're gonna say Edit Mesh or duplicated right here. We're gonna do this now. This thing that just happened, very, very common, very, very common for this thing to happen. It means that the face is lost. Their material super easy fix, right-click, assign existing material and we assign outlets do Lambert one, Let's do number one for this one so we can assign the other materials that clays and stuff later on. So same thing here. Let's assign less Lambert. There we go. So now we follow the same thing, Control E, actually now here I'm seeing that it goes a little bit lower on the jaw. So it's pretty much from this guy right here to this guy right here. So let's delete this and go 123, 456-789-1011. Let's do 11 just in case. And then if we don't need them, will remove. There we go. So it's right around there. We can extrude, punch this up. And now we can just delete all of the ones that we don't need. Those ones. And this ones. We're gonna go here and we're also going to delete this case right here, this guys right here, and all of these ones right here. We can already go to the front view and punch this are pushed us to the center right around there. Now we go back to the right view and we need to start building the topology again. Quadrant is the one that we're going to use. And as long as we don't modify this point right there, we're going to be fine. So you can see here it goes up, fairly easy, all the way up. And then we go back. Now, it does have a slight change in silhouette here. We'll fix that in just a second. One thing we can do here is just, I'd like to work with big shapes first, like this. And then when you need to add the extra lines and that way you feel to the rest of the character over here, we're definitely going to need some more lines. I'm gonna go to vertex, grab all of those guys, flatten them up. There we go. So we get a nice even distribution of parts. We keep going. Now here towards the front. Well, we know that topology changes in flows and in slightly different ways. Here I am going to do a little bit of a change on the curvature right there. That's a sharp line so we can either keep it like this or cut it. I think in this case we can keep it in Here. We go to the front, like this. Same thing here. Like how do we handle this? Probably just like this. This Gibbs going forward. I'm pretty much all the way to the top like this. Probably probably to another line right there, right? Like the flow with change directions at about that point. And we need to find where r star is gonna be, which I think is probably gonna be this one right here. So I'm going to add one point right there. And that's going to be the point that changes the flow. See that one that changes the flow and the like modifies how we're going to be like a manipulating all of these things. From here. I'm just going to keep pushing forward. And I really don't need to worry too much about this, like fronts, areas because they're going to be flat whenever you have flat areas. And this is one of the reasons why we decided to do this concept. This way. Whenever you have flat areas, it's very important. It's not, the topology is not as important. Rather, when areas curved in cylinders and stuff like that, like what we're going to see on the eyes. And in some of the sections up here, that's when you really need to be a little bit more careful about them. Now here, again, we have a little cut right there. So I'm going to add a little change the silhouette. Just modify the proportions here. So we can properly create the sort of effect that we're going for. I can actually see another little thing right there. So we might need to add something like that. See how this line gets all the way in there. You can relax some of this and again, since it's a flat area, it's fine. We're not going to be suffering that much. Now, I'm gonna show you another way in which we can flatten things out. I'm going to grab this vertices right here. If we tried to scale, you can see that the scale is not working. Yes, we can do the same thing scale and then just move them around. But you can actually go to the scale tool and change this to normal. Or you can try along rotation axes. Sometimes there are components, there we go, component. So if we do this with components, as you can see. It's gonna be able to, or we're gonna be able to flatten them and just rotate them and find the perfect flat surface of the hair. Okay. So again, like I can grab all of these guys are and if we do components, we flatten them out and then we just rotate them so they're as straight as possible in this one, I think we can go to World. And if we do world, it's gonna be able to do flat surface right there. There's ones. We definitely need components. So grab all of these guys component. We lend them out, and then we just rotate them a little bit so that we match the profane that way. We know that that line is a perfectly straight line. So yeah, That's, that's pretty much it. So now we have the basic shape of the head. I'm going to press Control E. Here. I'm gonna go to the center line right there. Now, all of those faces that I had selected, I'm going to leave them. Why? Because we don't need them. We're going to mirror this thing to the other side. As you can see, this is one of those pieces that we're gonna do as a solid chunk. Maybe all of the interconnections and things are inside of our head and it will be important to protect them. So let's reverse, of course, go to the front view. And all of this. I'm going to make sure that they're perfectly aligned. Then I'm going to press W X to go into snapping mode and Snap to Grid and make sure that they're perfectly aligned to the center grid. Now, before I mirrored this, I do wanna do all of the support edges and I'm going to show you a different way here. We could actually grab all of the edges that we want to harden. Such as this guy, this guy, Well actually no, not this one. I'm going to grab all of the borders, all of the outer borders of the element. Being very careful to select every single edge loop. Do not forget about any of them. Like I'm going to grab this guys that go towards the center. Very important that we don't forget about. Those sharp lines. There we go. When we are bevel, if we beveled, those could press the letter T here. There we go. We can add two segments and a small fraction to really sharpen them up. Now, you will see this thing right here. Very common. Sometimes when we do levels, you'll get certain areas like this one is where you get angles. And even though this angles are not going to be problematic, you can change the meter along and do a different one. We didn't change the uniform patch where you can do none. And if we do none, I think we get the better effect. Radial uniform. Uniform seems to be working a little bit better because you can see this is now a, a squared which is four sides. That's the square. That square like everything has two squares. So now if I press number three, yes, we're gonna get a slightly weird like a pinch right there. But this is not again at the end of the world and everything else remains really, really clean. So that's one thing we can do. It looks really good here now, how can we solve certain areas? For instance, this guy right here, we didn't do what we had to do. Well, remember we have the patching technique, right? So we can delete this guy right here. I can go with my cut tool, another one line right there. Grab this two vertices. I am going to add dimension to center, merge them. Then we feel whole. And that way we're gonna get a sharp, nice, round effect right there. Without really compromising anything. Now usually you do want an extra support is remember that. So let's do it again. Let's do one more here. I'm going to have one right there. Grab all of those vertices, merge to center. And then this guy's, we do like that. That's it. We sub-divide. There's gonna be a little pinch there. Again, not the, another big problem due to the way we're building this. And there we go. Now I'm a little bit concerned about this line right here. So when you get this, like when you get issues, we can try to minimize them by just rebuilding things. So let's say, I think for this particular one, I'm just going to remove the Bible they edited to deadline. It gives me like a like a sharp hook, which I don't want. But now I could add just this word edge on this area. Maybe went to. And that way we get the sort of like sharp effect that we want without really affecting anything else. Okay. So, yeah, that's it. Finally, we press Shift, right-click and we mirror this to World x negative and hit Apply. That's gonna give us the head of our lion, the basic head of the line. Now if I, if I see the front view, I can see that there's something there. Now, what is that? Is that a, an extra like indentation thing that we have on the head of the lion? Or is that an extra little detail that we have? Unfortunately, we don't know. We don't have enough information. Again, I can see like a weird square right there. It seems to me like it might be something to reduce a little bit of volume or to handle some sort of sensor or something. So I'm going to use my offset tool to create the border. And I'm going to add something here, like again, like some sort of construction. And this is the cool thing about hard surface modeling. If you do it properly, like what we're doing right here. You can, you can kinda like built on top of things inside of the elements. So for instance. I'm gonna grab this face is right here, Control E, offset a little bit. And then I'm going to push them. I'm going to Control E and push this in like this. And then this edge right here. I can actually move this or even the whole face. I'm going to change the movement to normal. So it moves or n-component again, so that it moves in the direction of the face. They can push this down, see that, to reduce some volume. And now if I hit number three, we get that. Of course we need to add some support edges. So to begin with, let's bevel and all of the edges that make up this border. But pop up, up, up, up. Where is it? If you don't get the little box, you need to click here and you can press the letter T. Sometimes it just disappears. There we go. And of course we need to add some support edges. On the front. I'm going to use my cut tool on this front right here. Now see how this thing is going all the way to that knows, I don't want that. That's way too far. Same thing over here. Well, this one is fine. You can see it's not affecting any weird area, so we can easily add one line right there. And that gives me the nice strong edge right there. Now, if we want to, we could keep it like this. We could keep around. But if the concept says no, it should be square, then we definitely need to add one line right here. But we don't want this line that I'm going to write. Like I don't want this line to go all the way to the mouth. And due to the way the topologists working, that's what's going to happen. What can we do? Same thing stitching. We delete this two phases. We add the line that we need. Right there. We grabbed this two vertices, merge them to the center. And then we just fill this hole. Again. It's on the flat area, so no problem. It's going to work perfectly fine. We're not going to see any sort of like pinching and look at how nice that cut looks. Later on we can add, again, this will be more with textures. Definitely bleed like some, like another sort of like indentation there or something. But yeah, this is how I would like I would approach something like this. Now I can also see, again, a little shape there and I'm not really sure whether this, I'm going to show you a really cool trick here. Now, you can see that this thing, let me see real quick. This thing has some nice topology. Right now maya is having some issues. You that like that's a display issue. That means that I need to restart Maya or delete some history and stuff. But what I can do here is I can duplicate the whole thing. Isolate one of them, select some of the faces that I like. Like this piece is right here. Let's grab a couple of more like this. There we go. Shift, select everything else and delete them. I'm left with this plate right there. What I can do so it could just extrude this plate, which is up. I might be able to grab these vertices and again in vertex mode, push them closer so there don't go like all far-out. Even this guys want to Go world. We're going to bring them in. And if we Babel or ad supported just to the centers, we're gonna get a nice piece now you can see that there's a lot of topology here. So let me show you real quick how to, how to rebuild this thing without destroying everything. I'm going to delete some of the actions that we have here on the center. Or actually, I'm going to delete this faces. There we go. Now I'm going to bring this up. And we just combine again, merchant to center to center are actually, rather than combining, to be honest, something that's a little bit easier. It's just bridging. So from here to here, and we bridge, there we go. So we've rebuilt this shape. It's an interesting shape. Now we can grab the borders of the top borders. Let's keep them a bubble. And then I'm going to use Insert Edge Loop to insert an actual on the bottom part. On this section. This section, this section, this section, this section, this section. And then offset from the center to the sites. So when we smooth this out, look at how nice this looks. Assign existing material. Lambert. There we go. Now. It's an extra little attachment there. Again, sci-fi ish thing. It could be a slightly different color or something that makes it look interesting. We could even grab it like this edge is right here and maybe change the silhouette now actually kinda like the flat surface effect, just like an extra support there on the head. It makes for an interesting detail. I always like to talk about this sort of like 123 wreath of an object. So the main shape, the main block is, it will be our number one. And then this piece will be like a secondary detail, the secondary wreath on the whole thing. And then finally, we'll have like little lines and details that we're going to be adding in texture that are gonna be our third or wreath. But that looks quite, quite nice. Yeah, So I'm gonna stop the video right here, guys. And then the next one we'll talk about the I think the neck we're going to do the neck first are the basics of the neck. Before we jump onto the, onto the ice, which are going to be a little bit more complex. So hang on tight and I'll see you back on the next video. 9. Neck Modelling: Hey guys, welcome back to the next part of our series today we're going to continue with the neck modelling and the next, actually rather interesting because the way we have instead of up here is not only traditional, like Berkshire breakneck. It's not just like a pipe or anything. It has some complex stuff. But before we do that, let's go to this guy right here. I'm going to go and go into face mode. Double-click this guy right here so that we can select the shapes are the phases that are connected. Then I'm going to go into Edit Mesh and there's this option called a duplicate. So we're going to duplicate that cylinder right there. So now as you can see, if we center the pivot point, we're going to have this on the right here. Now what are we duplicating this one? Because we pretty much have the same thing right here, right on the head connection. Now this one, I definitely want to bring this into the center. So I'm going to do something like that and look at this. This is a very cool trick. If you have an object that is gonna be mirrored through the x-axis, you can press again, shift, right-click and mirror this. On the x-axis. Negative hit Apply. And we get the middle line, which is always useful. And then we get both sides with the same shape. So we were able to take one of these guys and just a duplicated and created this piece right here. If we want to be super, super precise about this, we might need to extrude some of the elements right there. But more often than not, especially if you're not going to see this, if you're never going to disassemble the element, you don't need to model everything. There's something that I like to say which is if you don't see it, you don't model it. So if it's not gonna be seen in that animation or anywhere, don't worry too much about it. Now also another thing that I forgot to mention, this is just the Under Armour. Like if you take a look at the other concept, the armor that's gonna go on top. A lot of the speeds are actually going to be like cupboard quite the bits. So don't worry too much about this. Now, as for the neck, we do need to ask ourselves a couple of questions just like, how is this neck going to move, right? Because from an engineering perspective we want things to make sense. So I'm just going to block this in real quick. Just a simple cube. I'm going to duplicate this cube. Have it right there. I'm going to duplicate it again. I'm just going to make it a little bit thinner, which is what I see on the element. So this is pretty much what I see on the constant, like the, sort of like a blocky blocky neck contraption. And I've seen this sort of contraptions. So this thing right here is on top of the other ones, which tells me that this guy right here, if we were to move it's filled point down with allow me this movement, which is quite nice, it gives us quite a, quite a nice range of movement. And then this one right here. Again, if we move the pivot point down to right around there, if it moves, it will be at right around here. This one, on the other hand, would be the one that we would use for a lateral movement. So the point would be right around there. And we would move it like this. Okay. So we can do a very quick rigging test here by parenting things, selecting this one Shift, M P, selecting this one shift and P. And now we've created a chain. So I know we can move this like this. Then I can grab this guy and move it like this. One thing before I do that, very important where you do any sort of re, any sort of reading, you need to freeze the transformations. So you didn't have doubled transform or inherited things that you don't want to. There we go. So again, this one is going to pivot from the base. I'm guessing this one will have multiple rotations. So this is going to be my main neck, but mainly it's going to be up and down. And then this one should only have like Psi rotations. I'm going to move the pivot point here. I'm going to do this. There we go. Can we do this rotation? And finally, this one right here will only have this rotation right here. So if we want to bend the neck, Let's say a 45 degrees, this guy would probably wrote it a little bit and then this guy will definitely wrote it a little bit more like this. Again, we'll need to find the perfect positions. And then this one will probably go down, right? And of course we can use the final position of the head to create the final rotation on a real lion's head, we have like more than three boxes. But that's, that's what we're going to do. Now I'm going to delete everything again just because I want things to be super, super clean. And let's create those little boxes again. So now that we know how the rotation is going to work, we can start focusing on the actual on the actual model. So what do we do? How can we keep this box is simple, but at the same time, like make them look a little bit more interesting. Well, we can definitely create some sort of like bubbles on the edges. So I'm going to grab this four edges right here. We don't have a lot of information. Again, I don't want to spend too much time on this guys because you're going to be covered by most of the armor and the main. So I'm just gonna give them a very simple bevel like this. And then I'm going to delete these guys right here. And this whole object, I'm going to give it some thickness. Like this. I'm going to say Mesh display, reverse. And there we go. I'm probably going to grab this section is right there and Bevel them as well. Let's go to our bevel component right here and just have a smaller fraction. Perfect. Now, there are and there will be some pieces of our element that we're not going to be smoothing. And this could very well be one of those. Like this could be a piece that we really don't need to change. Now. If we go again to the right view, I'm going to duplicate this. Bring this over here, probably wrote it a little bit, duplicate it again. And now we need to make these things fit, right? So we know that these things right here are gonna be moving up and down. Therefore, this piece right here needs to change. It's sort of construction a little bit to accommodate for that moment. So I'm going to go outside of the wars in here on the concept. And I kinda want to find what will be the best possible way to make this work. Maybe like this, have this be smaller on the inside. Also work. It's kinda like a chain link. I think, I think we're going for this sort of like chain link effect could very well work something like that. Again, we don't want to see a lot of the inside of the construction. So again, we need to be very mindful of where this thing is going to bend right? So we go to the right view. And women with the pivot point here. And we bend, I don't want that collapse like that's gonna be probably as much as we're gonna be able to move. There's gonna be a little bit of overlap there, but that's as much as we're gonna be able to move that piece. And then this thing we mentioned that this was going to be the site of movement. So again, let's do a very quick freeze transformation. And then we parent this. So like one, select the other and then hit P. We can do a quick test. Not super word, but I just want to make as much sense as possible. Let's press D. I'm going to rotate the pivot so that's facing in that direction. There we go. So this will be like roughly the movement that we would have, something like that. Okay? Then if this one, this one, we might be able to twist it as well. So yeah, we'll keep it like this. We'll just keep it simple in this case, I know there's some like cables and stuff. We might be able to add another one of these guys right here. Although I think it's a little bit unnecessary to be honest. Like, you know what they mean, something like that. I don't think it's really worth it. What is worth it though, is the connection that we're going to have both to the neck and to the head. So I'm gonna grab this vertices right here. I'm going to press W and see how these guys are no longer aligned to the main shape of this element. That's really, really, again, uncomfortable. So I'm going to move this with D. And now if I push them, I should keep the proportions a little bit better. I'm gonna push quite a bit right around there. And I'm going to again do a little bit of invention here to create a, a ball and socket construction. The reason why I want a ball and socket construction right here is to be able to give the character as much freedom on the connection of the neck as possible. So something like this. Okay. That way, when we see the head moving around from this access point, it would make it would be more like engineering sense. This guys would probably going to have to push them again, pres de wrote it the pivot point and just move this up a little bit to hide this feel a little bit more. Still lot of space there. And we can't really make the sphere any bigger. Or what we could do here is we can make, Let's essentially a pivot point here. I'm going to push this or actually, let me show you another trick here. I'm going to grab these vertices right here, push them out a little bit more. And then mirror again. That's gonna give me a little bit more space. That way we can make the sphere a little bit bigger. The pivot point should be on the center of both elements. And there we go, this sphere, of course, if we want to give it a little bit more sci-fi look, we could grab, this guy is right here, extrude just in a little bit. And just like babble disguise right here. Small fraction. And there we go. It's gonna be like an extra joint and we can recycle, right? So we're going to right view. And we're also going to have this sort of like round effect, probably a little bit bigger on the base of the neck. So now if you think about how this whole thing is going to move, is we have three segments that are gonna be relatively limited. And then we have a two very free like forming effects attached to the head, which is going to have like, of course, this thing is going to be parented to this thing. And if we rotate this thing up, the whole head is going to rotate up. So simple, clean mechanical concepts and models, that's all when they get right here to get a nice result. Other than that, as you can see, there's, the next step is going to be the connection with the rib-cage. It has this sort of like a boxy thing. So I think it would be a good idea to already model that. And that's gonna be a little bit more. How can I say this abstract? Like we don't have a lot of information here on the concept. I just know there's just some sort of like metallic block. So I'm gonna go to my Create Polygon Tool. I'm going to create an interesting polygon right here. Something like that. And then, sorry. And then we're just going to move from those vertices around to create something that looks a little bit nicer, right? I know that if I go to my CO2, I can go from here to here, that's a square. And from here to here, that's the square root that really helps with the whole topology issue. And then from here, we're going to go in, out, into the center right there. And then finally from here and here, some of you might be like, well, couldn't we have done this with a simple cube and then just extrude some of the shapes. Yeah, that's totally valid as well. Now that we have this, I'm going to Control E and we're going to extrude out to create the like the main connection point. I'm going to select all of these phases right here, delete them. And we're going to mirror this to the other side. And that gives us a nice interesting block, will go to the top view. Again, not a lot of information, just this big square. We can guesstimate the size, which is gonna be something like that, like the attachment point. And we definitely need to give this thing a little bit more visual interests, because right now it's just a very simple cube. So the first thing we can do is I'm gonna grab this guy right here. Let's show you a very cool tool. And we're going to control ie, an offset to create a nice little offset right there. Then I'm going to delete. And then I'm going to select the whole edge right there. And there's an option called circularize is right here in mesh. Circularize or sorry, Edit Mesh circularize, which as you can tell or as you can see, it's going to give us a circle. It's going to try and circle the edge that we select it and make it a flat element. So what can we do with this? Well, first of all, I would like to give it a nice little edge loop. And after that, we can push this in and create the hollow section where the sphere is going to be rotating in. Okay? So all of this guy right here, we could just feel home and edit, mesh poke. We can even grab that guy right there, this guy right there. Let's throw in some quick pebbles. And on the outside, I definitely want to add some details as well. I'm going to go all around the edge. Remember if you wanna do bevels and you don't want to get any, any what's the word and gone. You should try to complete a loop. Like if the loop is closed, you can usually avoid having Anglin. So this way, like all of these pieces, maybe even this one and this one's, and since we're already doing it, Let's do this one as well. We bevel that well. Let's do a big fraction actually, I kinda wanna go for a big fraction, two segments, but I want to keep the depth low. So the depth is going to be at zero. That way we're going to have a really hard surface, see it really hard surface, the effect like this. And then on top of that, we could add a secondary Babel. Or if we just go here to this level, we can maybe be like, Hey, you know what, Let's do four segments is going to use this interesting effect, or he may be four segments a little bit too much. Let's try to keep it to two segments. There we go. Now I definitely want to add some support. I just, for instance, right there and right there, right there, right there, and right there, right here and right here. It's looking way better. That's it. We get this very nice looking boxy thing. We can of course, move a couple of things here to make this a little bit bigger. Make sure the sphere is like attached to that specific point. Makes sense that that thing is right there. There we go. Now, finally, I want to add one extra detail and this is, this is just the mean free, free styling things, but I think it's a nice technique that I can show you. What if we wanted this thing to look a little bit more like. It's made up of a couple of parts. We can select this edge right here. And what I'm gonna do is I'm going to say Edit Mesh detach. Okay? So by doing that detach, now we have two meshes, this one and this one. If I press number three, it's gonna look a little bit weird. It's going to look like a pinch. But look at this technique. This is a technique that I was shown a long time ago and it was taught to me by the guy that designed the Ironman armors for like marble. So I'm going to Control E. Oh, we're already having issues with the displays. There we go. Control E. We're going to push this in a little bit like that. And then do the same thing on the other side. Control forces in a little bit. And I know the geometry is looking like really bad, like crap right here. That's fine. I'm gonna grab this edge right here and bevel it with a small fraction, just one double, no need for two. And then this guy, we're going to do something similar. Just grab this guy, the bullet. And then the fraction, we're going to go for a small one. And now what's going to happen is when we smooth this, look at that. Look at that. We get that very, very nice sexual mine as if this thing was made out of two different elements. Right? Now, if there's a couple of things that you don't like, for instance, I feel like that spike right there, it looks really odd. That's an easy fix. We just grab all of those vertices right there. And all of those ones right there. We moved them down. We're going to have this. Okay? So very, very easy way to add section lines by splitting the mesh and just extruding in a little bit. We get this if you want these things to be even sharper than yeah, we will need to go to the bevels and say like, Hey, give me two segments. Right now it's not going to work or just go with our mesh tools instead of one right there and one right there. And that's going to give us a, a sharper division. But really, really cool technique to add a little bit of extra detail to those areas right there. And that's it I'm going to File. And yet the display is like oxygen we released. So I'm just going to increment and save real quick. And we're ready to go. We're ready to go to the next part, which is gonna be the I over here. So hang on tight and I'll see you back on the next video. 10. Eyes Modelling: Hi guys. Welcome back to the next part. We're going to continue now with the eyes, which is really, really interesting piece because we have this sort of like camera's going on here. And I was, I was actually looking at the concept. This is one of the things that you need to constantly do whenever you're doing your project and you have like several, several elements. Let me show you real quick. There we go. So on the concept itself, you can see here that we're going to have the armor on top of this thing, which are quite a bit of pieces. It's gonna, it's gonna really change the silhouette. Like we have this whole like antenna in infrared sensor and stuff up here. We have this thing right here, which again, when they see the views, can it looks like the eyes. But then later down here, we have this one in industrial really match. You can see how the second one, the armor is like right here on top of the jaw. Like look at the distance in this one, it's like further forward. So I'm really questioning whether this or the eyes or not, but when they visit the front view, I definitely see some cylinders. So we're gonna go for the cylinders. And then once we do, the farmer will maybe have to adjust a couple of things. Here it's even more noticeable. It seems like the eyes don't perfectly line up. But anyway, we'll see, so we'll start with the cylinder. I'm just gonna go with a very simple cylinder all the way up here. Make this bigger, rotate this 90 degrees, and we're going to position it right here. I can definitely tell that the cylinder has some bubbles. So I'm going to position it right here. Let's go to the front view. It's, it's a little bit bigger, so let's make it just that bit smaller. Scope perspective again. Grab this edge right here and this edge right here. And Bevel. We're just going to be a very simple bevel first right there. And let's go back to a right view. Probably pushed this things forward a little bit. This things backward a little bit, so we match as much as possible. And that will be the main part of the whole thing. Now, here, again, you can see that doesn't match perfectly. So whenever that happens to your Concepts, my friends, the best advice I can give you is if you can ask the constant part is go for it. If you have time to do that, go for it. And if not, just make whatever decision makes or take whatever decision makes the most sense. So for instance, right here, it doesn't make sense for this I, to be overlapping with this thing right there. What can we do? Well, again, a couple of options. First of all, make the smaller. Push this up a little bit, just a little bit. So it does not overlap. Even though it does not match perfectly anymore. It's going to give us a better result overall. So go with your gut every now and then. Always ask your client, of course, if you have a question, but sometimes thyme will not be available and you're going to have to make decisions. Let me right now, and you're going to have to roll with it. In the worst-case scenario, you're gonna have to just redo a couple of things, but shouldn't be that bad. I'm going to push this thing in, as you can see right here. And I'm going to grab this guy right here. And I'm also going to bevel it to create a nice little support that's right there. Perfect. Now for the lens, the lens is actually really interesting because we're gonna be using a sphere. Of course, I'm going to press V to snap it. I have Karnak Turner. I don't think I do. There we go. I'm going to press V to snap this to the center right there. Rotate this 90 degrees and just start increasing it until we get the proper size for what the eyeball or the collapse of the camera would be. Now here's the interesting thing. Eventually when we hit rendering, I do want this glass to be real glass. So what I'm going to have to do is I'm going to delete that edge loop right there, deleted this back part of the sphere. And I'm going to extrude this thing Control E, extrude this in to give it a thickness. Okay, usually lenses have some sort of thing. This is not just solid glass all the way through. It has a specific thickness. And if we want things to be working properly, we need to make this as realistic as possible. So we do this, we reverse this things of course. And I will probably add a small little bubble here to the border. And there we go. That's gonna be my eye, my eye detail right there. Now, again, we don't have I'm actually wondering if this thing starts just like plates or something supporting the whole thing. I don't think so. But I would expect there to be some sort of connection on the back thing going probably to this shape right there. So I'm gonna go here, Control E Again, sorry, Control F, 11 to select all of the faces, Control E and offset. Then Control E again and just push in. Of course that thing right there we're going to bevel small fraction. There we go. And now we want to create a very similar circle somewhere in the neck, right like Raleigh again, like right around there. So I think this guy is right here. Look like the best possible option. It's close enough that we're not going to have a lot of empty space and it's flattened off. That's not going to affect any other, any other piece. So I'm actually just noticing that we have a little bit of an issue there. Okay, perfect. So this goes right here. Well, first let's isolate this piece. Let's go to the right view. And we know it's this guy right here. The best thing we can do is try to balance this out and make it as squares possible for the next movement over the next action. So something like this. If we can just modify things a little bit, that's going to save us a lot of time. Grab these four guys control E, offset a little bit. And of course we're going to use Edit Mesh circularize. And then we're gonna make this smaller. Just have this as clean as possible. Control E to create a nice edge loop actions are always important for topology. And then Control E and just push this in. Not that much, something like that should be more than enough. And again, if we do number three, we're going to have that nice little indentation there. We can of course, give this a bevel and play around with this term right here. I'm getting some weird glitches. Can you see that? It's weird anyway? So we got that nice little point right there. And of course we're going to mirror this on the x-axis to get the same thing on the other side. Now, let's, let's add some support edges to this guy. Give me like one there, one there. 12345678. Actually be enough. There we go. Probably one right there on the center. There we go. And how do we connect this two guys right here with a curve? I'm going to go to top view. We're gonna go to word those guys are which you can see right here. And I'm gonna go remember the cure, the curve that we created, the epi curve. I'm going to click right there, 123456. And we can of course play around with the control vertices of the curve to make this thing a really, really, really clean and sharp. There we go. You can even scale the points so they're like super, super straight. That curve of course is going to be on the floor. I'm going to have to center the pivot point and snap it all the way to the top. Right there. You can see pretty much in line. I will want to be super precise about the proper position. And we can of course, just snap the thing up and give it a little bit of credit for that. So you can see that's really **** it, really **** close. And now we're going to delete history and we're going to use this sweep mesh function, which is going to create a curve along that specific surface. We can scale the profile a little bit, probably going to go something like that. As you can see, we have quite a bit of divisions. I'm going to increase the precision just a little bit. So you get a nicer and nicer curve. And that's it. The lead history. And we got ourselves that very nice cable. Here's another like again, I'm just showing you guys little things that are going to make this thing even, even, even though they're super small details and no one's probably going to notice them. If we do them, they're going to look so freaking good. So I'm going to grab this face is right here, and this face is right here. I'm going to duplicate them. So I'm going to say Edit Mesh, duplicate. Now, I'm going to grab them again. Should be right here, 1.2. And we're going to extrude them out. Okay? That one is gonna go right around there. And then this one a little bit more. Sorry about that. There we go. So now let's grab it. This two guys. I'm going to bevel actually, no, I don't think we need to go but we can live them less just like small little donuts. And look at that, what we can do is I'm going to center the pivot point and this one of course pushed us out. And this sort of like, uh, like this rubber thing that holds the cable so no water or nothing gets in there. Okay. There we go. Just hugs the cable nicely and tightly there. And since it follows it follows the same shape of the cable, it should look very nice here. I'm going to graph the interfaces that scale them in. Really hugs the surface. See, see how nice that detail looks. It's just one little thing, like one little detail. It took us one extra minute or two. And we get something that looks really, really, really interesting and makes everything look more realistic because there's a connection now that fits the whole thing. The same thing here, just just this doughnut a little bit more. Even if there's a little bit of overlap, That's fine. So you can imagine that's gonna be like some sort of like black rubber. And then this thing is going to be like a cable, like carbon fiber or something in the textures. And it's just going to look really, really nice. I'm gonna go do one thing here. I'm going to assign a new material to this guy. It's just gonna be an Arnold AI standard surface. I'm going to make this on the transmission. I'm going to make it a glass. So now we're going to see it's going to be transparent. But we can actually go to the material itself, change the color to a red color. And then we're going to see it like a, like a, like a normal glass. So let's just call this m red glass. The reason why I wanted to do this, you might already be figuring this out, but I'm going to grab all of these pieces right here. I'm going to group them control G and then a mirror this group to the other side. Okay? So now we've got all of the pieces mirrored properly. And what we can do is, since we are having a really nice advancement so far, like the head is looking quite nice. I'm going to save this real quick and we can take a look at the render. So let's turn off. This guy's right here. We have the blocking, remember? So what I'm gonna do is first let me remember it's the M clay. So I'm going to delete all of the head pieces which we don't need anymore. There we go. Then we can grab all of these guys except for the eyes, of course. And assign the same clay material. We could even assign some like plastic, like dark plastic materials to some of these guys. For instance, this guy right here and the spheres, like the connection spheres, I'm going to say any new material, Arnold, AI standard surface M. Hold this lack of rubber. Gonna go down there and up on the roughness. Hit Control S real quick. And let's render. Of course we're going to run them from our shot Cam. There we go. So very, very simple like advancement that we have right now will we can already see the vases off our character like coming along from what we had before to this very nice half. We're good on a good path. So actually, can we delete, can delete that one as well? Delete that one and that's going to make the whole neck look a little bit more interesting, cleaner. There we go. So yeah, that's pretty much it, guys. We're going to continue now with the torso, I believe, and we're just going to keep moving with the rest of the core of the character. I would recommend saving this image. So once you have a nice render, it's very cool to just save this image. We have this line on guard down. One is going to be live on guardian to. And the reason why this is important is because as we move along, not only are we gonna be able to do that, not to File Save image. There it is. There we go. We're gonna be able to see the progress. We're gonna be able to compare. And it's kind of like a flip book thing. We're, we're gonna go from very, very simple geometry to really complex geometry as we keep building our character. So, yeah, that's it for this one guys. I'll see you back on the next one. Bye bye. 11. Chest Block In: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the chest. And I have this thing right here. By the way, if you have the arm materials and you don't want to see them, you can just click on this little icon right here, which is the use default material option, and it will just use the basic Lambert. The chest is a rather complex bees. We actually have a lot of things going on here. So let's start by doing the basic stuff, That's the easy stuff, and then we'll keep on building with the more complex things. So for instance, right here we have this or like sternum on the bottom part. That's just a cylinder. I wanted to grab a cylinder right here, make it bigger, rotate this 90 degrees so that it's facing me. We're going to place it right here where it would be just the sort of connection right there. And we can see that it has a couple of details. So I'm gonna go vertex Control F, 11 control E. And we're going to create a nice border there for the birth. Then we can just Control E again, pushed us in. And that's it. We're gonna grab this guy and this guy, probably that guy as well. Just pebble small fraction into segments. So when we smoke, we get this and we're going to mirror to the other side to get this thing right here. If we look at the front view, I actually don't see the cylinder, which is really, really curious. This front view is not great for the skeleton, but that would imagine there's some sort of support and the center. So I'm gonna go and keep it like this, like a balancing plate or something. It's either dad or it's on the on the sides. But again, it's a little bit difficult to see. So I'm thinking into a central piece rather than a symmetrical piece. Like, I think it makes sense for this to be some sort of external support or something. Now let's do the box real quick. And for that one I'm going to use the polygon creation. So we're going to do 123456 right there. And of course we're going to use our knife tool to fix this into proper topology. And once we have this, we can play around with the actual depth. I'm going to push this to the, if we go to the top, you can see that it goes like quite nicely over there. That said, we have this thing right here. Now, we know that this is not on the center line. On the central lung. We're probably going to have, again that looks sort of like sternum or something. So we can push this right around there. I would say that's gonna be our box. It's gonna be like the main torso is kind of like the ribcage, have the whole character. So I do want to give it a couple of bubbles. And some of you might be like, What is he doing? I'm going to give it the bevel right here. And yes, I know that's going to create an angle, but I'm also going to give it a pebble right here. Right around there. I'm going to give it a couple of bubbles here on the back. And the reason why I'm doing the bubbles like this is just to play around with the proper like a faceting. Do they want here on the front? Because I know at any point you can just cut from one side to the other like this. And I'm going to get the shape that I'm looking for. It's gonna be a a proper topology shape and we're not gonna have any issues whatsoever. Everything is watts. Now, one interesting thing about this guy right here, so it has a hole in, it looks like it goes all the way through. So normally I'm not a huge fan of, of Angolans already gone, so sorry of booleans. But they can work quite nicely in volumes are a way in which we can use one shape. For instance, this cylinder right here. Again, change this to eight sites. And we can use one shape to cut around or cut across another piece. And as long as you know how proper topology works, you can fix whatever angle and like cod you do, it can give you some interesting results. So what I'm gonna do here, as you can see, so I'm going to position the cylinder where I needed to be, which is right around there. I'm going to select the first shape, freeze transformation. So for this one, first shape, the second shape, and I'm going to say mesh booleans difference a minus b. And as you can see, we get this, which is not bad. It's a very, very nice gut and we have this thing going across the whole element. Once we do delete history, we're not gonna be able to move it because right now, Maya, in the newest version, 2023, I think 2020, 200 as well. We have this sort of like dynamic babbling system, which is dynamic Boolean system. As you can see, we can modify the position and thinks of the object and they will update automatically, which is quite, quite cool. But once you're happy with the result mixture to Lily history, now it's permanent and now we can fix this topology. So I'm gonna delete those guys and delete this guy right here. Because we need to find a way to properly connect this guy to the rest of the square. So I'm gonna select this guy right here and this edge right here, Control E. And we're going to offset, or actually in this case, we're gonna thickness out a little bit. This thing is that we're doing there, as you can see, it's going to give us a slope. And that entropy is going to be flat to the surface of the faces that we had. So that's great. Now, as you can see, it seems there's some, we might have a trouble or problem here with this edge control and delete. There we go. Now, what we need to do is we need to fill in this box and this cylinder with the proper topology. So the way we're gonna do this is we're gonna use our cut tool. I'm going to add one line right there. One line right there. One line around there and one line right around there. As you can see, we're getting deep faces that we need. So from here to here, we're going to bridge. From here to here, we're going to bridge. I would probably add one extra one here. And on the back. Then what we can do is grab this edge, Control E and snap it to the next one. Make sure these guys are merged together. We go. So we don't have to bring this phases all the way to the side. And then we just start stitching. All of these guys right here. From here. Same deal, like it might not be a bad idea to add one division there and one division there. Grab this edge, Control E. Or actually this case, just bridge from one side to the other. Other one light right there. And then just merge those vertices together. There we go. From here to here. We're going to bridge. From here to here we're going to bridge. And this should clean up the edge loop perfectly right there. So now we have this very huge block going across both sides. Of course, on this other side, we're going to have to do something very similar. So we're going to go with this edge Control E and get all the way to the other side. This, I'm going to snap there and then merge. Those two guys. Emerge the center, there we go. Then we add one light right there and one right there. It's like this two guys merge this two guys and merge. That we should have enough geometry over here. So 1.1, 1.2, 1.3, 1451 is six. Here. Again, to alleviate the stress of the topology, just move this case right there. This guy, I'm going to snap it. I don't want to merge them to center until they are snapped. Grab this guy, snap there. And now we merge them. Now we grab this guy and this guy we bridge, this guy and this guy we bridge. And there we go. So now we've smoothed out, as you can see, the topology is really clean. Yes, we have a really thin surface right here. But if we add a, like a babble or something, we can clear it up. Now, some of you might be wondering about this, like details that we have right here. Those details can definitely be modeled in however. And again, like thinking about the character array here. Later on we're going to have this big bulk of our Merkel. So we're never going to see it. And I don t think we we really should worry too much about it. I can show you real quick how I would go about doing them. But it's not gonna be the cleanest one. Okay, so I'm just going to show you again for the sake of argument. But that might not be the claim that one over here like this ones can be easily, very easily be adapted. If I add, let's say 12.3 lines right there. Then I grab this three edges on the outside. This guy, this guy and this guy look at this. We can very easily visible those lines. How nice that section looks. We can label them right there. I know we have angles, don't worry. Then I can grab those new shapes that we just created. Control E, offset them to create an edge loop, and then Control E and push them in. And we're going to get what we want. Which is the sort of like around the facts. Of course, if we add a couple of support that just lets say one right there and one down here. Those are gonna look even better. Okay? So those sort of things that's relatively easy to do. And even this angle is right here. I don't care too much about them. Like we can always just add one extra line. They are just stitch it to the corner. Again. It's an it's an easy fix. Those are ISI ISI things to model along the surface. So let me walk. You can see if I tried to do this. It's not going to let me wise, not going to let me do it because we have this really weird angle right there. Another way we can fix this icon like this. We just go from one point to the other. That fixes those internal angles. And then look at this. I'm going to go from here to that point right there. It's not ideal this one. But we're going to go right there. From here to there. From here to there. And that's gonna give me a cleaner, cleaner look. And now I can use my intellectual, for instance, to the sharpened some of these lines right here at the top and the bottom line. Which has not going to look bad, like it's a nice thing. And the cool thing is, since that thing is happening on the flat area, if I want to make some of these smaller, just like literally move this things up a little bit of this things in a little bit like that. And that looks like the bends are becoming smaller. Again, not ideal though. It makes the topology really, really like crazy. So I personally would just call back, I'm just going to go back. I just show you that in case you want to do it. But I would rather show you how to do this in texturing how to, how to do that detail in a normal map. And we can even legged later on display set, we get a nicer effect. This one, I just care about having a clean, clean shape right here. So I'm going to grab this guy right here of this guy, this guy, I probably want to grab this guy and this guy, this guy and this guy. This guy definitely probably all of the border edges, to be honest. All of this border edges. Yeah, that's fine. Careful here. Let's not select borders that we don't want. There we go. We babble. We give this two segments. Now. My Beth, 33 segments. Hopefully this doesn't kill Maya because this is actually the second time I'm recording this. Give me 1 s. Okay, it survived. It survive. Divisions. There we go. Now let's just make sure that we will not have any weird acronyms. For instance, they're just merge those two center to center as well. There's probably some remnants from the from the Boolean. So I just want everything to be as clean as possible. And again, don't worry too much about things that are not gonna be as visible. Sometimes we want everything to be super, super-duper perfect. And of course we should always strive for that perfection. But there's always the time factor. And it's worth to over think things are going to have the one that slope there. I forgot to bevel this guys right here. So it's throwing a quick bubble. There. There we go. I'll have this big block of a torso right there. Now you can see on the actual torso that it has a more, I would say organic look to it. There's a couple of like when you see it from the front is not the box. It's a little bit different, right? And it can become quite tricky to modify what we already have here. So I'm going to show you a different tool, which is called the lattice tool. Let's see real quick the lid history. I'm gonna go here to the form and I'm going to create this thing called a lattice. So he led, this is pretty much a box, right? And the cool thing about this box, it has this lattice points. And what happens is the geometry gets attached to this lattice points. And if you move this geometry, you can see how everything just moves together. So it's a lot easier to just grab all of those guys, for instance, and just like royalty them around a little bit and see how nice that forms the geometry. And the cool thing about the lattice as well is that we can increase the divisions. For instance, I can say three divisions or maybe even like four divisions. And that way if I, if I modify this outer lattice points that we have right here, they're not going to affect the inner lattice points. So we can curve this in a little bit, which is up, for instance, or push this down like crazy, a slightly different effect. And that we're not modifying the hole that we have right there. Okay, So this is how we would create like a little bit more complexity on our shapes without deforming the really clean like thing that we have here on the front. Like I can see from the top view that this thing seems to be pushing forward like the center of this thing. You would like, okay, how can I do that? Well, first let's dilute history. The loudest gets deleted. Let's add a new one. The form. Again lattice. I'm going to add more divisions here on the front. So that we get, when we go to top view and we graph, and we grab the lattice points, this case right here. We can push them without the forming D depends as much. See that we generate something that looks really, really interesting and we get a soft transition from one point to the other. I can also see something like that on the inside here. So I'm gonna, I'm gonna grab some of the lattice points here. Push them in, then grab this guy is push them in and grabs this one's push domain. It's kinda like a rigging is a little bit like rigging, but it's not actually ringing. It's just a forming the whole thing. So this is how we can create very complex shapes like this once without having to worry about the overall like the orbital shape. So we built a history. And let's do a mirror, of course to the x side. And that will be my main frame where the where everything is going to be attached to all of the armor and stuff. And we're going to add later on, this will be, this will be the position. One thing we could do. And again, this is up to you and up to the designer. Like how you talk to the designer and stuff. Let's say like those, let's say like those bands. But I want to add a different detail, like I want to make it easy and it's perfectly valid to talk to your client and be like, Hey, you know what, like, I do like that idea that you have right there. But what if we did it slightly different? And they're gonna be like, Well, what do you mean? Well, for instance, I could go to, let's say Mesh tools, Insert Edge Loop and be like give me like five edge loops. And we get 123, like very clean squares right there. And we can offset them. Control E, pushed him in. Control E again to create an edge loop. And then we get this right. And of course, if we have a support edge down there or up there and down here, we get a very similar effect. It's not exactly the same, right? It's not exactly the same thing that we have, but it's a similar effect that might be able to fulfill what we want to create. For instance, here I can delete those lines again so we can get this very clean shape once more. We go again to this guy, insert more lines, and I can add two more lines right there. Control E, offset. Let's make them even smaller. Control E, Push and Control E once more. There we go. Of course, those are also going to need their own support edges right there, one. And to look at that, even though they're not the exact ones right now, it makes it easier. I'm going to keep this once. I kinda like them, we'll see how it looks with the rest of the armor later on. And we see that we need more details. We'll just add it on top. So I'm going to stop this one right here, guys, we're in a really good position. I think this looks quite, quite nice. Organic with mechanic at the same time, it's a huge chunk of metal right there. And we need to add this they killed right here. And just like a right ear sort of thing right here. And we have of course, the upper looking like vertebrates as well, which is going to be another detail. So yeah, hang on tight and I'll see you back on the next one. Bye bye. 12. Chest Modelling: Hey guys, welcome back to the next part. We're going to continue now with the next area here on the character. First thing I'm noticing is that I'm not matching perfectly here on this side. Again, easiest way to do this dual lattice. We don't want to distort anything that we have already done. So if we do a lattice, we can very easily just grab this lattice points and just move this around and everything is just going to fall into place. Now I can see there's like a, like a band or something back here. Very, again, very common, very usual for, for, for us to build, again complexity out of simplicity. Easiest way to do that, just grab two phases, two phases that you see here, for instance, this two right there, pretty much match the thing that we have. And we're going to say Edit, Mesh, duplicate. And then from those two faces, I would even like to be honest, I will just, I will delete this edge. We don't need it right now. You can have just one single phase Control E, extrude it up. Let's go to a right view, like roughly around there. And then this guy for instance, we can go into the normal or the object owned. There. We go. Push this up, which this down. Just generate roughly the size that we're looking for right there. And I'm going to grab that edge right there, that edge right there, that one and that one, bevel. And then this whole face level, something like that. Control E offset. I'm going to go up. So Control E. And then another bubble. Then the whole thing just pebble. Get a nice clean like shape. Look at that. Sort of like a thruster, right? Center point, of course. And yeah, that's, that's pretty much it. Like we have this sort of like backpack thingy here on the hips. And that adds another level of complexity without taking too much time does one of course, well, actually probably have 1.2. Actually this one right here on the back. I'm going to offset it a little bit. And then I'm going to poke. And we might even debate, like not even poking and just deleting it. It's just empty geometry that we're never going to see. And then this one here in the front, I kinda want to do something interesting and we don't have a back view on this character. I come on to do something here, so I'm going to like push this in. Okay? And then this face, I am going to duplicate. So Edit Mesh. Duplicate. Here we go. So now we should have that face right there or effect. And look at this. I am gunna. I'm going to bring this thing trying to think. I'm going to add division. So I definitely want to add divisions. Let's add three divisions. Well, first let's fix the topology. So let's make the squares. There we go. So I want to add three divisions right there, three divisions right there. And let's do six divisions right here. Probably seven divisions. There we go. It looks a little bit better. Now I'm going to select, I'm going to skip the selection of one of them like that. Actually. Let me go back. I'm gonna do 12123456. Actually. Have to go back here on SS7 is going to be eight. You're going to see why in a second. Some of you might have already guessed, There we go. 121-23-4567. There we go. Shift, select everything else. Delete this guy. So we're gonna be bands. Can just create a bend that perfectly fits the thing right there. So again, when we see it from the back, especially if there is no armour covering data. Or we can kinda see this. We can paint this intersection black like that face on the inside black. And then we're going to have this guys right here. Now to make sure that this thing like falls exactly where I needed to, I'm going to select pretty much all of the faces, actually just the whole edges, just given them a bubble. But it's gonna be really, really strong bubble. There we go. Or effect. And grab both of these guys, shift, right-click and mirror to the other side. And again, we're never going to see the inside of this engine or whatever. But we know that that's gonna give us an interesting effect right there. I can, I want to add a support that's right there. And right there. You get a nice like extra sharp edge. And that's it. Let's mirror this guy as well just to have the same detail on the backend. And that's it. We got that really, really cool looking thing. We can do something similar with this piece right here, right like this thing is on top of the wheel. So I'm going to use my Create Polygon tool to create just a very simple polygon. Just hit Enter. That's the square, pretty much, right? So Control E, push it in, shouldn't cover the whole sir, right around there. They do want to have this overlapping with the circle. Even this one is probably going to push forward a little bit, even if there's overlap, that's fine. And it has something coming out of the sides. So one thing that I'm imagining is this thing might be, Let's go object like this, like offset it a little bit. Not that much because again, I want to overlap that, but just a little bit right there. Looks good. Let's do a bevel on the whole object. Small fraction, two segments. I go remember you don't have to overthink, especially for things like this. We can later add on the texture. We can add like little a bold center in section lines and stuff. And then we want to, we want to keep it for them for dislike generation stuff. And actually let me look at the armor real quick. Yeah, see this piece right here. See how it's like inclined back. Actually ask not that man. Now. It's fine. It's fine. Okay. So yeah, that's pretty much it. Now, we do need another sort of connection for the neck, a torso, and this, we'll kinda looks like it. Like you can kind of see that thing going there. I know we have the clavicles still. We definitely need to have something that just connects the whole things. It's probably going to be thicker. A huge thing right there. And we can of course play around with some bubbles. So Control E, Let's offset this. Control E ofs is a little bit more. And then this thing right here Control E and just push it in. And of course, we've doubled those elements. Mirror this. So we have it on both sides. That's it. Cool. So yeah, that's kind of like holds those stuff there. Again, we need this. They're like clavicles, like some of the clavicles from the things the clavicle or the, or the scapula from the lion. But everything has like, we have free range of movement here. We have free range of movement here. So yeah, things mechanically accurate. But I still feel like this thing is a little bit small. I don't know why. It's moving a little bit there. Just a couple of scale moments there. Make sure that nothing that I just did there changes how things look. This one might need to be a little bit thicker. This one is, of course, we're going to mirror to the other side. That looks like an interesting piece right there. And it has again something back here. Buttons, maybe lights could be like a small little light. So let's add that real quick. It's probably gonna be cylinder. I rotate this minus nine degrees. Let's go to the right view. That'd be careful on how we, how big we make them because we can be bigger than the original shape. So something like that. Let's again a bevel. This guy. We're going to use the fraction here to make this a little bit smaller. Like this guy's control, Offset, Control E and just push this in. Not that foreign control E, Just to add the support edge that we go. Rarely thrown in another quick babble there that we're going for really, really high polish. This is very normal for this sort of like a movie commercial, things very, very common. So don't be afraid to, to add a lot of detail. Here. What we can do very, very simple transformation is just at the second one, which is smaller. That's always a good way to add details. And again, just Mirror this to the other side. Delete that one. So it's a super, super, super easy way to add complexity, just duplicating a couple of shapes here and there. We still have a couple of minutes here for this video. So I kinda wanna go for the, for the spine right there. Now, this is fine. It's very interesting because the spine on your rib-cage does not really move as much. So this whole block is probably going to move as a whole. But that doesn't mean that we can't sculpt things that look interesting. So we already have a sort of idea of how the spine should look, which has this sort of like, thanks for we're here, we're not going to small dose. We can utilize those or we can create another section. But we definitely want something that unifies this section or this part of the chest like all of this empty area, we definitely definitely, definitely want to cover it because the armor, even though we do have a plate here, it appears, have some sort of like armor bits. They're covering it. It's not quite a thick one from why they can see. I think that might be enough, but I still want that. Fill this in. Like I don't want this thing to be empty. So I'm going to start with the cylinder. And we're going to rotate this of course, habit right here. Unlike sticking out of the, of the chess pieces, there we go, that's perfect. I'm going to go to vertex mode, grab all of these vertices, pushed them forward to about, let's overlap them with actually that's not overlap, but let's keep them right there. This one's right here. I'm going to extrude them out to there. So this is gonna be like the, let's call this the like the nervous system of the whole thing. Okay, this is going to be underneath everything. Definitely going to give this the bevel in for this one. So another bevel there. And then we, the Insert Edge Loop worked in the insert. Natural, really close, they're close, they're really close. They're only like a couple here. And one right there, right there, right there. So we get that sort of like it's just a very basic cylinder and that's pretty much just to fill in things so that we don't have to we're not seeing them right? Like we want to keep them in a nice place. And then on top of this, we can really utilize some of these guys right here and cover a couple of pieces with disorder like armor. Little bit thicker there. Let's go world or we go. We're going to have one right there. And then we're going to have another one right here. It's not the armor itself, but it's some sort of protection, right? You can see that this thing, there's something like, like, again, like attaching to the side of the, of the elements. And here's where keep bashing, which is this thing that I'm doing right now, really, really, really works. Kant looks like hinges now, right? So you can imagine that it should be fairly easy to just create a very basic sci-fi ish shape. Just attaches there. So I'm going to start with something like this. I'm going to add one line right there. Just scrub this guy Control E. That said something like even like this. Maybe a couple of bubbles here and a couple of bevels here. Even something like this should be more than enough for all want. I might want to push this face in a little bit more and this one as well. Then if we grab this whole thing and just double everything, we're going to create this are like attachment point, of course will make it smaller. We're going to use this tear. Add complexity to the thing. Don't worry about the angles. They're, they're on a flat surface. And guns on flat surfaces are usually fine. We bring this here. We find the balance there. For instance, this one. Congrats the parenthesis here, just bring them down. And that's it. So it's like an extra little thing there that we can add. This just going to support the whole thing. We're going to have the armor and textures and details and decals and everything on top of this. But just like creating this work complexity, complexity is fine. And again, remember this whole piece is like all of these things that we have right here. All of these things that I have selected are pretty much going to move as a single, as a single unit. Now, let's say real quick. And since we're already here, let's do a quick render to see how things are looking. Of course, a lot of these pieces are not going to have the proper material. Was just going to assign the clay material for now. If you already want to see some like divisions, one thing we could do, I was thinking about doing this. Let's just select a couple of pieces. Not all of the pieces, just a couple of pieces. Some of them are not even going to be seen. We can assign the black rubber material like a color construction overall. Again, Let's say real quick, Arnold render. And if we've followed everything until now, we're going to have this look at that. Not bad, right? Again, let's bring the lion blocking. And little by little, we are deleting the, the details that we don't need, right? Trying to see if we're missing anything under the blocking. It doesn't seem like it. There we go. Now we can render again. Go to our shot cam. Here we go. Remember to close the setup whenever you like, turn on and off the geometries. We'd go go shotgun. Perfect. Simple pieces, simple geometry, simple modeling, but things are looking better and better each time. So I'm going to save this image as well. I'm just going to go File Save image. It's going to be lying guardian to three. And we're ready to move on to this part right here. I think that's gonna be the final part for this chapter. For Chapter two, we're going to finish with the short little shoulder blade thing is that this guy has. And then our next chapter we're going to do the legs and the hips. Okay. So yeah, hang on tight and I'll see you back on the next video. 13. Chest Radiator: Hey guys, welcome back to the next part of our series. Today we're going to continue with the chest, a radiator, which is this sort of thing that we have here on the front. Now before I do that though, I've been again just like questioning a couple of my choices here for the element. And I was looking at the actual skeleton of a lion. And of course, in a very similar way to how our skeleton works, it gets thinner as we get to the front right here. So I'm gonna go to a top view. Let's isolate this thing real quick here. And I'm gonna go, actually going to go just perspective, view. I'm going to grab vertices. And what I wanna do is I want to grab pretty much all of the front vertices right here. A little bit of the things that are close to the hole, but not the whole stem cells. Even something like this is fine. And the reason why this is fine is because as we know, we can always just mirror things back. And I'm just going to scale this down and push this in like that. So this is gonna give us a sort of a round effect for the chest. Again, really, really interesting, like mechanised structure. Yes, we are changing a little bit of the circle here. So to alleviate the distortion or the things that we can do is just push this thing back a little bit so that we like counteract a little bit of the stretching us that we're getting. And as you can see, this one looks a little bit more like a ribcage than this one right here. So it will just grab, shift right-click and we mirror to the world x and negative axis. We're going to get the exact same thing on the other side. Now that we have this, I kind of want to graph all of the front-facing things like this guys right here, I'm actually going to try to turn on object x. So if we move something, it matches technically, we might need to freeze transformations and stuff. Now it's not working, that's fine. Even if it doesn't work. I'm going to grab all of the vertices here. There we go. I'm just gonna push this in a little bit more, especially disguise right here. I definitely want to get them into this section. There we go. That's better. Again, if we feel like this line that we modify is now getting a little bit out of proportion, would just get this in. And that should help alleviate a little bit of the things. Now I was looking at the concept and I feel like this holds that we added, even though they look really, really cool, are actually not in the concept. I kind of like misinterpreted the scapula, which are this thing is right here. And I think that's the shape that my friend drew right there, like the scapula is pointing out. So yeah, but I mean, it's fine. It doesn't look bad and we can get something that looks quite nice there on our character. Now there's again the right ear right here on the front. And I'm going to show you how we can extract this face is right here to create that specific shape. I'm going to grab those two guys and we're going to say a mesh tools, mesh, mesh, Edit Mesh, sorry. And we're going to say duplicate. We're going to push this guy's forward a little bit, and there we go. Now, what I'm gonna do is I'm going to grab these two guys control E and just extrude them forward a little bit. It's going to be the first section of a radiator. Now of course, it might be a good idea to scale this things out. Well, that's really weird. Let's combine. And if we scale them, There we go. So they're not touching the main thing right there. Now, I'm going to do the following. I can see on the console that we have like three or four. So I'm going to press Control D, push this guy's forward. Control D again, push it forward and then Shift D or Control D just to do the four warrant right there. So we're gonna get this very interesting shapes. Now. All of this we can simplify a little bit. We really don't need the curvature that we have. So I'm going to combine everything, select this central line right there. And control and supreme, remember that anytime we delete any object, we should try to, we should try to delete the vertices and we do control supreme in order to delete the vertices right there. So now that we have this, I'm going to just bevel everything, two segments and a small fraction. That's gonna be my plates like the radiator plates. And if I want them to be smaller as they get forward, as they go forward, I can actually add a, another lattice, the lattice. It's a huge, huge, huge lifesaver guys, because look at what we can do here. Like trying to come up with that specific shape will be really, really, really time-consuming if we tried to do it like traditionally. Now of course, I'm going to grab all of these vertices, push them out a little bit, and we're going to just mirror this thing to the other side. Let's delete the history and look at how nice those plates look. Cool right? Now, another thing we can do is I can grab this guy and this guy, and I can press B, which is a soft selection. And I can just move this up a little bit, like maybe right about there. And if we move this one, we can create a little bit of a ramp going on. I'm actually going to go to this one right here and move this down. Now, when you're doing this, make sure your soft selection is set up. If you go to movement here, soft selection should be set up to surface, not volume, surface, so that only the faces that are touching each other get modified with the specific tool. Now of course it's radiators cannot be just like floating around like that. We need some sort of support. And in order to just keep it simple, to be honest, easiest thing is just a cute. Let's just add a very simple cube. And we're going to use this as a sort of like, like framing device is gonna go right there. Let's get this in. Are probably going to grab that edge right there. No soft selection and just push this in so we hide it. Or something like that. If you really, really, really want to give it a lot of believability, we can duplicate it once more because I would expect there to be at least two supports for this thing right there. Let's push us in a little bit. Then I'm going to grab this edge right there, push it out. So again, this is just for like if at any point someone tries to analyze our element and sees how are these things attach or welded together. We can just add that very simple line right there. Let's isolate them, merge them together, go into edge mode, and we're going to bevel the whole thing like that. Two segments as we've done so far and a small fraction. And we shift right-click and mirror to the other side. And there we go. That's the way we can get our radiators to work quite, quite nicely. Now, I'm thinking about like, what else could we add to this big shapes right here, because they're quite intense. And it makes it a little bit difficult to, to find like if we could or should add any more details. But not only think of maybe those eagles can be added later on with textures like a very simple section light. We could of course use the same trick that we use for this guy right here. But I don't think it's really worth it, especially since we're not going to be, I'm seeing this piece because it's gonna be covered by all of the armor. So yeah, that's pretty much it, guys. We got the radio ready and that we're ready to move on to the scapula, which are these pieces right here, which we have. Do they make a very interesting effect right there? So that's it for this one guys, hang on tight and I'll see you back on the next one. Bye bye. 14. Chest Scapula: Hi guys, welcome back to the next part of our series. Today we're going to continue with the scapula. And this is a perfect piece to show you a little bit of free modeling because even though we've done a really good progress so far, the scapula is really, really tricky, right? Like we don't have a lot of information, or at least it's a little bit difficult to find the information on the image points. And we know that it's an important piece. So the scapula is going to be very important because it's going to help with the rotation. To me, it seems like this is scapula is welded on the character or the normal lie on the scapula would not be welded. But I do like the fact of having this thing attached to this main block right here. So I'm gonna go to the right view. There we go. That one thing we can start doing is we can start cleaning things up a little bit to start with. Let's just freeze transformation everywhere. There we go. So you can see we have a lot of cameras. I'm just going to say Select all by type. And then there has to be worn cameras and just delete them. It's not going to let you delete the default cameras. So that way we are sure that we're only deleting the cameras that we are not using. What I can do here is I can grab everything except for the chest. Just create a new layer and just turn it off. That way we can see the chest and we don't have to worry about the remaining pieces. So I'm going to use my quadrat tool again or the polygon draw tool. And as you can see, we go up like this. We go down and we can attach the piece to this sort of curvature right there. So it's this sort of like shape, right? That's the center, the pivot point. Go to the side, which is roughly about there where it's going to be. And we can already extrude this and generate the pizza we want. Or if you want to actually think it's a better idea. Let's go to a right view. Let's isolate this space. Let's just really quickly clean the topology on this thing. So what would be the best idea? Remember that usually will want to apologize to be following a specific loop. I'm to show you a really cool trick here. I'm going to grab this face control E, and I'm going to offset this in. And then I'm going to delete that face and that face. And as you can see, we now have quads and they're following a loop. So that's a great, great way to just like fixed up and repair the elements. I'm going to grab this edge right here and this one right here. We're going to bridge from here to here we bridge, and here we have an issue. Easiest way to solve this, just another division. Just add another division and we bridge from one side and we've reached from the other side. There we go. Not only that, we have a clean element, that we also have an edge loop on the border, which as we know, is super, super valuable for a lot of different reasons. Control E and we're going to push this out, kinda like this or like hanging piece right there. I think it'll give a nice interesting proportion. Now you can see that it has kind of like a hole in here like on this area. So again, that's relatively easy. We could grab these two guys, control E, and we're going to offset to create a nice little hole going through the piece. Now, I remember when I was recording this, I was looking at some comments and the people were asking like, how can I, how can I like freeze cold or free model without being limited by the topology and stuff. And this is the way to do it. You just, you just start like building basic shapes and trying to find out the best way to generate the form that you want. Now here one of the big problems are bigger challenges that we're going to have ease of the hard edges that we want to capture. So I'm going to grab this edge right here and this edge right here. I'm going to make it go in a little bit. This immediately going to give us this very sort of like sharp looking etch. And then if we just add a couple of supports that just like there, there, there and there. That's already going to give me a sort of like soft bevel on the element. Of course, if we want these things to be super sharp, we need to start adding more stuff. So let's start with a very nice bubble right there. Actually wanted that circle to be a little bit more circular. Remember, if we want this thing to be as circular as possible, we're going to have to move the vertex points and make a square shape. That the more that this query for this thing is, I don't even know if that's a word, but the more round this thing is, the better it's going to look. Let's have the one support edge right there. And a second one. Remember three support Edges usually for any sharp corner or add one more there and there, one more there and there because I want to have this angle right there. We got this one right here. And as you can see, that one's gonna go to the triangle. That's fine. Let's see how that makes it look. So another one right here, especially like a really nice, happy little accident. But as soon as we start adding more edges like here and here, as you guys are seeing right there, We're gonna get way, way more definition on this areas. There we go. I'm tempted to add one more line there to give this thing a little bit sharper. And even another one right there. And there, there we go. Let's add one more line there. I'm just looking at all the places where we need more lines to create this very interesting effect. Okay, now so it might be like, I don't really like this. This is looking a little bit weird. We can always play around with the vertices to create a more even like distributed circle right there. I think that will look a little bit better, a little bit cleaner. And we get this very cool looking shape. Now you can see there's a section line right there. And this is where again, keep it simple is my rule for this sort of thing. So look at what am I gonna do? I'm gonna grab this like main phases right here. I'm going to say Edit Mesh and then duplicate. I'm going to push them up just a tiny bit. There we go. Grab all of them, isolate them, combine them into a single mesh. And now I'm going to grab all of the vertices and I'm going to use Edit Mesh. Merge. Merchant will merge the vertices that are on top of each other. But then we start playing around with the threshold. We can actually increase the threshold and as you can see, we can generate or regenerate the shape that we have much, much faster. So let's do something like 0.5. Probably a little bit more like a 0.7 point, the xyx. There we go. That's as close as we can get it. We can of course, grab this guy right here, or at least snap those and just merge the center. I just want to create this very nicely whole looking shape. If we go now to the right view, we can add one eye right there. And of course, we're going to have to add another line on the back. They're not gonna be perfectly in line. But we can grab this edge. And there's an option called mesh tools, slight edge. And with middle mouse button, we can slide this edge to make it match as close as possible. Now we delete this two faces and we get this very interesting hole. So now what we can do, again to add visual interest to the whole thing. She's going to move this thing down a little bit like there. And if we grab the object and extrude, it is pretty much like if we're adding a little bit of armor to that specific elements, see that? So that's one way in which we can describe the element. And now, since we have this armor, we can just grab these things right here and use it to create the shape that we have in the concept. This is really cool looking armor piece. Finally, we just babbled the whole thing. We have really low poly so we can bevel this so that when we smooth this, we get this really, really nice-looking pattern. So this thing right here is literally going to be attached to our mainframe. Over here. We've got this really cool looking shape on top. Now you can see there's extra little things right there, like a wing. And this is again where when references a really good idea. Let me show you real quick. So we will look for Lion skeleton. You're going to see that the scapula of the lion pushes quite upright. It creates this very elevated effect right here. And you can see how it's really close to the ribcage. So that's exactly what we're gonna do. We're gonna grab this face right here. Control E. Offset, offset again to create a little bit of an edge loop, control E and push this down one more. And we're going to create the edge loop. And this is what we get. Of course, we're going to need support edges. So we're going to have one right there, one right there, one right there, and one right there. To get it really nice and sharp box effect right there. We grab this face Edit Mesh and we duplicate because we don't want to have a super complex piece. And we can just split this into two different pieces. So now we have this next piece, control, ie, push us up, which this back parolees scale this down to create that sort of like very interesting looking shape. And with this one, I'm going to use the same technique that I showed you before. But first I'm going to bevel this. So I'm gonna actually, no, let's do it first. I'm going to add one like a cut right here. Grab this edge right here. I'm going to say Edit Mesh detach. And now we know that this face is right here. Our detach, we can grab this edge loop, make it go in. And then we can grab this edge loop extruded and make it go in as well. And now if we smooth, we're gonna get that very nice section line, but that's not what we want to do. We're going to bevel the whole thing with two segments and its mole fraction. And what that will do, it will give us a very nice clean cut. Again, this is a technique that was shown by the guy that made the Iron Man armors. The code lines. It might seem like it breaks the geometry because it makes it a non water-tight geometry. But if you're not going to destroy the object, like if you're not going to shatter it or anything, this is perfectly, perfectly, perfectly fine. Okay. Finally, I can see you Like just the little detail there. Like a, like a little like a bolt or something. So I'm just going to create the sphere. Reduce the sphere to eight by 88 by eight. Because I know that when we smooth an eight by eight sphere, we're gonna get a really nice result without having a lot of geometry. Let's position it right there. We can snap this to the point right there. I would probably flatten this a little bit, to be honest. This is one of those details that you could even doing textures because it's such an against such a small area. But it really helps to give complexity to the whole piece, right? So we have this really nice-looking hole there on the bottom. I'm actually thinking about now I think it's fine. I was thinking about rounding this thing. Like if we delete, those guys were gonna get a really interesting effect right there, but it kinda breaks the short sharp angular field we're going for with the overall piece. So we'll just grab this guy right here, this guy right here, this guy right here. And, uh, we are gonna mirror this shift right-click and mirror. Hit apply. And there we go. We got the scapula on the other side of the swatch. And now we can bring in the rest of the elements and you can see how, how complex this whole element is becoming. Now, some of you might be wondering, well, this is going to be a really complex piece to read. Topologies will not read the budgets are a UV. And yes, a little bit. It is definitely going to be a little bit more complex as you might expect, but we're going to have a really, really, really nice built at the end of the whole process. So as you can see, the amount of triangles that we're getting gets quite high. This is because we're subdividing. If we don't sub-divide, we're only at 33,000 triangles. So if you're working with a computer that has memory issues or it's not as strong, keep things at the laws of division like subdivision level one. It still will look good. And then later on, if we can, we can subdivide at render time, which should alleviate some of the problems that you might find right here. So yeah, guys, this is pretty much it. I'm going to stop, stop chapter two. With this one we're actually working. I have one more video in chapter two, just a general cleanup that I wanna do. And after-death, I'll what's the word? Will continue with chapter three, which is going to be the next hips and the tail, that remaining parts of the skeleton. So hang on tight and I'll see you back on the next one. Bye bye. 15. CleanUp and Rename: Hi guys. Welcome back to our next part of our series. Today we're going to continue with the cleanup and renaming process of our character. And a Maya does have a couple of renaming tools, but to be honest, they're not as good. So I was looking for another tool that they could share with you. And I found this one. This is by a guy named Igor Silva. He is an associate territory tech artists at Blizzard and he created this EC renamed tool for Maya. You can find this on art station and then you can navigate to GMB growth and download it for free. He's giving away for free. However, if you want to donate, sure, he's gonna be a really, really grateful. Now, I'm just going to show you very quickly how to install this, because this is one of the skills that you definitely need to have whenever you're working with scripts. So most groups will have an insult file, but for some reason, I've had a lot of students that do not read the instructions. They don't like reading instructions. So I'm going to show you real quick. You're going to go to Documents and then you're gonna go to Maya and you're gonna give go to the version of Maya that you're using. Or it could even be here on the scripts folder. And you just need to drag and drop this EKG, ECG rename dot p-y on to the scripts folder. Then, as you can see right here on the instructions, you just need to copy this information right here and run it as a Python script within Maya. So if we go to Maya, let me say real quick and we go all the way down here to the Script Editor. We can create a new window, Python, paste this code, and then we run it. We should get this interface right here. Now, the one that I downloaded was the one that he specifies is for Maya 2022 are up. I'm using Maya 2023. If you're using an older version of Maya, then you might need to, like download the older one. We're gonna be using this in just a second. But first of all, let's do some general cleanup. So I'm gonna drop every single piece right here and we're going to delete the history freeze transformation. And we can centrally pink when it's not really necessarily, but we can center the pivot point again, just two, have everything where it's supposed to be. Then I'm going to press Shift P, the Shift V super-important so that we get every single thing outside of where it needs to be. I'm going to start deleting things that we don't need. Those curves right here you can see we have a lot of transform notes as well. Again, let's do one more diluted history that should lead a lot of transforms. But if it doesn't, you're going to have to manually delete all of this empty groups. All of this extra cameras that we create by default or by accident should also go. So now what we can do is I can grab all of these pieces right here. And I can just rename them and call this lion top. Okay, we're going to use a numbers and we're going to use three pilings. And I'm going to say Rename and number. So as you can see, what's going to happen is we're going to rename every single piece to lie on top body. And we're gonna be able to just have a more organized event. This one for some reason did not like being renamed. That's really weird. So let's just manually rename this to 17. There we go. This is a very hacky and fast way to just have things like on a clean way. One thing that I personally like to do is I'd like to add this underscore, GO to everything and this is why this thing is so, so, so cool. Because you can very quickly just like look for this sort of stuff. Okay? Now, what we can do now is that good, for instance, go to the neck. There's three guys right here. Select them and be like, okay, these guys are gonna be named lion, underscore neck. Okay? And delete all of these guys right here and just rename, as you can see, it's going to rely on next year, 01,002.003. And we can of course add again the underscore GO. We can go to the head. And again, just keep it simple. We can just grab certain certainly big parts of the head like this guy, this guy and this guy, this guy. And we're going to call this lion head. And just rename. And then underscore GO. Okay, these guys right here, I would probably rename them manually. So I'm just going to call this lion ice underscore. Go, this guy over here. It's probably going to be Lion ice cable. Because we get rid of the underscore 21. There we go. And one really useful thing to do is to grab all of the things that are like, are usually together like all of those guys and Control G. And we can call this, again if you want to save yourself a little bit of time, we can call this lion I and just rename. We of course, get rid of that one right there. And we call this underscore group. Again, it's just a really handy tool to save you a little bit of time so that we're going to have this lion group right here. Then we can grab all of these guys right here. I'll probably grab this one as well. Yep. Control G. And we just call this lion head. And then we just give it the underscore group. And very important, we can start doing a little bit of rigging by grouping things where they're supposed to be. So we know that the eyes are going to be inside of the head. So wherever the head moves, we want the eyes to move. If you wanna do a quick reading test as well. One thing we can do is we can move this point right here, at the right here, that point right there. And we know that if the, if the head rotates, this is gonna be the rotation that is going to have, okay, let's continue real quick here. 12345 or actually, I kinda wanna go the other way around. So we do that and this is going to be Lion neck. We rename and we add the GEO. We group all of these guys. This is going to be Lion underscore, neck. Next underscore group. There we go. And the lion head group is going to be attached properly to this little sphere right here, which is the first one. So we middle mouse and drag that into the element right there. Eventually we might just like on parent everything just to do the UVs and everything. But this is a really cool way to just get an idea of how things are going to be moving because I got everything should be attached to its own thing. Over here. I'll probably grabbed like all of these guys, which are like the spine, including this guy and this guy. Probably this guy as well. And this like bars right here. This guy, this guy group, all of them. This is gonna be the lion spine group. We can copy this name. And then all of these guys, we can just renamed to Lyon spine. And they're going to have just a general name, but it's going to let me know that they are related to the spine. And one of the cool things about these groups is that eventually we're gonna be able to just hide things. And that it should be fairly easy to identify which parts are like which parts Control G. This is definitely going to be Lion chest underscore group. Let's copy the name, get it in there, and grab all of these guys. Just rename a number. And then at the GEO, we know again that all of these things are related to each other. And we got this, we have this poly surface here. I don't know what this looks like. An empty group. Let's just delete that. And that's it. Our main frame here for the character is looking quite, quite, quite nice. Yeah, we're ready to jump onto the next section, which is going to be again, the arms, the legs, and the hips. So hang on tight and I'll see you back on the next chapter. 16. Arms Block In: Hey guys, welcome back to the next part of our series. Today we're going to continue with the arms. And the arms are really, really fun because they pretty much work in the same way that a normal human arm would work. So as you can see, we have this thing right here and we can recycle one of the loops that we have over here, probably this one. I'm just going to Control D and move this to the, to its place, which would be right there. However, you can see that we have a specific sort of like a pattern emerging on the inside, which could be a nice indication for an animator to know the proper rotation of the element. So what I'm gonna do here is I'm going to grab all of the vertices and try to make this as fast as possible. I need to grab them on both sides as well. I'm using a selection box. There's the stairs, this guy, this guy, this guy and this guy. There we go. And we're going to scale them in. Like so. What that should give us, as you can see right here, is we're bringing them in. However, when we do this, you can see that we're actually pushing them in on the x-axis as well. If you want to avoid that, you can press Control and click on this little icon or the little red box. And that way we're gonna be able to modify them without actually modifying the x-axis or blocking that axis. And therefore we don't get the information. There we go. Now, what we're gonna do, of course, is we're going to grab it. This guy right here, probably two of them. Just bring them in. Another option would be to use the exact same thing here. I'm going to move the point of the selection down to the center with D and V. And that when we scale, as you can see, we're going to scale towards the center. So this should be fairly fast way to degenerate this effect. I'm going to show you a technique here because if we smooth this out, you can see that we get a really ugly looking thing. But I wouldn't be able to smooth this and keep this very sharp line right there. Is there a way to do it? And the answer is yes. So first of all, one thing I wanna do is I wanted to leave half of this thing. So we, we only have to deal with one-half and then we of course are going to mirror to the other side. I'm going to grab all of these faces here on the inside. I'm going to Control E to offset them just a little bit. And then I'm going to give them another offset like that, just like an actual to hold things together. We could of course grabbed that thing right there and just extrude that. And if we want to add extra details, I don t think it's really necessary. But this extra lines that we just added there are going to be helpful for what I'm about to do. Now. I also need to do something similar on the inside, like right around there. I'm going to delete it these two phases. And I'm going to delete these two phases. And what I'm gonna do is I'm going to go with my Insert Edge Loop or knife tool. I'm going to insert one right there and one right there. Then I'm going to merge these vertices to the center and merge this vertices to the center as well, like this. There we go. And we can just feel a whole. This is just the square root. And there we go. Now when we do this, you can see we get a sharper effect right there. We're getting a little bit of distortion there on the inside. We're going to solve that. You can see there's like a, like a weird pinch on those faces right there. Again, I'm going to, I'm going to show you how to solve that. I'm going to grab this face now. Actually, yeah, this face and this face. And we're going to delete them as well. We're going to add a new edge loop right there. Any new edge loop right there. Now if we do this, as you can see, we get this shape that we want. But what we don't want is we don't want this line to go all the way to the other side because we don't want this very nice cylinder to be affected. So we also do a merge center there, Merchant Center there. This guy, we fill the hole. As you can see, that's going to really nicely solve the effect or the element right there with over here, I'm actually going to continue the line a little bit. So I'm going to use my knife tool. And this is mainly to alleviate a little bit of the pressure because otherwise we're going to have a lot of pressure on this corner and we would get this sort of like really weird-looking elements that we weren't getting, which is bridge now. And there you go. Now we get this very nice sharp line. And since this is a flat area, as long as we don't have guns were totally fine. Okay. Now we want to do something similar on this corner right here. And I'm going to show you another way in which we can do it. We can grab at the edges, like all those edges, which are the edges that we want that as Sharpen. And we can do a bevel. And if we do a babble, of course we're going to have to change the fraction, make it small fraction, but we can do two segments. There we go. And if we do that, you can see that we get the sharp effect that we want. However, all of this is messed up. So we're going to have to grab all of these guys and just merge them. Grab all of these guys and just merge them. And that is, you can see is going to solve that a little bit of a weird pinch right there. So we need to figure out where that pinches going. We might need to move that thing a little bit to the side. Seems like it's this guy right here. Now, since this is a flat area, there we go, That pretty much alleviates the issue right there. We do the exact same thing here. We merged those two center and doors to center. That way we don't have anything and we move this guy to the side. We can even move this guy a little bit to the cytosol. And this is because of these stretchy effect that we're getting. That's what we're getting this or like we're pinch where we can move it a little bit and then we go. Now again, this is such small piece. People might not even know this, but it's a good idea to try to keep our stuff as clean as possible. Now, just so you guys are feeling like, okay with this method. I saw this method being used on a weapon for Blizzard cinematics. So this like stitching method is perfectly fine. I know that topology looks a little bit weird, but believe me, I've seen it used in AAA industry. So this is how we can make it work. We can now go mesh and if we were to smooth this like permanently smooth, as you can see that we're gonna get interesting, like an interesting flow of topology on those corners. But we just have high density there because those are the coordinates that we need the elements to be. Now of course, I'm not going to make this permanently smooth. I'm going to keep it at low poly. We can mirror, but now we're going to mirror nothing in the world but in the bounding box and hit Apply. And that way we're gonna get the same shape on both sides. And that's how we can make this very interesting looking shape. Now, we need to think about how the arm is going to move. And that's why I call this BD the blocking excitable. These are pretty much just cylinders, but we need to think about the axis of rotations that we want our elements to have. So I know that on the shoulder here, we're probably going to have a 360-degree rotations so we can move the little leg out in a lot of different ways. We're also going to have a sort of like cylinder shape here, which is going to be our domain like a connection. So let's create our cylinder. We're gonna have our cylinder right here. Okay, so that's on the right there is going to help us with the general movement. But I know that this cylinder, if we move from here, we want to be able to move it in and out of different direction. This one's this one though. I do want this one to be moving only like front and back, very similar to how a normal arm would look. Now you can see here that my friend drew the leg in this sort of like a three-quarter view. So that will be a little bit easier to understand. But here we have the front view. So we know all of the species should go right around here. So you can see this fear is gonna go around there. This one, we're going to have to rotate in a certain degree. I'm not gonna do that just yet. This one's a lot thicker, so you can change the size right there. And we're going to have very interesting looking to the radius and the ulna of the, of the cat have this lion. They're gonna be like two boxes right around there, which we're going to have to match now on the ankle itself, I think I want to go for a a round ankle as well. Sort of like this, to have like 360 degrees of rotation on the ankle. This case, of course, the right view, right around there. And you can see the connection right there. And then the little library, there's a little foot is gonna be a really blocky thing and we're not going to do just yet. So we want to focus on this things first. I'm going to duplicate this on there as well. And there's gonna be a connection to the scapula, right? Again, I probably want the connection to be a 360-degree like a ball and socket. So we're probably gonna have another sphere right here, which is going to connect somehow to the scapula, right to this big piece right here. And this is from where things are gonna be rotating. So if I want to rotate the whole arm to the side or something, that's probably going to be the position. Now here, this arm is going sideways. I'm not sure if that's what we want to be honest because it's going to make things a little bit trickier on the reading side of things, it makes it look quite cool, but it's gonna make things trickier. So here is where again, I'm going to take some artistic decisions to not have that thing curved and I would rather have everything aligned. And later on if we want to post it, we can open the pose a little bit, but it's a lot easier to solve certain things like this. Could we model it with this are like little inclination that we have right there, yes. However, usually when you're modeling, you want to keep things as straight as possible. Especially ask the what's the word asked your concert artists what he thinks and what he's going to be like doing another cancer. I'm sorry, the rigor you are going to ask the rigor if he needs this to be straight or not. Usually rigorous, prefer things to be completely straight. Now, for this thing is right here, the usually the animals, cats, dogs and everything and they're actually working on your tippy-toes. They are not walking like us with the whole flat foot. This is the ankle, this will represent the ankle. This are the metatarsals and this will be the fingers. So we do want to add the, some sort of like I would say, a movement there. Okay. So again, this will be the ankle actually, I think I want the ankle to be boxy as well. We're going to have to add some sort of movement there. So that's gonna be the ankles and then the metatarsals, and then the fingers or the base of the foot, which would be like that. So those are gonna be like the main things that we're going to have. And of course, all of these guys should be relatively aligned to this guy right here. You can already see on the concept of debt at the fingers are gonna be wider on the base. We see the front view. You can see they're a little bit wider. And we're gonna have to create the blockings for that particular ship. So how is the food going to move? It's going to be pretty much just rotations like this, right? Like when we, when we position the foot, I mean, I guess we could add again some sort of system here on the base of the whole element to rotate around in case we need it, which will be the ankle in our case again, the ankles right here. This is the knee because we'll be actually what we need to think about this like the arm, not the leg. So this is the shoulder, this is the elbow. This will be wrist, this will be the palm, this will be the metatarsals and then the fingers. Okay, so we do want to have some sort of rotation. If I were to group all of these guys, move the pivot point for worth. Like we do have one to have some sort of movement here. And it will be ideal if we could have a 360-degree movement, right? Like like this. Like be able to rotate like this. I know cats don't have this ability usually likes only moving it in a specific way. They might have a little bit of rotation. But for us, since it's a robot and we wanted to give it this much flexibility as possible. I do think it might be a good idea to have. Okay, So this is the general blocking of the leg, as you can see right here. I know we already had another blocking, but this was a very basic blocking. A little bit more engineered blocking that we're going for. And now that we have this, we can start building all of the different details. Now, we do have a little bit of time, so I think it might be a good idea to just do this detail right here and explain something really important. When you take a look at a skeleton, right? D a skeleton does not flex like this skeleton is a solid structure. So if we take a look at our skeleton, for instance, when we move our arm, this huge tree bone, which is called the humerus, it is not bad. It does not move, everything else moves around it, but this does not move. So there will be certain sections like this thing right here like this Roth that will not move. Everything will be happening inside of this rod, but this rod will not move this rather it's probably going to be attached somehow to this thing right here. So wherever the sphere moves, this rod will follow. And there's, has to be some sort of connection that's also going to be attached to this thing right here, so that everything else moves with it. So you can see that this rod has a couple of details. Sorry about that. And yeah, let's just let's just add those details already because I think we can already make this piece look a lot better. So we know that this thing is going to be empty. There's probably going to be some sort of like system or thing going inside of this element. So I'm going to delete the caps right there. Once we delete the calves, what I wanna do is I want to add, as you can see here on the right view, there's some sort of like sexual lines. So I'm going to add that section right there. And over here we have some sort of like holes. So I'm probably going to need a couple of phases here to create a square looking shape. So we can grab these guys right here and delete. And as you can see, that's going to create a whole other whole object. I'm going to Control E and give this a little bit of thickness towards the inside. And then I am going to, of course, reverse the elements. There we go. So this is where we're going to get. We need to add some support. I just did this whole So one right there and one right there. That's going to keep the whole little bit closer a little bit nicer. And of course you guys know I love the Bevel tool. We are going to bevel, this element is right here. Usually this is, this are like in engineering, these are used to either attach something or just see dean or components. So we're just going to bubble those things right there. Just like the Bible has some sort of weird stuff. See how we're getting an angle right there. This is due to the filtering. We can change this to a uniform and that's gonna give us a like No. And guns on our element can definitely decrease the, the factory there and look at that quite nice. Same thing here. I'll definitely bevel these edges right here. Probably a little bit more heavily. And then this one right here, I do want to support especially this outside one. So we get a nice line right there. Other than that, this guy over here. It's quite doubled as well, same for this one. So let's verbal. And then as you can see, it's kind of like divided. So this section line, we can split it the way we did before. But to be honest, since we already have some thickness, I think it's better to just give it a nice bubble on this one. And then just extrude this in an offset a little bit. And then all of those lines, so we'll just create it. You just throw in a very quick bevel. And that's how we're gonna get this row detail. We'll look at that very, very nice. On the inside again, we can have another tooth to add more complexity to the whole thing. We're going to think about that for the next video. There's one line right there, but I'm not sure if that's a sketch line there. If it's actually like a cut line, like a cut section that we might want to add like here. And here for instance, I mean, I think it could look quite nice To be honest. I'm just going to babble that line. I made a fraction really small and that two segments. And that's going to sharpen the line right there. Actually, let's go back without one segment. There we go. Let's try it. It gets a little bit tricky with this one is because we already have a lot of support edges. So when we tried to extrude in, you're going to see that we get some crunchy effects going on there. Right now. It's not really destroying things, but it might destroy things a little bit over here. You can see, oh, barely, we barely made it there. So that's good. And finally we can add another bevel to that area. And look at that. We're going to have an extra section line going on the outside of the cylinder. This is getting into high density stuff and it's such a small detail that we're probably not going to see. So you are gonna be the judge whether to add or not, but it's this stuff, the details that you're going to expect in super heavy elements. I always like to share with you guys. There was a movie several years ago, Pacific Rim. And if you take a look at the wireframes of those robots, like it's just, it's a stupid like look at the density of that thing. I'm not sure if this is a fan or it might be a fan art, but I saw the original one. So one time on the making off of the movies and wireframes, half of this guys were just a ridiculous. So E these normal to have this again, I mentioned that we were looking at some of the shank. She like making off things that they did. There we go. This is an actual one. Look at the wireframe there, look at the density of that thing. So the way they work is they will rig the character at level one, okay? Like this is the thing that they would rate. As you can see, 38000 triangles. That's perfectly fine, perfectly workable. But once we select everything and we smooth things out, we're almost at 66000, a little bit over half 1 million polygons. So it gets quite, quite, quite heavy. However, you don't animate with this things on the soft effect. I'm going to show you later on once we get closer to the rendering side of things, how we're going to make the render know that it needs to sub-divide everything, but keep it low when we're working with the character here inside of Maya. Yeah, that's it for this blocking guys. And I'll see you back on the next one when we keep adding more details, buh-bye. 17. Shoulder Modelling: Hey guys, welcome back to the next part of our series. Today we're going to continue with the shoulder modeling. And in order to understand how the shoulder works, we need to understand how articulations work in general. So this is our human anatomy, shoulder movement, and we know it or we understand it as a ball and socket type of joint. So as you can see, the humerus has a ball on top and it has a socket where it fits, which is here on the scapula, which is our shoulder element. Now, in our case, we actually created a connection from the scapula, which is this thing right here to the shoulder. So we're pretty much extruding or creating a telescopic at joint a right here. So what we want here is we want a cylinder. So I'm gonna grab this guy right here, duplicate this, and we're going to scale it in, rotate it so that we fit this one. And there's gonna be, again, this is gonna be our humerus. Imagine this is your humerus and this thing is pretty much going to be like an armor or some sort of support to that humerus. So this guy right here will be attached to both sides of the elements. So we need to attach it to this sphere right here, which is going to be the movement. It's still like the head of our humerus. And that this thing right here, this is fear, is going to be rotating inside of a socket that we're going to have over here. So we need to do a little bit of reconstruction here. And this again is where you're going to have to take some artistic liberties sometimes especially if the constant artists is not available to solve some of these issues. So this is few right here and this cylinder right here, very basic shapes. They're pretty much going to be my internal element. Okay? So this guy, I'm going to scale it down and look at something like this. And then I'm going to duplicate it, Control D. I'm going to scale it up a little bit and I'm going to delete probably like a quarter. I'm thinking about a quarter or something in this case, let's start with half. And this right here is gonna be the socket. However, if I leave the socket like this, you can see that we're going to have some collisions on the bottom. So I'm going to rotate this sucker around. So it makes a little bit more sense. So this right here should give us enough range of movement, right? This means that if we grab this guy and this guy right here, and then we move it, we can move it forward. We can move backwards a little bit, not a lot, but we should have enough movement over here. And this is how we're going to be building again, the socket right here. So from here I'm going to extrude out to build the socket. And then we can extrude up, for instance, to generate this shape right here. Okay? So it's more like a little cap quiz because you can see that this has a sort of like cylindrical insertion later on. And I kind of want to recreate that. So I'm going to delete these things right here and delete this gap and this cylindrical shape right here. I want to rotate this object mode. There we go, so that it faces the same direction that we have over here. Now you can see it's starting to look a little bit weird, right? Because of the curvature we have here, that's fine. We can actually go to all of these lines right here and delete them. In this way, we're going to simplify and create something that looks a little bit more interesting. We still have our socket, our initial socket that we created for this from the sphere. But we now have something that looks a little bit more interesting. On this side, it's gonna be a lot easier to control because it's just a one, right? So we can get this thing right here. I will definitely add one line right here. Then this line, I would play with the shapes a little bit. So probably create the sort of like angled effect right here. And I kind of like this, like huge or big point right there. So I'm going to add a second one. Again, just play around with the shapes. As you can see, we're keeping a really nice like soft curve right here. But over here, we're using this vertices to create something a little bit more intense. And this is how we can freestyle model a lot of our mechanical elements. Now of course, this guy right here definitely needs some support. So I'm just going to add an offset or in this case a thickness in. We go. And to keep things simple, we can just grab this whole phil, whole Control E extra in and look at this complex, but at the same time, organic shape that we have. We're going to say Edit, Mesh and poke to create the cap there. And of course, we're going to use our, one of our favorite tools, which is the, the Babel. Babel, everything here, parabola with a small fraction and definitely with two segments. And look at this, we get this very interesting machine piece that we can use as our pivot point. So from this piece, as you can see, we have this cylinder. Now. I'm going to try to, to attach the cylinder as nicely as possible here. And this piece, pretty much the exact same thing we're doing. So this is sphere right here. This guy and this guy should be combined into a single piece. This is fear, I'm probably going to make it bigger. This is gonna be a very basic cylinder. Probably make it a little bit thinner. Okay? So this big piece right here is going to move, but it's going to move from the center of the sphere. And again, due to the way everything is going to be parented, things, there's just gonna be like moving. Down in a very similar way. Now, I do want to add something to the cylinder, otherwise it looks very, very ugly. So first of all, we don't really need the caps because we're not going to see them. And this is one of the things that I've mentioned before. If you're not going to see them, it might be a good idea to just eliminate them. Some people don't like working with this sort of like infinitely small or infinitely thin elements. But I think it's fine as long as you, again, as long as you don't need the one thing I'm gonna do here is I'm going to add a section line. So I'm going to grab this vertices right here, go to movement change to object because we haven't frozen the transformations and we can do this. And now for this one, I think we can utilize the technique that I showed before where we edit mesh and a detached the elements. Now we can also separate, so Mesh separate. So they're going to be two pieces that are pretty much aligned on the same space. And then this one, we can just grab this edge Control E thickness in. There we go. Then this one, some stuff Control E thickness in. And now we can combine them again. We're not going to have the same orientation anymore. But it should work fine here. We can babble that one. And we can babble that one. And then we can bevel both of this guy. So at the same time. And use our international two instead of one line there and one line there. I'm looking at that. Then get this very cool looking sci-fi ish thing, sci-fi SSH connection on this particular bit. If we wanted to keep this thing sharp, which to be honest, I don't think I want to do it right now because it's going to really increase the topology counter or the poly count. We would need to do the same trick that we did on the elbow right here, which was the stitching of the triangles lie. We will need to add a couple more lines to really hold the surface. But yeah, that's it. The again, this thing is pretty much going to be welded to this thing. Now, for the welding aspect of things, there's a couple of things that we can do to make these things look better. For instance, I can move this sphere out sideways like that, and then just add a little offset here. And the little extrusion. Now, that makes it look like this two bits are together. I would definitely combine them to be honest. And again, the movement pointer, the pivot point of this thing would be on the center of the sphere. And here's where the riggers come into play because the riggers are the ones that can find the center of an object very easily. So for instance, if I, if I grab all of this phase is right here, I can, I can duplicate this. Or as you can see that the center is right there, that would be the center of the object. And I can create constraints and stuff to move things from that point. But in our case, easiest thing we can do here is just move this thing forward and just get it roughly where it's supposed to be, which would be right around there, just for very basic ideas. And if we move this thing, this is the range of moment that we would have. Not only there, we will have a range of movement all around this area. We definitely need a socket though, and that's the next thing I'm going to add here with some sort of connection to the scapula because I'm thinking about moving the scapula slightly, slightly up. All of these guys right here and move this guy up a little bit. And yeah, for the connection, I would probably duplicate this object. And then this new object, I would delete these faces here. These guys, and these guys. Here we go. We'll have this piece right here. And we can just extrude this up and create the socket connection to the whole thing like this. Now, this guy right here, just a bevel, this of course, with a small fraction and two segments. There we go. So this will be again a welded socket on this piece right here, which is where this thing is going to be moving through. Don't ask me how we're gonna be doing the electricity and the cables and all that stuff. If we really want to be like super critical value, then we would of course need to think about those particular parameters. But in this case, we're just, we're just going to imagine that it's kinda like a magic. It's like really high-tech. So all of the energy is flowing through some sort of like, like conductors or something inside of the element. So we're just worrying about the overall thing. Now, this socket though it looks really, really, really boring. So for this one they don't look as nice. And this is what game where section lines could be really, really important. So for instance, I think adding a sexual life to the sides of this socket will be quite nice. I'm going to bevel them. Let's see if we can push the fraction out a little bit. There we go. And you can see what pretty much create a whole channel along the whole element Control E. We offset and we push in a little bit like this. And then of course, the new sections that we get, all of these lines, we definitely need to bubbled M2, give them support edges. And that's going to give you, say, a line that's going to make things look a little bit more interesting. And for this one, I think something along the lines that we already have might be a good idea. So just like DOS, two lines, control E, Offset, Control E, bring them in and offset a little bit. And again, we just grab this line and this line. We keep the bubble soft. There we go. Look at that. Nice deep cotton, as you can see, that starts adding complexity to the whole thing. I kinda want to add a bevel on this one as well. It feels like would benefit from from that sort of details there. And another extra line right there. That's it. We've created the system for this whole thing. So again, remember this guy and this guy are pretty much going to move together every single time. And then all of these three guys are going to move together every single time moving whatever is located here. We're going to talk about this one in the next video because we need to create a system here for the need to attach and rotate from, without rotating this top element. So yeah, that's it for this one guys. I'm going to stop the video and I'll see you back on the next one. Bye. 18. Elbow Modelling: Hey guys, welcome back to the next part of our series three. We're going to continue with the elbow. We're pretty much going from the upper parts to the lower parts and things are looking quite nice here. Another thing that I was thinking we might be able to do is we have this very cool armor piece. We can actually make it harbor a little bit on top of the, of the slot right here. And we could even graph like this guys right there. Like bring them out and becomes kind of like a little house, right for our for our elbow components. And even though we don't really see this on the concept art, it could look interesting and give us a way more interesting effects. If you want to do it, feel free. If you want to keep it the other way, that's fine as well. The connection here you can see this is just overlapping the socket with this thing right here. This is one of the elements that we might want to like fix later on, to be honest, I'm thinking about like rotating this thing up and moving it so that it has an air cleaner overlap pretty much so as you can see, we're not really ensuring a lot right there. But again, it's questionable, right. So we might even there we go. I think that looks a little bit better to be honest, because at least we see the little like a connection point or slot down there on the, on the elbow. Now, make sure to of course, a mirror this to the other side. We're going to mirror this to the x or sorry, to the world and negative and hit Apply. And all of the pieces that were already happy with, such as this one, this one, this one, this one and this one. We can already do the same thing and mirror to the other side so that we can start seeing the skeleton being built. Now, this is the next piece, and as I've mentioned, we need to find a way for the elbow, which is this one, to rotate. Therefore rotating the rest of the arm while not moving the upper part. And usually what we have here is at the following. I'm going to isolate this piece real quick. And I'm going to delete this edge right here, and this edge right here. And then I'm going to grab this edge right here and this edge right here. And we're going to extrude in with, are just going to scale in like this. So if we go out now, we have this cylinder right there and we are gonna go pretty much right there, okay? Like just before we touch the cylinder, which is supposed to be the humerus. Weed control E again offset or in this case a thickness in. And we can of course, Phil Hall. And we're going to poke those faces to keep them clean. So Edit, Mesh and poke. Well we need to do is we need to create a new cylinder, which is going to be the cylinder where this thing is going to be attached. So this thing is going to be attached to a, another cylinder, okay? And I'm gonna get this cylinder from this one. That's why we created this guy, because we can just duplicate or select both of these vertices. Control F 11. And we can say Edit Mesh and duplicate the phases. So now we should have that face right there and that phase right there. We need to flip one of this, the faces of this one that we're going to flip them. Same for this one. Flip them so they're like pretty much a post. We combine them and we reap rich them. Now why did I not just create a single cylinder and get this in here? I just want to make sure everything fits perfectly or as nicely as possible. So this one now, we can actually make it a little bit bigger. So it's just this thing right here. And what's going to eventually happen is this guy right here is going to remain static. Or actually this one right here. This one right here is the one that's going to be moving. And this one right here is going to remain static. So for this one, we just need to give it a little bit of a little bit of construction here, some extra little details. Like a nicer looking cylinder. Let's do a small fraction, two segments. And there we go. We've got this nice little loop right there. In this loop is going to be pretty much welded to this element. So wherever this whole section goes, it's always gonna be a single one. And that these two pieces right here, what's going to happen is that these two pieces are going to be pretty much pasted or welded again together to that other cylinder that we have right there. So let's play around with this guy right there, perfect. So this guys right here are the ones that are going to be moving at. This pieces are right down here. So when we rotate this guy, we of course need to position the pivot point at the center right there. So when we rotate this guys, this are gonna be rotating the whole arm section right here. And usually we can use some small thin metal plates coming from the inside here that are gonna be again attached to this things. And this guy is again, are gonna be giving the rotation to this pieces. So you can imagine these two guys are gonna be parented to this element right here. And when we rotate this, That's how we're going to be able to rotate this independently of the upper arm, while at the same time keeping things as like a logical as possible. You usually again, we're not following a specific engineering thing. Like I know, if an engineer who's watching this has got to be like this, do this talking crazy stuff like this could never happen. I know I know. We're going for this, again, a very similitude process where it makes sense if someone that's not an engineer takes a look at this, there are gonna be like, oh, okay, yeah, that's moving in a, in an expected way. Because again, like all of these guys like this, this, this, this, this and this would be grouped together, right? Independently. And there will be rotating from this upper section, I'm actually going to group this just to show you real quick. Let's move the pivot point right around there. And this is the way this would move. And then if we grab this guy right here and we parented here, if we move the whole arm together, as you can see, the whole arm is going to move and we're gonna be able to move the whole arm. Like imagine we're moving it forward and then we can grab this piece right here and move it forward, this one. So that's how we get an interesting moment. Then later on, we might have the chance to add an IK handle just to test it out. This is how we're gonna be doing or this is how I would solve this particular piece or rigging wise. So on the front view, we are going to have these two pieces. I'm going to move them a little bit so they're aligned to the main thing right there to the mainframe. And this is going to be the scapula and the ulna, which are, again, two very important parts. You can see that they have a little bit more. How can we say that? A little bit more construction, right? Like it's not just a simple plates. They are connected somehow to the rest of the elements to have a hinge point on a couple of pieces. So we definitely need to give them a little bit more love. And I'm going to do this by adding a cut line right here. They're very similar bones or at least they're gonna, they're gonna, they're gonna work in a very similar way in this particular piece, they're not similar. Bonds are usually have different functions. The radius is the one that allows us to twist our arms. But in the case of this cat, I don't think we're going to add that movement. So here what I'm gonna do is I'm going to grab this face right here, Control E. Just to give it the effect. I might add one line right here. Feel like that makes it a little bit of sense. And it kinda wanted us to read this interesting shape right here, but follows the curvature of the earth of the piece. So something like this. Probably thick wise, I think we're in the proper like section. So I think this is fine. But what I wanna do is, of course, I want a bevel, pretty much everything. There is going to bevel the whole thing. To create this very interesting looking shape. That looks good. Now, to add a little bit more complexity, I kinda wanna like, change the attachment point here, make it a little bit stronger. So before I do this bevel, I'm going to duplicate this piece. I'm going to delete all of these phases so that we're only left with this upper section right here. And I am going to do an interesting cut here. Look at this. I'm going to cut this piece out. And this piece about maybe this piece. Now we create this interesting sort of cap to the whole thing. And now we can babble the first one as we did before with two segments and small fraction. And the second one we're going to extrude first to create this, again, sort of like cover on the whole thing. And now that we've extruded, we're going to bevel as well. So we're going to create this interesting complexity and look at how nice to fit this, right? Because we got the piece from the exact same elements right? Now, for instance, I don t think we really need this almost right there, so we can just eliminate, it's going to get rid of some of the pinches. We definitely do need that one right there. I might even add an extra edge loop on both sides just to hold the whole thing together and that's it. I look at how nice this thing looks. One more thing we can do here is we can graph this edges. Bring it in a little bit so that we can see change in silhouette, right? So we see the inner side being held by this outer side. Here. We can definitely add some bolts and that's, that's sort of like shave that we have there underneath the element. Now one thing we definitely need is the little plate that's going to hold everything together, that's going to attach it to the spinning things that we have on the top. So I'm going to bring the whole box for worth. One thing I'm seeing here, I know here in the front view, we're pretty close to the same thing, but this do look a little bit thin to me to be honest. So I'm going to graph this piece right here. Let's let me shift P. There we go. We got some parenting. We're gonna do a little clean up later on. There we go. So I'm going to grab this inner vertices right here, and this inner vertices on the other side. And we are just going to scale them out. That what we're going to have a little bit more strength on the, on the, on that specific area. We go to the front view. And this thing we're going to attach to the leg like this. You didn't go there? Usually would like to have this on the inside. I know that there's going to be like colliding there. But again, let's go with the various similitude attitudes. We don't need everything to make perfect sense. We just want things to look as nice as possible. Something like this, because I do want to hold onto this like outer side actually it's gonna be a lot easier if we just make this thinner. Like just so they'd goes inside of the shapes that we want. And there we go. Same thing here, like we don't need this thing to be going all the way there. It's just going to waste that geometry, geometry and texture spaces. So we just keep it like this. Look at how interesting and complex we get this, this piece to look here on the inside. And you know me, I like to be extra fancy, so let's just add a secondary one, right there is just a small little block. To make this piece look a really, really interesting and complex. Just blocks is just squares, right? Like just very basic squares. We're of course going to bevel them, give them a small fraction into segments. Mole fractions of seconds. We smooth this out, we get this very cool shape. And again, all of the shapes, they're going to move as a solid. So I don't need to worry about like combining them into a single flowing topology or anything. We can have all of this overlap and the n is going to be perfectly, perfectly fine. We'll grab this whole thing right here. I'm actually going to combine it. I know I said it was going to do it. So let's actually do it. Once with wants this, this combined we can control D, scale it to the other side. And this one we can make it slightly thinner as you can see. Or if we look at the arms work, there's usually one arm, That's the fibula. There's already this, the radius and the ulna. One of them is a slightly thicker than the other one. So we can do is very similar thing right here. This could represent the scapula and this could represent the fibula. As you can see, they're going to have a slightly asymmetrical look. We could also, and I think it could work, have a slightly different effect over there. Maybe not because we still need to figure out how we're gonna do the connections on the wrist. Now, you can see that another thing that really brings this whole thing together is like the attachment points. So we're going to use the same circle. We actually have one of these guys up here. I'm just going to duplicate this guy. Bring it right there, right around there. Then we can go to face mode and just move this phases to this side right here. And that one's gonna leave right there. And that's it. As you can see, we get the very, very cool looking like a knee right here. We got all of these pieces. Shift right-click mirror and we're going to mirror on the World negative axis to get at the mirror shapes over there. Later on we're going to delete half of it. We're going to do the uv zone of one half and then duplicate it to the other side. We don't want to do the UVs twice. But it's a good idea to get a general feel for how this thing is looking. So, yeah, Not bad. Let's, let's do a very quick render. Let's bring all of these things we no longer need. So we can pretty much eliminate dose. I know we're still missing the blocking for the other part. I know what that is. Yeah. If we of course turn off our materials, you're going to see that a lot of things don't have their materials. Now, this things, I think they deserve to have the clay material. This thing, this thing, this thing, this thing, this thing, this thing, even the little bolts, I think all of those should have the clay material. This thing preroll going to have the black rubber material. Like the insight connections, right? So like internet connection, inside connection, black rubber. There we go. We can do though is for instance, I want this guy to have the clay material. So she's just going to right-click select the faces and just assign a material to the faces. Some of you might be new to that concept, but you can actually assign a specific materials to specific places. Not everything has to be not everything has to have the same material on an object is cold material slots. It's not as performance efficient as other things, but you can do it. It's perfectly, perfectly balanced. So there we go. Yeah, that's probably like talking about material slots. I would probably paint like a band here. If I go to the phases, I can paint it this band with the black rubber. I don't know, like or maybe even like this whole thing. The black rubber. That could look interesting right now I'm just going to paint this like external ones that weren't. So we're at a scene later on when we texture, of course, we're going to make other decisions right now for our progress, render, it might be a good idea to do it like this. At any point, we can go back to our basic colors by selecting this thing right here, which is going to remove the elements. But yeah, we can, let's do a Increment and Save. Remember, right now for instance, I mean a version 0.004, which is we're just going up. And it's important because we want to be able to keep all of these things in case anything happens. We can unhide our render. We can go to our Arnold render because we're going to render from the camera. Oh, my God. Oh no, this is a bad thing. Oh, you know what happened? Remember when we cleaned up the scene and we lost her camera or I cleaned all of the cameras. I shouldn't have selected all the cameras, so we deleted the camera. Let me show you real quick how to fix this. I'm going to save this real quick. And let's open the older seen that we have, which was just like block to write. So I know that in block two, we should have our cameras somewhere. Or maybe we even a deleted here. So file open scene, block one. This is why having this things is really important. There we go, here we have our shotgun. So you just select the shotgun mic File, Export Selection. I'm going to export this as a Maya file. I'm going to call this shot cam. And now if we go back to our blocking for just this one, we can say File Import and import the D-Sharp camp back. It should be right here. As you can see. You can say panels loop to select it. There we go. So now if we render, we are going to be able to select a shotgun. And we should match the exact same thing that we have looked at that and look at the how like it is this amazing guys. Look at how complex things are looking. Now, let's save this image as a lion for. And if we quickly navigate to that place right there. There. Here, we can check the progress. And this is why whenever I'm teaching any course, it's very difficult to, to transfer that sort of knowledge, like knowing that things will look great. It's difficult when we had this blocking. Some of you might be like, Oh, I don't know if this is going to, like, I'm not sure how Abraham is going to convert this. But the thing is, as you keep going and going and going, look how more complex things look like. Just a couple of hours we've been working at this for probably like 4 h or so and just a couple of hours. And look how much nicer this thing starts to look like. This now looks like a complex shape, like a complex element. And we're not even close to finishing this were still have so much to do. This is just the very basic frame and we're already have a very, very interesting result. So, yeah, that's it for this one guys. I'm going to stop the video and I'll see you back on the next one where we continue with the wrists, hands on tight, and I'll see you back on the next video. 19. Wrist Modelling: Hi guys. Welcome back to the next part of the series. We're going to continue with the wrist. And this is where we left off. We still have some cleanup to do, but right now I'm just going to hide the render and go back to our basic materials so we can work without any distractions. Now, I need to explain what the deal is going to be with the wrist. As we mentioned, this is gonna be the main area where the wrist is going to be. And usually if you started like moving your wrist around, you're going to see that we have I wouldn't say 360 degrees, but we have a really wide range of motion by combining the movements. Now, cats and dogs might not have as much by default, but that doesn't mean that we can't add it. So what I'm gonna do here is I'm actually going to have like two segments. I'm going to have the first segment here, which is pretty much going to hug this surface like this. And this thing will have a hinge going to the next one right here. So what this will allow me to do is from this pieces, you can kind of guess that if we were to parent this, this is going to allow me to have this sort of like a range of motion with the with the elements. But if I want to have this range of motion right here, I'm going to have to transfer that somewhere else. Like I can't have it here because otherwise we will need to add some sort of like spheres, something that I feel like that's going to look a little bit weird. I wanted to keep things a little bit more mechanical. So we're going to have again at this little play right here that's gonna allow me to move the wrist like this. But then this object right here will have a secondary element which I'm thinking could be a cylinder. Okay? So we're gonna have a cylinder shape connecting this to the actual foot or toward the fingers are going to be. So what this will allow me to do, again, as you guys might imagine, is this thing can move like this or will allow me to move it like this up and down. And then this thing right here will rotate and this thing will allow me to move the whole foot with rotation are included. So again, I'm not an engineer, I'm just trying to find that the best possible solution for this particular character. And I think this matches with what we have right there. So let's start by creating the hinges. You can see that they're right. They're like, again, like a like a little plate hogging this things. Well, I think we can do here is something similar to what we did with the upper part by creating this section right there. So I'm going to add a couple of divisions, like let's say right there. We can even combine this two guys to be honest. Just for that, for simplicity sake, right now, we're going to add another division right there and then grab all of these pieces right there. Mesh tools or Edit Mesh. And we're going to duplicate. When I pushed them out a little bit. There we go. So now we have this two pieces right here. Technically, since we're gonna be extruding out, we should be able to just extrude out and not have any issues. There we go. Got this. Of course. Let's combine them again to facilitate some of the elements. And this inner and outer edge, we definitely want to babble. We've babbled with a small fraction into segments, and there we go. Now these are like caps that we're going to have right there. Again, supporting the whole thing. Having a very similar, like a visual shape with this guy over here. And from this guys, we're going to have the hinge points that are going to allow me to rotate the whole thing in and out. So I'm going to duplicate this guy, this box right here. Let me delete that one. And we're going to just use this one right here. If we go to the front view, one thing that I do want to do is I will not try to align this as close as possible. That box is not aligned. Let's create a new one. So let's just create a new box right here. Make sure this as central as possible. I know it's not perfectly centered, but just as central as possible. Then this thing right here is going to have some sort of like supports, like those hinges that we're seeing there on the concept pieces. Some plates in the hinge point is going to be from here. So when I rotate this thing around, I need to have enough rotation support to be able to not collide with the likes. So if this thing is right there, I know we can go about there, but if I want more rotation, then I need to push this thing lower, right? The faces. Now if I rotate, I'm not going to touch until we get there, but I doubt we're going to have to go all the way there. And if we go all the way over here, there were touching. So we might need to modify things a little bit more. We could also make this thing a little bit thinner. Again, you will need to kind of like picture a sphere. And there we go. That looks quite, quite nice. We got enough range of motion again, if the, if the insertion point is gonna be right there and this is going to be the box is going to connect the rest of the system. Pretty much. So let's increase this thing right there. Yeah, that's pretty much it. I think. Let's delete this while actually. Lower down a little bit. Just make sure we're on a good position. I like that. And this one, I'm definitely going to bubble it. I'm going to bevel this one a little bit heavier than usual or maybe not. Now let's keep it sharp like this. And then this same box right here I can duplicate. Let's send to the pivot point for that one. Make it smaller like this. Because this is the thing that's going to attach the whole element. This. We're going to have to push this up a little bit more. There we go. Usually this sort of things are a little bit like beveled on the edges. So I'm going to enter with my knife to 50%, 50%, 50%. And what we can do is we can go with this guy right here, just create this sort of like round looking shape which makes, makes sense due to the movement that we're going to have on that specific section. Again, we can't really push this one for up unless, unless we bring the insertion point higher, which may be maybe might have a little bit more because I don't want to have a lot of empty spaces, so I'm just going to make this thing a little bit bigger. You can see that now the rotation point of this thing is going to be there. And actually we need to, can we move this thing lower? There has to be a circle naturally, we have to bring it higher. Like right around there would be the rotation point, but then it's gonna, it's gonna be way, way too high. Okay, this is what I'm gonna do instead because I really liked this position right there. Like I feel that looks nice with this thing. Let's modify it so that it's right there in the center. And then let's push this back. That should alleviate again, if we were to move, the pivot point, should alleviate the movement of the whole thing. So it barely touches there and he touched a little bit more than now. One other thing that we can do here is we can leave it like this. It's not really that big of a deal because it's a very, very small overlap. But if we want to be super, super clean about this, another thing that we could do would be to make this thinner or just like beveled this thing out right here. But again, I think that's going to over-complicate things a little bit. So let's keep it simple. Let's keep it simple like this. I'm just going to duplicate this one right here and that one right there. So that's gonna be the, the connection that we're going to have there, which is going to move or give me the movement for the, for the arms. I'm going to duplicate this little sphere right here. I'm just going to serve as my as my pivot point pretty much can see that one fits nicely there. This one, we might just need to push it out a little bit more. There we go. So this whole thing is going to rotate from there. I actually think of this, I need to bring this out. Let's make this a little bit thinner. There we go. Let's bring this out because it needs to rotate. Slightly different here. We're not going to use the spheres, we're actually going to use a cylinder. And this cylinder is gonna give us a really, really, really cool looking silhouette. Because when we rotate this 90 degrees is going to be like the like the cab fare that rotates everything. There we go. So now when we see the front of the element, this looks a little bit more again, machine, right? I'm not like thinking about the cables are how electricity is going to run through this. I just want things to look cool. And at the same time, a believable. Let's grab this guy right here. Just a very quick babble. Something like that. And yeah, that's pretty much it for this top part right here. I would probably to be honest, just duplicate this guy and make it really thin over here as well. To indicate that these things are connected in that specific way. And yeah, so again, when we rotate this whole segment, the rotation of this element is going to be from this point and we should have enough room to push it and pull it around. Now after that, we need the main rotation of the wrist. Go to the right view. We're going to have some big block right here, which is going to serve as a rotation in case we will need to to to just position this heel or this, yeah, this is pretty much the heel. So if we want to position this in a specific way, the way I'm going to do this as just a little bit of free modeling. So I'm going to start with the line right there, and then I'm going to bevel all of these guys right here. And then this guy right here, I'm just going to extrude that in. And then just those as well. Small fraction in a bigger segment. This like support edges there and we definitely need some support edges. We're going to have this sort of like circular looking thing. Okay? So this thing is going to be attached to this thing. It's just gonna be like literally on top. And this is what's going to allow me to have rotational movements right there. And yeah, that's pretty much it. I can see. I'm trying to find the proper connection there. I know this is just a box like the fingers are just going to be a box. And I would imagine this is a fancy boxes. Well, that's kinda what I'm, what I'm seeing right there. But this box is, should be connected. I'm going to duplicate this box right here. And this is gonna be the connection point right there. So this box eventually we will have to be like we're going to delete that one because it's not even. But the next box is that we're going to add should be connected to this bar right here, probably in a very similar fashion to how we connect it. This upper part. We could have been like duplicate this guy right here and just do it inversely. This also called shape language. We want the shape, the language shape to be the same everywhere. So we have this sort of flat and then curve here and then flat and here it makes for a very, very unified that concept or a unified construction. You can see even though it looks really complex, or actually even though it looks like it's made out of very simple pieces, by having all of those pieces there, it makes things look way, way, way more complex. So we're going to have the rest areas, which are these ones right here. Areas were just nothing going on. It's just a simple cube. And then complex areas down here where all of the movement and the ideas are going to be happening. So, yeah, that's, that's pretty much it guys, I think from this one, again, just apologists like duplicate and have it on this other side right there. And we're ready to work on the footnote or in this case, the hand. The hand would be, I do think on the concept of Under Armour concept. We are going to have other things on top of it. That's why again, it's important that we check everything because we don't want to spend that much time doing something that's going to be covered. There we go. So as you can see, we're gonna have this big plate of armor on top. So that tells me that the piece that I really need to focus the most on is probably the heel of the element. We do have some like cleaner lines here, a little bit cleaner. It's like a side view and stuff. So yeah, that's that's pretty much what we're going to go for it just like this square right here. I like that square. Then we can add it like a little piece of flood protection or mercy on the front. Maybe there's one would of course make it a little bit thinner. And now we can add the square area here at the front. All of those changes, all of those things are things that we need to think about when we're working on this sort of elements. So, yeah, that's pretty much it guys for this one, I'm going to stop the video and I'll see you back on the next one when we continue with the foot. 20. Wrist Modelling Details: Hey guys, welcome back to the next part of the series. Today we're going to continue with the wrist. And this is pretty much the final part of the character right here. And after that, we're going to jump onto the next chapter, which I think it's gonna be the hips and the tail and everything else on the back there. So as you can see, there's something like a distance sort of thing right there on the middle. And then we have the base of the food. So the base of the food, I would say is rather simple. I'm going to start with a cube right here. You can see that this cube is roughly disliked right there. And then it has the phase that goes forward. Of course, probably not that much, something like that. Usually to make things a little bit more interesting, people tend to flare things either in or out. And then there's another extrusion to the side. And this is one of the most common ways to model or think about modeling anything which is just the traditional box modeling, like just try to find out the basic shape of your object first. And once you have something that you like, now we can start adding more complexity to the whole thing. So I'm gonna go to the front view here. I'm going to have this right there at the center. We can actually align that to the cylinder, so that's perfectly, perfectly settled. And I do think we need to make this thing a little bit bigger. So I'm going to grab those guys right here, push them forward. Now, as for how the movement is going to work, this rather interesting because I've seen how a cat sometimes work or walk. And what happens is they tend to push their foot forward and then their little park unlike curls down like this, have you seen it? And then when they're about to to step on something, they wrote it this thing out. So now the foot goes like this and then they will step onto the, onto the thing, right? So they're going to have this or like a hook movement. And we already have a little bit of that hook movement right here with this guy. So this guy right here is going to allow us to rotate the whole system, but then we need another sort of rotation that's gonna go from this system to the actual Fulbright here. I do think this needs to be a little bit bigger, so I'm just going to make a little bit bigger, probably a little bit wider right there. And we need something here that attaches to the food and allows us to rotate the foot back. We're not going to be able to curl our toes. But I at least one this thing, to be able to rotate back like this if needed so that it looks a little bit more natural when we're when we're moving. So that to me tells me that there's gonna be some sort of connection gonna be coming from this piece right here and up to this piece right here. So I'm going to grab this cube right here. I'm just going to bring it down. So this cube is gonna be my anchor point. Let's center point. Careful here we got on both sides. Let's just delete all of those faces. And I'm going to grab this guy right here. Center point again, just make it smaller. Why smaller? Because again, this is going to be like the anchor point that we're going to have right here. So we can go for something like this. And we can even leave a little bit of space because I really liked the proportion that we have here for the foot. So I'm going to have this won't be right around there. And then the other one's gonna be right around here. Some people may be like, Oh, but you're not being super precise like the distance from here to here might not be exactly the same. It's fine. Again, with such small details like this, I know we tend to make things way, way, way too perfect. It's perfectly fine if we don't do that every single time. It's such a small difference. We're not manufacturing this like this is supposed to be some sort of for entertainment purposes like a movie or a video game. So we really don't need to do that. Now you can see that I've added this thing right here. I don't want to have this thing going across because again, there was some sort of like a piston on the inside that I think is a cool piece to add. So what I'm gonna do here, first of all, is delete this face over here. So we don't have to worry. I'm going to insert an edge loop right down the middle. And then I'm going to grab that edge loop. And I'm going to bevel it remembered that that splits the whole thing. I'm going to move the fractional little bit there. And that way we can just erase all of these phases. We need to fill this hole. Of course. Let's go here. Fill the holes. I would definitely poke them. So Edit, Mesh and poke. And then of course, to make this thing look a little bit nicer, we can add a bevel. Let's go right here and probably smaller fresh. So those are going to be some bolts that are gonna have meal with them movements. So now you can imagine that when we rotate this thing, right, the pivot point is going to rotate right around there. And we should have a good range of motion as you can see right there. So we're gonna be able to just add a little bit of extra range of motion for the whole thing. Now before we do the little piston that's gonna go there on the inside. I do want to work on this guy a little bit and I want to keep it simple. So I'm going to bevel a couple of areas, especially this front parts. I think having a bell right there, it's going to make this thing look quite nice. Then if we scale this in. And push it in like this. It's gonna give us a very nice sci-fi ish look. Now of course, this creates, as you can see right here, an issue with the, with the distribution of polygons because we have angles right here. However, I'm going to show you here a very interesting technique. I'm gonna grab this guy right here, offset and then Control E and bring this in. So that's gonna give me again a sort of like little detail there that's going to make things look a little bit more interesting. Same thing for this guy. So think just pushing them back and maybe even babbling them could give us an interesting pattern. Even this guy right here babbling at my, gives us an interesting shape. And I'm tempted to grab these two guys and just probably not those, probably this guy right here, rather. Push it back a little bit to create something a little bit more interesting. Then I don't want to add some things similar, like some like bubbles everywhere. And it's going to allow me to reduce a little bit of the weight on this thing right here. On the bottom part. No need to worry as much like I know right now, it might be a little bit scary to have this angle right here and this angle is right there. But I'm going to show you a very cool trick in just a second. So yeah, that's pretty much it, I think. I think so. Yeah. Something like that. Now of course, if we number press number three, this looks horrible. But if we doubled the whole thing, we're gonna get this very cool looking shape. Look at that really nice, interesting hard surface effects. And we get this thing over here. Now again, we still have our angles like this is an angle and this angle, this angle. Easiest way to solve angles on a piece like this. Yes, this is going to increase the poly count. Bertha what we can do is a very simply just say Mesh and smooth. When you smooth an object that has an angled, Maya will automatically solve that angle and for you, and they will create clean topology everywhere, as you can see right here. So that's a very hacky, but at the same time, efficient way to solve angles that might be a little bit problematic and still like 4,000 faces for this foot is perfectly fine. It's, it's not too big. We can still work with us, we can still UV it. We might not need to smooth out later on in the render time because it's already quite smooth and overall data that works. So now for the piston thing, I'm going to start with his sunder. Or we can check we already had this piston right here. And this is one of the things that I really want everyone to be aware of is if you have something that already works like this guy right here, just reuse it. Like why, why go through the trouble of remodeling everything if you already have something that looks or is going to function the way you're expecting it to rise. For instance, this one just going to try to rotate it so it fits perfectly here. So make it smaller. Go to the front view. We can align it to the center right there. We're just going to have this thing be right around there. It's just again, one extra detail that we have now see how we have those holes right there. Here's where we can really utilize certain things. So it can be like, hey, you know what? Let's bring this host down here. Let's open them up a little bit. And now we can bring this guys seen. This looks like a more interesting like pattern because this little things there are going inside this tooth, right? That's it. Now we have like properly finish this whole thing right here. We can shift right-click and mirror to the x and negative axis. And we should have the nice little Fulbright there. One thing we need to make sure is that the proportions look good. I think they do, but I do feel like they're a little bit small on this side is still some Parole. We're just going to scale them up a little bit, kinda wanna have strong foods. Now I know we're also going to have the armor later on, but I just wanna I just want to make sure this thing, it looks as nice as possible. Now, I might add another one right here, another little cylinder right there to, to create a point. And here's where again, we can just very quickly try and see how this whole system, this whole mechanical system is going to be moving. Another thing that I'm tempted to do is to just add a section line. I feel like sexual line here on the foot might be interesting. So I'm gonna grab this line that's really clean. Like it doesn't have a lot of stuff going around it. And I'm going to bevel it. Of course on the bevel, we're going to reduce the fraction a little bit. Grab this whole thing, Control E. Just push it in a little bit. And that's gonna give me a nice little section right there. Of course we mirror again. And there we go, Just to add visual interest to the foot. So again, what I'm gonna do here is I'm actually going to combine all of the objects that would move together. So all of these guys right here, these guys right here, I'm going to combine for just a second. Because I know that the pivot point of this objects would be like this guy right there. There we go. So when this whole system moves, is going to move like this. Okay? And again, we got enough range of movement there to move the whole system doesn't make a lot of sense. Maybe not right, like the cylinder right there. Like having this empty there, that might look a little bit weird. Then this whole system right here is going to be its own system. And the pivot point of this system, I'm going to have to move it like right at the center of this thing. And this guy is going to be parented to this case. So when this system rotates because that's what that system is going to do. The whole foot is going to rotate as well. Ignore the foot on the back right now, like this is what we want to get right here. So technically, we could rotate this thing out and then grab this guy and rotate it back. That's what I want to have. Like, that's the movement that I'm looking for. Then finally, we have this system right here, right? Like all of these pieces will be combined into a single system. And this system will rotate from that position and it will move everything else on the system so we can move and we can have quite a bit of range of motion. It might not be the exact like natural range of motion that a lion would have. Well, it's gonna give us something that animators can work with to create an interesting looking character. So I'm going to save you this real quick guys. And India, we're going to stop right here. Make sure to get to this point is very, very important for me that you guys get to this point. Again, make sure to save and we can of course do a very quick render on this things. We could just grab some of these guys right here. Actually, let's let's just grab everything and assign the clay material. There we go. Then let's assign d, the dark material. So these guys right here, Let's clean this up a little bit by on parenting. There we go. And let's separate. We're eventually going to do a lot of clean up over here. So I'm just going to Shift P and then just a mesh separate. So everything is going to be separated in its own little stuff. So this guy, this guy, this guy, this guy, maybe this little like bold thing is this guys. We're going to have the existing material and the black rubber. This guys we need to mirror to the other side. There we go. I might add the little bolts here on the top. Black rubber. This ones we need to to mirror. It will go make sure we have both elements everywhere. Yeah, that's, that's pretty much it. Like that way. We can bring on Let's grab everything here. Very important, anytime you you separate it and recombine, it's very important that you delete the history and just to make sure that you clean your Miocene, another thing you can do is go to File and go to optimize a scene size. What this will do is it will delete all of the things that are not being used. And it should give you a really nice result right there. Now we have are shotgun over here. There we go. Can go panels. Look to select it. Again, Let's say one last time and do a quick render. And there we go. With this. We are finishing our chapter number three. And we're ready to jump into chapter four, which is gonna be the final part of the skeleton. After that, of course, we're going to jump onto the armor. We're going to do the armor, the rest of the elements, we're going to uv, we're going to texture and we're going to render and create an amazing piece as you've seen on the intro video. So hang on tight and I'll see you back on the next video. 21. Spine Modelling: Hi guys, welcome back to the next part of our series. Today we're going to continue with the spine modeling. And the spine is actually really similar to what we did on the neck. If you remember, when we were trying to figure out how the neck would work, we treated this cylinder that has a little bit of movement so that if we had to rig it, then we will be able to move them around. Now remember that in this case, again, if we follow our premise of you don't have to model or change things that are not gonna be seen. This things are gonna be covered by armor and they're gonna be carved by old domain. So we're going to have to probably refigure some things out later on and we see that they don't perfectly match. Something different happens with this ones because they are going to be a little bit more visible and therefore we do need to be a little bit more careful. Usually when we have a character, let me show you here real quick. When we have a human character, we have the rib-cage, we have the hips, and we have at least a three bones. So 12.3 and we add controllers to those bones so that we can bend the character forward and create this sort of movement on the character. Of course, if you add more elements, you're going to have a softer, smoother transition, but it's not really necessary for this particular case. So what I wanna do here is I want to do some sort of like chain links. I think Shane links are going to work really nicely on this area. And we can still make those chain looks like really sci-fi ish. And interesting, again, we don't really need to justify the whole like engineering side of things. So, yeah, that's what we're going to go for. Now, you can see here that there's some sort of attachment point. We're probably going to have another one of these guys right here. So just duplicate this one to the back. And that's gonna be like the attachment point for the, for the for the spine. Again, just to follow the sort of like shape language that we're using so far and make sure things look as homogeneous as possible. I'm going to delete these faces right here because we don't need them. And I wanted to be able to focus on the spine right here. And the chain links can be used or can be made with a tourists right here. So I'm going to change the tourists options. I'm going to change the subdivisions on both the x and the height to four. This will give me this interesting door shape. Now I'm going to increase the radius, I'm going to increase the section radius. I'm going to add 90 degrees on the twist. Are actually not nine degrees, I think is 45 degrees. There we go. So now we have this, of course, this shape as a whole. We need to modify this or rotate this 45 degrees as well. And we're gonna get this interesting looking shape right here. So the reason why chain links can work really nicely, I'm going to freeze the transformations right there is because we can position them where they're supposed to go, like right around there. Then the next one would be like right around here. And that the chain links are going to rotate if we were to position the pooled point from right around there. So as you can see, we have a law, the range of movement on this side, and not allow them, they said, but if we want to move to that side, we will then of course like link them together and then move this up and down so they can work really nicely when we're trying to do those sort of like organic movements if you wish. So I'm gonna move this thing right here, rotate this actually me. This route. Okay, I'm not sure why it's routing all the elements. It shouldn't be doing that. So I'm going to press the transformations that I don't want to freeze transformations so we have object. Yeah, that's weird. Let's reset the tool. Okay, that's fine. So I'm going to press E click and I'm going to go to discrete rotate. This should allow me to rotate in steps. Then I can just move these things down. So this thing is closer to the section that we're going for. So something like this. This one looks good right there, but of course on a top view it's a little bit too wide. We are using a chain link. One thing I'm noticing though is that this is metal chain link is supposed to be the vertical one. So this is going to go right there. As you can see, I'm not really scaling things because I want to keep these things straight as possible. So that's gonna be like my chain link right there. Let's go to top view. It's not matching on the perspective, but I'm going to follow the side view. And then this one right here, It's gonna be attached right there. Again, we can go into vertex mode. Just move these things back a little bit. Do not deform them though. Like keep them like what we have right here. And then we go over here, rotate, and there we go. So this is going to create the contraction that we're gonna be using. Now, you can see that it seems like my friend made this thing a hollow or another hole rather a a what's the word? A solid piece rather than this or like. Shane that we're going for here. So I'm actually going to do something slightly different. Let me show you. I'm gonna go to this guy right here. I'm going to insert the National at the center. Then I'm going to select those attributes and I'm going to bevel them. The reason why I'm doing this is I'm going to use those new bevels. So they just created to generate the extraction point of the solid things. Hardly boxes are gonna be attached there. So I'm going to say Edit, Mesh and duplicate. Then combine those two. And if we extrude, we're gonna get this box is right here. It is. It's a little bit interesting. And I think one of the things that we're going to have to do here is we're going to have to change this guy right here into some sort of like a round thing over here. So I'm going to I'm going to extrude in. Then look at what I'm gonna do here. I'm going to select the outer edges and Bevel them. That's going to create an ambulance I know. But eventually what I wanna do is I want to be able to have like hard surface effects on the outside and a rounded effect like a handle on the inside. So this is going to be like the, like the rotation point of the, of the elements. I'm going to, Let's get this down there we go. See that. That's what we're going for. I'm going to go to a top view, rubbed my cut tool and just cut across there. And then we can just mirror this. There we go. Look at how nice that handle looks. Now, let's already started doing the hard surface stuff that we need to do. So I'm going to grab all of the corners here. As you can see, I'm not even worrying about what's the word Like angles and stuff because we're going to solve all of those shortly. I'm just going to bevel the areas that I do need careful there I miss one. This one. We go. So we bevel. I'm going to try to push this a little bit more. The fraction that's as much as civil Oregon allows two segments, but I'm going to change the depth so it's a flatter depth. We're gonna get this sort of like interesting looking shape. And now, as you can see here, we might have some angles like this guy, this guy, this guy and this guy of the other ones are squares and triangles. So that's fine. So what can we do with this? Since they're in a flat area, we can actually leave them as they are, or we can try to solve them. So for instance, very simple solution is from here to here. That's a square, there's a square and everything else is square. So just a very simple fixed rate there. And again, since it's a flat area, we really don't have to worry too much about it. Flat areas, you can have topology be a little bit messy if necessary. And it's perfectly fine if you've seen. For other stuff, we use this technique on the patterns on the front of a kitchen appliances stuff. There we go. So it's like we still have a couple of handguns there. Again. Just a matter of squaring this things off. I can see that that guy is an agonist. So again, not really worrying, like I don't think we need to worry about that. It's an area that's not really visible. And it doesn't create any issues for, for us, we might need to worry about it on the unfolds section, like when we do the UVs, that might be something that we need to take a look at. But I don't think we're really going to have an issue and at the end of the day, we can just triangulate that face. I'll probably just show you how to do that in just a second. And the handles, this handle is that we're creating here. The main thing that they're going to accomplish is the fact that now if we create a solid like thing on top of them, it makes sense that it can rotate because there's no hard surface he thinks, right? So let me show you real quick again how to solve those extra angles. We literally just graph the faces. And we just say mesh triangulate. And that's it. So now everything's have triangle. We can of course mirror this to the other side, so we solve the issue over there. And this should be a perfectly valid mesh. Now that we have this mesh, okay, We're having some issues. It seems now that we have this mesh, we can actually go on, go Shift P, let history for some information center pivot. Now we can actually create the other elements which are dislike just blocky pieces, blocky like elements. I'm going to use a Boolean. So I think I'm going to explain that why booleans can be useful for this particular elements, but I'm going to explain how we're going to use them. So first this is, we're gonna be again creating Booleans. It's a lot easier if our shapes are as clean as possible before we create the Booleans. This is gonna be one of them. Let's go to a top view and make sure we have the proper thickness there. We might need to do something on this particular area, but i'll, I'll show how we can solve this. Another thing we could do is just go to the top view. And all of these vertices right here. Just like pushed him out a little bit more. But I actually want to show you something that I think it's going to be quite cool. So, yeah, I'm going to stop the video right here, guys. And in the next one, we're going to do the Boolean stuff with this piece right here, which is going to be the connection to both the pelvis and the rest of the elements. So hang on tight and I'll see you back on the next one. 22. Boolean Modelling: Hi guys, welcome back to the next part of our series. Today we're going to continue with boolean modeling. And Booleans are a very dangerous tool. I would say they're not bad tools, they're just dangerous. And the reason why they're dangerous is because if you don't know how to use them properly, you're going to generate topology that's gonna be really, really difficult to fix. So I'm creating a cylinder right here and on the inputs I'm going to change this down to 88 is like the lowest thing that you can have for a cylinder. We've seen this before and it helps to get a better sense. Now, I know we've already used Booleans over here with some of the elements, but I really want to stress or show you how we can make these things look even better. So first of all, this block right here, I'm definitely want to make it look a little bit cooler. I'm going to grab this guy is right here. I'm going to double them. And I'm going to increase the fraction just a little bit right around there. That, that looks good. Cool. So now we know that there is this internal mechanism, this round thing, which is where this thing is gonna be rotating from. However, you can see that we're also colliding with a little bit of like the handles here. And I do like this handles, I feel like those handles look quite nice due to the thickness that we have. So that means that we need to create a tunnel that goes through the handles, like right around there and through the box. So it will be something like this. I can immediately tell that it's gonna be really thin on this side right here. So I'm going to try to push this as close as possible and to center it as nice as possible. So as you can see, they have a little bit of range there. It's not a lot. When I grab these vertices right here and just push them back a little bit more so we get more space right there. Honestly tempted to just grab these guys and scale them up as well, so that we're not as close to the borders of this thing. Now that we have that, I'm going to grab this cylinder, I'm going to scale it up. Select the first one so it likes the second one. I'm going to go mesh booleans difference. As you can see, this is going to cut the main shape right there and it's going to create the first intersection that we want. This is a new thing that is in Maya 2020, 2.20, 23, which is the Live Boolean system very similar to C brush. Or you can actually modify this thing and they will, it will update in real time. Very, very, very cool. Now, here's an interesting thing that we can do. I'm actually going to go back. And what I want this thing to do is I want the cylinder, sorry about that. I wonder cylinder to become smaller as we are getting closer to the main area right here. The way we're gonna do them AS we're gonna grab this cylinder right here. And I'm going to add a couple of divisions and start with one right there. Then this division, we're going to bevel it. As you can see, it gets really close to where we wanted, but not exactly there. It's more the fraction little bit more right around there. And if you can imagine this thing, what we want this at this section right here would control E. I'm going to extrude that in so that only hugs the surface of the cylinder where it's gonna be rotating from. Now, whenever you're doing this sort of techniques, one of the best vices that I can give you is tried to keep things as simple as possible. Because the more complex you make your Booleans, the more complex everything's gonna be. So look at that. Now I'm going to delete the history with this guy. So we lose the Boolean. And if we take a look at it, this is what we have, which is what we want it. We have this very nice cylinder That's only on the, on the center of the element, but we still get enough room. So if we want to rotate this thing, it can rotate around the whole like mechanical thing without actually touching it. So we're creating this sort of like slot on the whole thing that makes everything look really, really nice. So now of course, we need to fix the topology because as you can see, the topology here is horrible. And the way we're gonna do is I'm actually going to delete this thing. I'm going to go to the top view. And we're going to add a cut line right down the middle. Let's just grab this guy. There we go. There we go. We're going to delete all of these phases. We're going to make sure that this phases are scaled to the center. There we go. Because it's a lot easier to fix half of the element than to have to fix everything else. So the way this works is we need to somehow managed to stitch this thing back to the mainframe of this element. So we're gonna have one. But, but, but, but, okay, so for this side right here, I'm going to just go from top to bottom. Same on the front is going to allow me to insert edge loops easily. We have some extra faces or something. That's fine. Easiest solution here. Just grab this face is delete them. Then this guy right here Control E. And we're going to snap into the center. There we go. So now if we add a line right here, we're getting our other. There we go. So we're going to have one line right there. One night right here, one line on the top or in the front. And one line right here. We're probably going to have one line here and one line here as well. I'll probably add one line here. And one line here. So we're gonna go to edge mode and we're going to breach this two edges, these two edges, these two edges, these two edges. And then we're left with the triangles. Now, do we care about those triangles? It depends. In this case, I do think we can solve them. So I'm going to add one line right here and one light right here. And then one line right here. I'm going to select these two guys and bridge them. These two guys and bridge them. I don't want this triangle to go all the way to this area right here. So look at this trick with one more line here and here. And they're rich this to bridge these two. And then this vertex right here, I'm going to snap it with the V to this guy right here. This guy, I'm going to snap it with v to that guy right there. And those two merge to center. Those two match to center. That way we have a clean line over here. So in case we want to, for instance, bevel, this thing. We can do it, right. You create a nice little bevel right there. On this area though. Keeping this triangle's might not be a bad idea. But remember when you have two triangles close together, you can simply add one line that black merchants them pretty much and that way you're gonna get a discourse. Now the only problem with this is that we don't have a natural anymore on this outer edge. So let's just bring it back. How, by selecting all of that edge and just babbling is going to give us an edge loop. And that actually is going to be fundamental for what we're doing. Because it's going to allow us to hold the edge nicer on a nicer way. So let's do a bubble there on those intersections and look at that. Now of course, I'm going to add one edge loop right there and another one right here. It's gonna get a nice little cut right there. And we need to add some supportive to the whole like blocky thing here. So one there, one there. One there. Sorry about that one there. And yet That's it. Look at that. We get this very nice mechanical piece that holds very nice. Now, if we want to add a bevel on this area right here, it's not gonna be possible because the flow does not allow it. But here's another thing we can do. We can go to the right view. We can use the Cut tool and just cut straight through this area. Yes, we're gonna get some angles and stuff. But we can, of course, solve them by using any of the techniques that we've seen before. Or another option here is if we go to the side view again, you can see that all of these phases, like this guy, this guy, this guy and this guy are perfectly flat on the site. So if we do one extrusion and then a second extrusion, that's pretty much like adding support edges to that specific area. And we get this very interesting thing. Of course, this interfaces we need to delete both on the top and on the bottom. But once we do this, we get a really nice sharp effect right there. We mirror this, of course. Sorry about this. I'm getting my allergies again. There we go. We successfully created this very interesting piece. We killed to the right view again. Duplicate, rotated away. My God. Here we go. Right there. We sent her this to the cylinder right around there. That's it. That's gonna be my spine. Like this guys are going to have the required rotations and it's gonna make sense for us to make anything we need. I'm going to stop this right here, guys, because I'm dying from my allergies are non-nil. They're getting quite bad. So we're going to go to take my medicine and then I'll be back to record the next part. I'll see you back on the next video. Bye-bye. 23. Tail Modelling: Hi guys, welcome back to the next part of our series. Today we're going to continue with the tail modeling. And there's one thing I notice. I notice that on the top view of the neck, where should have a very similar shape to what we have right here. So that tells me that we might have made a mistake on our interpretation of the concept. And this is what my friend originally envisioned for the neck connections. So here's what we're gonna do. I'm gonna go to the right view. Of course. We're going to move the field points supposed to be right there, that's perfect. And then we're going to duplicate this guy right there and rotate this 90 degrees. Then I'm going to select the three shapes. We're going to control D and move them towards the neck. Careful here. Control D and move them towards the neck. Now if we rotate them around, you can see that they're not going to perfectly match. So one thing we can do is we can group them centered on the point and then rotate them around. Of course, we're going to have to scale them so that they fit at the neck. We can get rid of discrete rotate for a second here, scaled them again. And there we go. I think this looks a little bit better as you can see right there now this 11 of the things that we definitely need to do is push this, the base of the vertices back. So we're not like colliding with the sphere. And we're just going to move this thing back like this. There we go. So we have both connections and we have the neck. And it's gonna give us a really, really nice and clean rotation. So that automatically makes the neck look a little bit more interesting. I really liked this piece right here. Get some more interesting silhouette. And it just generally helps the whole thing. Now, we're going to do the tail has a cover says, and what we need to do here is as you can see, the tail is really similar. It's this sort of like shaming thing going all the way around our element. So we need to properly connect this thing is such that we can easily manipulate everything. So what I'm gonna do here is I'm going to duplicate this guys again. In a position the base of the chain here. We're probably going to group this thing again and just centered at the point. Scale it down a little bit to start with the first link of her tail. So this is gonna be the first week. Now, when during the production pipeline, some readers might prefer that you do not pose the character as you can see here, the tail is already posted and that's not something that we might want. However, it will depend it will all depend on the rigor and under production. This thing right here, one of the things that I'm noticing is that as we move further back, this thing, like the, the link itself will pretty much just like be lower than size. But the little pieces are going to have a little bit of a taper. So we need to grab this vertex right here, like all of these guys right here. And we need to taper them down. We're going to taper down those and then we de-select this one's right here. We tapered down those, and then we de-select this one's right here. And we taper. This guy says, Well, I might need to push this in. Just play around a little bit with the silhouette of the objects. So this thing looks as nice and clean as possible. While keeping in mind that we need to keep this sort of like a hard surface you look to the whole thing. So this is going to be like my, my inclination angle. We're going to go for something like this. There we go. That looks nice. It gives us hard surface he looked and we can play around with this and now we're going to move this around. I don't want to move this like extremely, you can see that a very common idea would be like, Oh, I need to make this fit on the, on the lower side here. Don't do that. If you do that, we're going to have a level of a finished. One thing that we can do though, is we can maybe grab this guy's, make them a little bit smaller as well. This is going to allow me to make this thing a little bit smaller on this side. If we want to make this longer, which I think was shoes, got this guys, just push them back a little bit. Now, if we try to place this into position, this will be the position that we would need it. We need to rotate this around. We need to move the center or the point of this thing. And then we will need to move this down a little bit like this. And then this one, remember, it needs to be right there in the middle. So this is broadly as like the highest rotation that we're going to have. And I know that we're not perfectly matching the drawing. But this is what the piece is alone. Because if we move this piece over here, as you can see, then the whole thing just like breaks apart like a, like we're no longer on the center of this piece. So if we do want to be on the center of this piece, one thing we could do is we can try and move this thing around. And then this guy is just push them out a little bit more. And that will be like D, D connection again, it depends because now when we bring this back to rotation, this space that we're going to have in-between the elements is going to be way, way smaller. Now this does look nice on that side. So I think we're in a good position. And what we need to do now is just pretty much to duplicate this thing and just keep on building the tail. Again. Always make sure that you ask your rigor how they want to rig this specific piece, because each rigger will probably have a slightly different preference. So I'm, I'm, I prefer the tail to be perfectly straight. Some of them might prefer the tail to be. What's the worth? Or is this here? I'm already telling that the distance between the elements is not like uniform. So I'm going to start using this guy's sort of like my my connection point. Of course, you're going to have to become smaller as well. So we're gonna bring them very unique pieces starting to really complicate that UB process. If that's one of your worries, Don't, don't worry too much about that. It's not going to really do that. But it's definitely going to make it a little bit tricky. Again. You can see things are getting smallest need to make sure things are, are matching their connection points. You probably want that thing to be centered on the previous piece, right? And we could use that vertex right there. So that's a point. But then here for instance, you can see that this one is going to be smaller, it's going to be shorter. So some of them seem to be bigger and some of them seem to be smaller, which is going to give it a slightly different effect overall. It's not really something that I recommend. So I'm going to show you a different step right here before we keep going. So I'm gonna go back here. And what we're gonna do is since we already have or we should already have the pivot points where they're supposed to be. For instance, this one will be like right around there. Does when it has this pivot point where it needs to be, this one has its point where it needs to be and this one has. But let's again, let's finally, let's say that's our pivot point, right? So what I'm gonna do is I'm gonna, I'm gonna try to parent things and pretty much do a very quick connections here, a very crew, the very basic rigging thing. So we're going to grab this guy right here. Let's grab all of them. Freeze transformations and fully history. So this one is going to be parented here. There's one is going to be parented here. And this one's going to be parented here. This one, we're gonna wrote it up. As you can see, we get straight lines. Then this one, we're going to rotate it up like this, again, trying to get streetlights straight lines when we wrote it up. And that's when we rotate it by. Not be perfect, but it should give us a nice effect. So the main piece is this guy and this guy, right? Like this two pieces are the main pieces that we want. And what I want is for each piece that they create to be slightly smaller until we get to this distance right here. Now how do we know what this distance is? What we can do, of course, a little bit of math and stuff, but we can also just like estimate the overall length. So if I go Create and they say a measure tools distance, so I can go from the base to, let's say, this piece right here, that's 66. And then I can go from here to the tip, that's 5,454.66, that's 100 or 110. And taking into account a little bit of the, what's the word of the temperature, let's say 120. So we're gonna go from here and we want to get 124, the length of the tail. So it's gonna be right around there. Perfect. I'm gonna select this guy right here, Control D. I'm going to freeze the transformations again. Go back to a world mouth. And we're going to position this on the next one, which would be this one right here. And if I press shift D, Let's go back here. Freeze transformations again. We're doing Control D again. We push this forward and we do shift D, shift, D, shift D. And we can duplicate until we get to the very end, which is going to be that one right there. I think this final one of course is not going to have the tail. So this gives us a tail. That looks interesting. This is a little bit off-center. Well it's an easy fix. Just grab this code guys right here, w, w. And we snap it. There we go. So now we have a tail, right? But the problem with this tale is that even though it does look like a tail, It's very thick going all the way to the back. So what we can do is we can grab all of these elements. Okay? All of these elements. And we're going to add a former, We're going to deform. We're going to use our lattice. We've used this before. It's a box that's going to go around the elements. Hopefully this doesn't crash. And then once it does that, we're gonna be able to modify that lattice to make it thinner as we go further back. Definitely got stuck here. Not sure why though, I'm going to pause real quick and width for this to recover and we'll continue. Well, unfortunately, it crashed. Maya crashed and I wasn't able to recover it, but don't worry, I'll just rebuild it. It's not exactly the same, but it should be pretty similar. And this is what I wanted to create. Now it's just what I'm gonna do. I'm gonna select all of the pieces here. And to avoid any sort of crushing, I'm just going to literally combine them all, but just like that. And then now if we of course delete the history and we do a Arnold or sorry, the Form Non-linear lattice or a lattice, we should be able to very easily go to the final points here. And if we go to the top view, you're going to see that we actually have the size that it should be, which is roughly half of what we have right now. If I just press this in, like this. What's going to happen is we're going to keep pretty much the same rotations. Like we're not modifying the circles or anything. We're not only find the handles, we're just modifying how each individual piece becomes a thinner and thinner as we go further down the tail. So if we go to a top view, you can see that now we should be able to match the original scale here. And as we go lower and lower, this is the one that we're eventually going to get you. And that's the final tip off our little tail right there. That would pretty much be it. However, I know you guys like to see things in a really nice light. So we're going to have to do here is we're going to have to post. And there's really no easy way to do this. But to literally go, We're like separate all of the species, so Mesh separate. And we can either try to create a skeleton like, like actually rig this thing or move the points. Both of those options are going to work exactly the same. But I'm gonna show you a slightly different version here, which is, I'm actually going to try now, now, now another thing I think of it, I don't think it's going to be the best one. I think to be honest that the easiest one would be to just like position the points where there should be some excuses, select everything sent to the point. And it shouldn't be that difficult to just like grab this guy right here and start moving each point of each object Towards gonna be rotating from as close as possible. Okay? So again, just press a D, So it's going to rotate from there. This one's going to rotate from there. This one's going to rotate from there. This one's going to rotate from there because as you can see, since the pivots already Center, we only need to displace it on the z-axis. Pretty much. What's going to rotate right there? This one's going to rotate right there. This one right there. This is the final one. Is it? No, one more. This one right there. This one right there. Or really one more. Two more. Okay. There. We can step to the point, of course, right there. And finally, this one, right here. There we go. Now, we already know that this tail thing, it's gonna be it's own segments. So lets just grab all of these elements. Actually, let me start like I'm going to select them in order. We go over here. I do believe we have our plugin, this one right here. Remember that you can grab this code and just drag and drop it over here with middle mouse. And that's going to be now, now our rename or two. So I'm going to rename all of this to a lion, underscore and rename. It should be until other we go, actually we didn't need this shows is that I do like having three paddings, to be honest. Have the 000-10-0203 for some reason it's not. Okay. It did. Okay. Perfect. So the names, as you can see, are not aligned, but that's fine. Which still have everything. Let's again delete history. We don't want to center the pivot point, of course, freeze transformation. And now let's just add the underscore GO. So that way, the tail is already kinda like reading. And the reason why I wanted to have clean names is because I'm going to be selecting each one of these guys and then hitting P, this whole chain of elements. And the cool thing about this is if we rotate one of this, look at that, we're going to get this effect. Now, I do believe like again, it might break a little bit when we do this, it's not breaking as much to be honest, like it's working fairly nice. So that means that our animators are gonna be able to create some cool stuff with doses well. But now, if we want to be extra, extra, what's the worth precise about this, we can just start rotating things. So for instance, I can go to this one, just wrote it down, or just even like move this and rotate it so it matches. Then we can go to this one and we rotate, go to this one. And we rotate. Good to this one. Rotate a little bit and we can already posts. We can start posing the tail. And I feel like we should have matched the proper size of the tail. It seems like we did look at that. Not bath slowly, unintentional, but we managed to match freely much the same tail here. I'll give you guys two options. We can delete this one, I think would look nice to have a difference in whether the very end. And there we go. We have our tail ready. Now, the same principle is going to apply to these guys over here. So I'm going to grab this thing right here, move its food point right there. Then this thing right here, two points were supposed to be. And this one just going to rotate it like that. So that one's going to have a connection to the hip right there. And eventually when we work on the hip on this side, we're going to have to figure out something there. I do think these things are a little bit like off-center. I'm going to Control G and centered at the point. Get them a little bit closer to what I'm expecting. There we go. So this one I would expect to have this curvature and this one, this record which kinda wanna go all the way here. However, we're having a little bit of an issue with some collapsing here on the vertices. One thing we can do though, look at this. Go back. And we can grab these vertices right here. Just push them in. And this one's right here, push them in. And same thing on this other side. This sort of like slanted effect right there. And now if we rotate this x-axis are the faces were kinda wanted to be. You can also rotate this one. And we're going to have way more, way more room. We can also push this in a little bit and maybe just grab these guys right here. Whereas this one would need to rotate a little bit as well here. This one probably move up a little bit, right. So yeah, that's it, guys. I'll see you back on the next video. 24. Pelvis Block In: Hey guys, welcome back to the next part of our series. We're going to continue with the pelvis. The pelvis is one of the most complicated parts of the whole character because it's gonna be one of the main things that we're gonna be focusing if we were to rig this character like the, most of the quadrupeds, will have their movement come from their pelvis. And everything else just follows along, very similar to how we do it with humans. So if we want this character to sit, for instance, we will need to grab the controller that is controlling the pelvis and move the pelvis down and everything else should accommodate or fall into place based on that moment. That's why the pelvis is really complicated. However, one of the cool things about the pelvis is that it's just walk. It's just the block that has all of the connections to the tail and the spine. However, this block that you see right here, it's a little bit more complexity. We've done so far. Before we do that though, I realized that at the neck was at dawn or wrongly, I just took the concept and I thought it was cylinders. But when a taking a look at the top view, you can see that follows pretty much the same thing that we have here with this guys. So I'm just going to Control D, the group that we have over here. Go to the right view and use this to position the neck where it's supposed to be. So we're going to rotate the group right there. Definitely make it a little bit smaller. That's gonna be the main link right there. This one of course is going to move up and I definitely want to squish this in. So I'm going to graph this vertex right here and just push them in a little bit more. There we go. Now we can put this a little bit closer to the center of the sphere and same for this one right here. We're going to grab all of the vertices on the lower section and just push them up so that barely touches the sphere. That way, when we rotate this, the connections fills for bright. And that's gonna be a really good mix as you can see now, everything looks a little bit more complex. We still have some very beak rest areas such as the ribcage. But now this new areas right here and make it look really, really interesting. And so it's just like very basic cylinders. I love how the table looks by the way, I think that, that shows a really, really nice construct. So let's start with the box here and we're going to use the same technique that we use for the rib cage, where we're going to start with a very simple box, just has the basic shape and direction that we want, which is roughly like this. And then on the top view, you can see that that's pretty much the main, the main area. Now from this main area, we're going to start getting more shapes, especially if we see here the top, you can see that it goes back a little bit more. So I'm gonna grab this face right here, Control E. It just extruded back, probably right around there. And we take a look at the top view and yeah, that seems about right. Might be able to push it a little bit more. And then if we need to modify this piece later on, we can do that. And again, if we take a look at the sidebar, the top, you can see that there's a sort of like a division here. So I'm going to add a line right there. And then we're going to grab this face right here in this phase right here, this guy and this guy Control E. And this is going to be the hip going out like this. Or when we see it from the, from the top, it looks a little bit more complexity. We have this boxes right there. So I kinda wanna have that in as well. I'm going to add one line right at the 50% mark right there. And then I'm going to add another one at the 50% mark right there. Grab this guy first. Control E. We go to the front view. Robert, we need to extrude this a little bit more, right about there. Probably a little bit more. And I want to go all the way over here. You can see how there's gonna be this sort of like connections. It's this line that we're going for. I'm going to grab this edge right here and push it back. Remember that we're using object mode so that we can create all of this like interesting effects and stuff. Then at this point, like this area right here, this is where we're gonna have our main connection to everything else. So since I want this connection to be a little bit rounder, I'm actually going to grab this piece is right here and bring them down. So this is gonna be like the, like the insertion point for the main bone that's going to be going towards the hips. So this thing right here, all of this element right here is going to be an extra piece. Now, one thing that I want to do is I'm going to create a little bit of visual interests on this area, especially because right now it looks very blocky and I would like to have some cuts. So remember how I mentioned that the volumes were not ideal. And of course I still like I still follow that. I still think that they're not ideal, but that doesn't mean that we can't use them to create some interesting blockings on the overall shapes. So we're going to create a cube here. Bring this forward. And I'm going to use this cube, two of Boolean out. Some interesting pieces over here. For instance, if we go to this area right here, feel like we could take out a chunk of our element here. Like this, all the way up right around there. And create an interesting effect as well. So something like this. The first 1 s one mesh booleans indifference that we go and look at how interesting that shape looks now because we have this sort of like flat area here. Where we could add more details and stuff. That's the kind of, again, the kind of Booleans that we can use to create interesting effects. Now, here, of course, we're gonna delay history to make that Boolean permanent. And if we add mirror this to the other side, we're going to get this shape right there. I kinda wanna like trimmed down this area right here as well. You can see that on the concept that was this a little bit flatter, I think it might be a better idea to keep this a little bit flatter like this for the pelvis to be honest. Just from a from a from a sort of rigging perspective, this thing right here, I definitely want the bed bullet. We'd go. And think beveling this guy and this guy might also be a good idea. Now, I love this part of like free, free form modeling because we're not worried about like angles or anything. We're just focusing on creating shapes that look interesting and cool, which is what we're achieving right here. And I want a bevel this once as well. As you can see from the general designs that we've been doing so far, we really didn't have a super sharp effects. So we want to be careful about that. Now, of course we're going to have to fix it topology. We can't, there's no way we can get away with what we have right here. But that doesn't mean that we can't start let go. Again, conflict playing around with our effects right here, for instance, this guy right here, the offset a little bit. And I can, I want to create a similar sort of ramp to what we had. Remember when we did this on the face. So I'm going to delete these two guys. This vertex. I'm going to snap it up there, this one there and this one there. And then we just Edit Mesh Merge. Go. So now we have the very interesting look right there on the bottom part, for instance, or in this back part, it definitely think we need some sort of connection for the tail. So this piece is right here. You can definitely take them out. So I'm going to delete all of this phase is to create like the, like the cavity where the, where the main mechanism is going to be happening. In that we can start thinking about fixing the topology. For instance, this guy is Control E and with w, I'm going to snap them until they are at the same height as this forward faces from here and here, here and here. We're of course going to bridge it, to bridge this error right here. Can I just do a very simple line? And we go from the side, the center, from the sides. Like that. Look at that. Now that creates the cavity. We're, we're gonna be attaching broadly another one of this things right here. So I'm gonna grab this guy, just duplicate this. And of course we're going to get all of the like the duplicated effects. We just need this guy shift P. And this is gonna be here, right? This is gonna be the, the original tail or the base tail from where we are going to be moving everything. We of course would need to create something here on the inside to support this thing. But this is how we will create a blocking for the hips. Now let's do a little bit of clean up. We're gonna do a little bit more of cleanup, of course, once we finished. But you can see that we have some really, really, really ugly faces on lines going everywhere. And if we press number three, I mean, yes, it's much arable. We get sound really ugly-looking elements. So what do we need? Well, first of all, I'm going to go to the front view and I'm going to delete half of this thing. We're just going to leave this interesting blockchain right here. Once we have this blockchain right here, we know that the main culprit, if everything is this guy right? Like the boolean that we add. So let's just start adding lines where we need them so that we can loop this thing around and allow the topology to flow in a better way. How do we do this? Well, we want this to be a sharp corner. So I'm going to grab this knife tool right here, and I'm literally just going to cut straight across this thing right here. We're not going to generate any angles. This is a square, this triangle, that's the square of the square. So that definitely does not modify anything. And now this upper part is solved. And then from this guy right here, you can pretty much do a whole round, round and get all the way to this point right here. So I'm gonna go to this position right there. And then usually need to see the points. This position right here, its position right here. And we're going to end up right there. Perfect. Now of course, this vertex, we're going to snap it right there, grab those two and mesh to center this vertex. We first snap it with v and after-death, we merchant. There we go. Now here we have another problem. We need another edge loop that goes around this thing, roughly around there. This point. I'm gonna go to a movement options, go to World. We're going to move it back so that we can grab this point right here, moving right there, grab those two and merge. And that should pretty much solve our issues. So you can see the topology is looking quite better. They're just makes sure that you don't have a double face right there. Sometimes you might get it. If that happens, just delete one of them, can preach again. Finally, we can grab this guy right here. It just go straight there. Of course, to keep things nice puzzle, we can just snap this up. And there we go. Now we smooth this out. As you can see, things are looking a little bit better. Over here we have a little bit of an issue is that such a huge issue are really just add one line right there. Then from here to here, that solves the angle. And from here to here, that also solves the egg. If I press number three, you can see that pretty much everything is clean. We have one more angle right there and one more angle and right here. But we know that those were original bevels, so it's very easy to just bridge them together like that. And look at that with successfully created a very nice blocking off our hips with a really, really interesting like mechanisms you can see it's really, really interesting flow of topology going everywhere with a lot of inputs and outputs, making this a very cool mechanical piece. And now we can start adding, of course, the support edges and the rest of the pieces. So I'm going to stop the video right here, guys. And in the next one we're going to start adding more of the complexity that we have here. It's going to be going towards the hip. And of course we're going to complete a DSP is right here. So hang on tight and I'll see you back on the next one. 25. Pelvis Component: Hi guys, Welcome back. In the next part of the series today we're going to continue with the pelvis components and let's just polish this thing first, which is the main pelvis block that we know, of course that we do a simple smooth we're getting, we're gonna get this shape, but we don't want that shape. That's way, way too complex of a shape. And it might not be a good idea to just bevel everything because that will add unnecessary elements. So I've deleted the histories and to build points, freeze transformations. And we can try using objects symmetry X now and see if by adding elements. There we go. We can add elements on both sides. So I'm particularly worried about this main shape that we have right there. So as you can see by adding one line, we get a very sharp effect. I'm going to add one line here. And as you can see, this line does not flow anywhere else because we have triangles here. And when you have a loop flowing into a triangle, you get the square. So that's pretty much where deadlines stops. We can now add one here. As you can see, this is going to go all the way to the sides. Is that something that we want? It's not really going to affect us, but I do believe it's making it a little bit complex. So we could do that or to keep things a little bit simpler, we can delete the little faces that we have there on the side as one line right there. So we can get a nice sharp effect on that specific area. And then do the stitching thing that we've done before. Just grab those two vertices right there. This is a square, so we just feel that way. We get a really clean effect without actually making edge loops go unnecessarily into other sections. Let's do one more here. So I'm gonna do one right here. And we'd run into a problem. We have this thing. So I actually forgotten that we have the, what's the word gone right here. So you can see we have an angle on this particular face. So I'm going to show you one very cool technique that we can use here. We can use our cup tool. Select that guy right there, go down and go in. And then from here, we can go here. And naturally that's not going to work. I was trying to see if we can do a reduction 2-1, but it's not really going to work. So we're going to have to figure out something with this phase rate that because again, if we add one right here, this is going to definitely break things apart. Now, one thing we could do is we could just go from here to the corner right there. And the infix that, as you can see, that's now a square. And we get this sort of relationship which is not bad. Let's add one more line right there and kinda want to add one line. Let's go over here. I'm going to go for the easy ones. So that one, that one definitely that one. Definitely that one right there. One right there. There we go. See how everything's becoming sharper and sharper. That's what we're going for. There we go. And yeah, that's I think that's pretty much it. I kind of like the shapes that we're getting now. She can see we get this interesting like soft effect right there. We could, of course, add one line right here. What you're going to give us more for shelf look. But now we get this interesting like triangle, like a soft triangle going there. I am not against it. I think it makes it look interesting there for the, for the hip. And I kinda like this curvature that we have there as well. Because I know some of you might be like, well, we could add one more here and it's gonna give us the square look. Square also looks quite nice. It looks very machine like this piece looks really, really cool, really machine like it was made at a factory or something. So I think we're going to keep it like this. Because again, if we see it in context, that looks really, really interesting. It looks blocky, but the same time we have some interesting curves that we can use for shading. So we're going to keep it like that. Now, as you can see here, we have a big cylinder. I'm actually going to duplicate this guy, delete this other guy over here. Let's get rid of symmetry. Now. Delete this guy over here, and we're going to use this one to create the next piece that's going to be attached to the hip. So if we go to the top view, you can see that we have a cylinder there, which is going to be like the insertion point going towards the hips. So this thing is going to be connecting the hip right there. Okay, so we're gonna have this connection on the right. We're, we're, we're a little bit further forward. So I'm actually going to make, I'm going to obey, or I'm going to follow the side view a little bit more than the top view. Feel. It makes a little bit more sets. So for this piece, we're going to do something interesting. We're going to first bubble this heavily like that. And then we're gonna grab this guy Control F, 11, Control E to extrude, create an offset right there, and then extrude this in like that. So this is from, the components are going to be coming from this insight piece. And this should be a solid piece like this thing. The way this is going to be, where are my image planes show emissions? There we go. So this piece should be a straight Bs going to this area right here. You can see that there's a little bit of an inclination, but the inclination is going to happen inside the pieces. There's gonna be some Wiggling room on those pieces, not necessarily on the on the piece itself. So this piece, again, it's going to be perfectly, perfectly attached there. I do think it's a little bit big, so I'm gonna make it a little bit smaller. And since this thing is going to be kind of like welded, I do want to add a bevel to this area right here, this mole fraction into segments and that one. There we go, get this. Now of course, all of these edges that we added before, we need to re-double them or ad supported edges, whichever you prefer to make them tighter. We get this really, really clean. Like look right there. Now from this place, we're going to get these cylinders, big cylinder. That's gonna be our femur. So usually the femur has sort of like L-shape and it goes from the hips to the legs and it's for, for balanced purposes. So we're going to go over here, let's do -90.90 over here to make sure that worked perfectly align. And we're going to position it right there. I'm going to move in space. It's filled point to the center of that piece. So that when we move this around, as you can see, we can actually point this exactly where we want. Hit our scale this up. I'm definitely going to make it this a little bit thinner. So something like that. And we need to really bring it or push it a little bit back. Now, I'm a little bit worried about the inclination that we have here for the leg. Again, I know that we're following the right view, but the right view, if you remember, the Alexis is slightly skewed. So I'm actually going to push this forward a little bit. Because I really want this thing to be a little bit more straight going to the center of the elements is something like this. Because as you can see, once we hit that point, we're not going to be able to rotate it anymore. Another, another thing could be we could keep this really, really straight and then just move the hips up and to the center so that we can move. And I just wrote it. This whole thing will actually think this might be a more valid way to do it. So I'm going to zero out the rotations here. Again, from a writing perspective, it just makes more sense to have things be as straight as possible first. And then if I like this, but I want to move this thing down a little bit more, that's fine. What we can do is we can parent this thing to this thing. Move the hip down a little bit so that we measure are a little bit closer to the position of the actual hips right around there. And then this piece, we move the pointer back to the center of this guy. And we rotate it up to push it forward. And there we go because I know this is as low as it's probably going to go and we still have a little bit of wiggling room. So if I need to lower this piece even further, we might be able to do it, but this will give us the proper like construction of the hips that we're going for. This is still a very straight Roth, as you can see right here. It's just a straight a line. So it follows the sort of the fabric construction that we normally have. Grabbed this guy, this guy. And of course we need to delete this guy right here. Grab this three guys, shift, right-click, and we're going to mirror this to the other side so that we can see both of these elements and the construction that we're getting so that it looks really, really cool. Now, on top of this thing, I can see some small little details on this thing right here, like a slightly different construction. And I do think it's worth it to add them. I'm going to isolate this real quick. Here. I am going to turn on object X again, see if it, if it works, it's not working. And usually when this does not work because we're not like racing transformation and stuff. There we go. I'm going to select one, skip three. So like one skipped three. So that one skip three, select one skipped three. As you can see, we're going to have five all over the place. So it's a really even number that we can use. You can control E, offset, Control E and push this up. And then on this one, I'm also going to offset a little bit. There we go. So now when we do this, we're gonna get those little lines, but I don't want the lines to kinda want squares. So careful there. I'm going to, I'm going to assign one of these lines and insert another edge loop right there. In that way, we're going to have this interesting effects right there again, adding a little bit of visual interests to the whole thing. Now on this piece, I definitely am going to add some texturing stuff later on, like a bolts and stuff. We could model those in, but it's really going to bring the whole, the whole geometry up. And I don't think it's really, really necessary. Now for the next part of the components, we need to think about how we're going to connect at the tail, how we're going to connect at this piece right here. And we can use similar things to what we're doing everywhere else. For instance, this piece right here, I think it'll be a nice idea to use one of this like huge links to link it to the main thing. But we can also use one of these guys. So I'm going to Control D to create like the insertion point of this thing. Just gonna be right around here. You can see the circle right there. And we can even have it up here like it's fine. As long as, as we do not modify the What's the word? The the circle. We keep it as a circle. We're going to be fine. Now, this one, I'm probably going to grab these vertices right here, just push them in. So we have a little bit of space between them. We could even do the same trick that we did before, where we take this guys right here and these guys right here to, to give them a sort of like a round look. And one thing I kinda wanna do here is it will be interesting to have two circles like this. This thing should have to chew rotation points. Maybe. I'm going to show you a trick here. I'm going to move the pivot point to right around here. And if I mirror this using a bounding box or sorry, object, which is the pivot point z negative. Look at what happens. We get this, okay, this because I think we had to go see positive. There we go. And now we have a second circle. Very, very cool. Now, some of these vertices, as you can see, are not perfect. And that's because the alignment that we had before, this alignment right here, It's not perfect either, so let's flatten this out. The object should now have its pivot point after deadline right around there. And we can do the same thing, apply. There we go. So now we have a link that has a both circles. Now what can we do with this two circles? Of course, we can shorten them out a little bit. So we can grab all of these guys and just push them in to get some wiggling room right there. And now if we grab this guy, it can control the positioning right there. A little bit smaller. Grab all of these vertices right here, change the object, both of them write it. Of course these are going to be slightly smaller as well. And there we go. So now we have a slightly different connection. This one will probably going to have to, we're probably going to have to push this out a little bit. There we go. So we are not touching distinct or, or another option is to go to this guy. Just, let's make this smaller look at that. Even makes it more complex shape right there. Not bad, right? Let's make this a little bit closer, and there we go. So now we have another construction there on the whole thing. If this was engineering, this guys will probably be thicker than they are thinner because they're closer to the surface and they will need more strength. Or they could be made out of a different material. I know it looks a little bit weird right now. I'm kinda wanna fix that to be honest. This is probably going to be like a really thick one. Let's grab this case, right? You can just push them out instead. Because it should be like a really massive link right there, something like that looks a little bit better. Of course we need to go to top view here. Fix these components a little bit. There we go. We're going to have something that looks really, really interesting. So just some, some thick like spine bones right there. There we go. Same thing due on this guy over here. Like let's just realize this one. Bring it back. Rotate this, in this case is zero degrees. This one is of course going to be thinner. But this is going to be D, the connection point for the tail. So as you can see, that little guy right there is going to be holding the tail together. And we're going to have the whole element just floating around. So I think that's pretty much it for the components that I want to add, but I just want to show you one final thing which is sometimes there's this like protecting rubber things on top of joints like this. And I do believe we could benefit from having one. So I'm going to duplicate this guy here real quick. I'm going to delete all of the faces that are not on the long diagonal. Let's get rid of this case. There we go. Now as you can see, this is just a cylinder. Then I'm going to add a one-line right here, which is going to be like the, like the connection point right there. I'm going to add a second one right there. There we go. This is what we have. I'm going to extrude this out a little bit. And then I'm going to delete at this interface right here. So we have a small little lip, see how this has kind of like a, like a fold that goes back inside to the 2D object. This phase is we don't need right now, we're going to delete. What I'm gonna do is I'm going to add, I'm going to flare this guy out a little bit. Because this is the thing that's going to be like giving me the sort of like plastic look. There we go. I am going to then use my Insert Edge Loop and we're going to insert something like, I don't like 6 h there. Now this guy, this guy, and this guy, we're going to extrude up and give this a little bit of officers. And then this guy and this guy we're going to extrude in and also gives a little bit of officers like that. So this is the sort of thing that we're going to do. This thing right here. This black plastic thing is probably going to be the only thing that's going to be skin, everything else is going to move as a solid. This might be the only thing that's going not going to move a solid and it's going to have slightly different like just movement. But as you can see, it really gives everything a sort of like a nicer, nicer looking, nicer effect overall. Now, this whole hip thing. It's really huge block. And again, I would not expect something like this to be just a single block. So I'm going to assign a one-line right here. And then that line, I'm going to make it really straight. I'm going to snap together. And we're going to use the trick that I've shown you before. We're not going to do the the what's the word? I don't want to separate this. I just want to add a line right there and just extrude this in. Because I know when we do a division, we're going to get a nice session line that goes around things. And it would make sense to have again like Bolt over here again, all of those bolts, we could of course model each bolt or modeled even the little hole for the bolt. But we can also add those in. Textures are not changing the silhouette. And usually if it does not change the silhouette, we really don't need to add it. Now, remember how we've talked about, again, complexity out there for simplicity sort of thing. I want to add something else to this thing right here. And I'm gonna select this guy right here and duplicate them. So Edit Mesh. Duplicate the, push them out just a little bit. And then I'm gonna give this a sort of like cylindrical extrusion right there. Then I'm going to select this guys right here, push them out quite a bit. And now we create this are again a rubber support for the whole thing. Let's bevel. Small fraction 2 s. There we go. So, yeah, that's pretty much it. Probably, let's send to the point, probably extrude this out a little bit more, even if there's a little bit of overlap. Again, it's just, it's just a simple object that's going to allow us to have a more interesting look overall. Now, let's say real quick, haven't seen in awhile. And let's turn on offer materials. You can see that we have a huge mess over here. That's fine. I'm just going to grab everything here. This guy's let's assign the basic like clay material first. Clay material. There we go. That's what I'm gonna do is delete this links right here. I think they would benefit from being black. So I'm going to grab all of the links there, assign existing material. Black rubber. Oh, that sucks. I have to go. It's really weird. Shouldn't be doing this. One thing we can do here. I kinda don't want to do it because it's going to make it the whole been more difficult. But one thing we could do is just like on parent everything again. Okay, so we know those are gonna be black rubber. Black rubber. Let me mirror this by the way, because we don't have them on the other side. Careful there. The mirror is going to be x. Negative. World. Should go. There we go. Black rubber. Black rubber. And this colors that I'm adding, it's mainly for visualization purposes. Later on we're going to have different different colors. I do want that. I don't want to go here to be honest. I'm gonna go to face mode. And this should allow me to very quickly select the links into the black rubber. There we go. Look at that view of the full control S. And now we bring back our render setup. Can do an R-naught redder. And little by little creature here is it's going places and it's looking really, really cool and really complex. Look at that. Look at this exoskeleton. Not bad right now. Fricking bath. So yeah, that's pretty much it guys for this one, I'm going to stop the video. And in the next one we're going to start with the legs. We're going to start with the hips and the rest of the elements. So hang on tight and I'll see you back on the next one. Bye bye. 26. Hip Modelling: Hey guys, welcome back to the next part of our series. Today we're going to continue with the hip off our character right here. And there's a couple of things that we need to do for us. So I'm gonna go to the top view and I'm going to realign a couple of elements. You guys know that we have this piece right here. I'm going to add Control or Shift to just add one right there. Actually just forgot it. I didn't know how many videos have done without the Karnak thing. Hopefully all of the shortcuts that I've been using are easy to follow, but yeah, so this one, I am going to center the pivot point. As you can see, it's going to the other side. That's not what I wanted. Let's just delete half of it. Now, we centered this booth points is going to be exactly on the middle so we can snap it right there. Same for this one and same for this one. So that's gonna be like the, the distance at which we're gonna be doing the connection for the hips. A little bit of white on the hips. I've seen some, um, what's the word? I'm a lion, like skeletons and sometimes they're a little bit more aligned. But against this, we're going for this sort of like a really heavy on the front, thanks to the main. This is going to balance things out a little bit. Now, let's start with the hip, which is this component right here. And as you can see, when we see it from the top is just the very basic cylinder. So this thing pretty much is the thing that's going to be moving along and where we move this thing, this thing is going to follow same as this thing. So this is gonna be like the main mover of the whole thing along with this metallic bits right here. But first we need to give this thing a little bit more love. So we're going to add some more details. I can immediately see a sort of like a component here. So I'm going to Control E offset and create something interesting there. Kinda wanna go here, Babble this, and then this one. I'm going to just extrude out a little bit. Here we go. So like sharpen this guy's up a little bit right there. And now of course this guy right here, again, just, just freestyle modeling here. I'm going to model this and then Control E. And just push this in a little bit. Like so. Just to get something a little bit more interesting from this idea that can kinda see it right here. It's kind of like this channels that tells me that I'm thinking very similarly to what my friend was initially thinking about. So Control E, We're going to get this thing in. Of course, we can go a lot closer there you can see the cylinder is starting to show that's fine. Because if any point I can just go to the sunder, grabbed this vertices and just push them in, right? As long as we only see this connection right there, that should be more than enough. This gives us enough depth and now we can start doubling a couple of elements. Oh, that looks really nice. And we get this. Now one thing I'm noticing is we have some weird pattern or thing right there. And that's one of those things that you can just add on top, right? So I'm going to grab a cube right here, snippet right there to the center. And I'm just going to create something interesting here. So, for instance, can go with this very simple cube. Officer. This guy's a little bit in an extrude them out. And then we could, we could grab this guy and this guy, for instance, just hit a bevel right there. There we go. As you can see that it's a fun shape. It looks interesting. It looks hard surface C, and we'll just double everything. Give this two segments and its mole fraction. And there we go. We're going to have an interesting little detail there that's going to follow, of course, if we were going to parent this. So we don't have to make sure that the topology follows this thing as long as this thing is parented or combined to this thing, we can even just like combine them. So just combine, it's gonna be just fine. Now the one thing that we do need to add are some support edges to the hard surface effects or elements that we want to have here. I'm going to add some of this lines. Finally, some of the slides over here. We go. Press G to add more stuff, and that's it. Now, this one might look a little bit weird due to the way this is connected, right? Because it doesn't feel like it's like actually attaching some specific way to this thing right here. And there's a lot of things that we can do. But the one of the things that I think is gonna work really nicely. It's just to offset a nice little connection. And even like I can move this up, like it's perfectly fine. Even if it's not perfectly aligned. Might want to move this thing forward a little bit. And then this section right here is gonna be this slanted thing. It's gonna give me the support that we're going for just in case we see this thing from a specific angle, we're always seeing something that looks interesting. There we go. Now we see distinct going in right there. And we could even follow the same principle that we did before. There we go. That's perfectly centered. Now, we can follow the same sort of principle we did for, for this upper thing right there. And like something like this, we can even just like duplicate that guy. Position. It. This thing to indicate that there's a little bit more complexity than what people might be seeing. I probably wouldn't add more of that stuff to be honest because it's such a small area, but just that extra silhouette right there. I think it's a good idea. Now for this guy is right here. If we go to the front view, you can see that they're a little bit, Whoa. I'm realizing that these things are a little bit too far out. It's really weird in the front view, it looks really far out. But we're going to follow the top view. Although IMs am perceiving that this things a little bit too wide, one thing we can definitely do is just make everything a little bit smaller. For instance, that thing right there. And then if we grabbed just all of these elements, let's freeze the transformations. Just push them in a little bit more. That should make things look a little bit more balanced. There we go. I think that that helps and we're not really modifying a whole bunch of things. Yes, on the top of your things are going to look slightly off. But I think from a perspective view, and it's always important that we take a look at the perspective view. Things look quite fine. So we know that we have this big, huge chunk right here. And it's kind of like a telescopic sort of element that's going to create a slot for this thing, the knee in this case, to rotate around. We're going to follow a very similar process to what we did with this guys right here where we have this sort of like elements like hugging each other. So the way I'm gonna do this is I am gonna go to the right view instance. These are not straight boxes. I'm actually just going to delete them. When I create a new box right here, move it all the way to the top here, and rotate this. I think I'm going to use discrete rotate to rotate this 45 degrees. Why 45 degrees? Because it's probably the most like EC angle to find on a specific element. And it's just going to make it a lot easier for us. So this thing should be aligned to the center of the leg. So I'm going to align it right there. And you can see how this is working. Now, eventually, we can just rotate this thing down. But I'm actually going to model this even though it looks like it's off to the, to the top part, I'm going to go for that. So this we tried to find the middle ground. If we don't have a middle point, here is we're having symmetry lines is so important. We go with this one. We can just snap to that central line and we know that that's the proper like a site that we're going for. Of course that like the back face. We're going to push it forward. So that's not like overlapping as much. It's gonna be hidden. That's fine. When I push it forward. And again, it's kind of like a telescopic sort of thing. So this is like the first armor piece. I'm going to go Control D, push it down, make it thinner on this side. And thinner on this side right here. Can kinda see a whole going on there, which would be a really, really interesting thing to add. And then once it hit this section right here, this thing is gonna be again, kind of like a line to the whole element right here. So from this point, from dislike elements right here, we want to line this up to the center, projected a little bit further. So roughly around there. That's going to be our army, of course. I believe the back part right now. Now, let's, let's work with this ones first to give them a little bit more life. And I'm gonna start with this one because we're probably going to have to duplicate the other one with, I think it's gonna be really helpful for this element is to have some bevels like that. And then this guy is we're just going to delete. We're going to control E. And I'm going to go in just a little bit like that. We're going to, of course reverse it this direction. And we're going to bevel the whole thing. Because when we smooth we want this thing to be really, really tight. And now as you can see, this thing is going to be on the inside and it's going to follow pretty much the same pattern. So we're going to bevel it a small fraction. Here we go. I am actually no. I know. I'm not going to do that work in that beveled edges only. Not the caps just yet, just how it goes. You can see that matches with the other piece a little bit better. The less a fraction. And let's just make it slightly thinner so it fits really nicely. There. There we go. And one thing that I definitely want to do is I want to cut a hole similar to what we see. I kinda think that's like the sketch line, like that thing right there. But I think it looks really cool. So I'm going to assign a new cut right there. There we go. And then we're gonna do 20%, 20%, right? They're probably gonna do like 10%. And that way we can just cut this out. Go from one side to the other with a bridge, of course. Oh careful. There. Seems like. Yes, we did the 20% cotton that side, but none other than this side. So 20%, 20%. Now we cut. We go from here to here and we bridge. That's it. You got this very cool looking piece. Now of course, since we want everything to be hardened or just going to double everything to segment and small fraction. That should give us a really clean element right there. So it kinda looks again like a telescopic thing. And an animator might be evil, might even be able to just animate this thing to make the legs longer or something. I'm not sure that's something that I would personally do, but it can be done. Now this guys, I'm going to make them smaller. And I kind of want to make sure that it follows the same line, right? Because we know that this guy right here should be in perfect harmony with this guy right here. So the center of both pieces should be sort of like a line. And it does look to me like they are quite align with. If we want to be super, super precise about it. We can play around with a cube here. So what I'm gonna do is I'm going to press D and move the pivot point to one side of the cube right there. And then we're gonna go right there. And technically, if we rotate this 45 degrees and we scale this, we should be going straight through the center of the element which were not, as you can see right there word not. So that means that we need to modify our rotation a little bit. Or actually, yeah, we need to modify it a little bit. What we can do here instead is now I'm going to move this base of the cube to this point right there. Rotated 45 degrees, or in this case zero. Let's turn on screen rotate. There we go. So that's my central line. You can even see that these guys are not perfectly aligned. So if we want to, we will need to push this up a little bit. That will be perfect alignment. And then this guy as well can align it right there. So that will be a perfectly 45-degree alignment for my legs. And again, remember, right now, I know we're offsetting the concept a little bit, but at any point I can just grab this thing and rotate it down using this guy. I see, I see the point. In fact, I can actually do that right now. Now that we have the proper alignment here. Where they could do is just grab this tree guys parented to this guy right there. And if we rotate this guy slightly, I can get closer to the angle or orientation that we had on the console, on the original concept, careful there was doing a weird rotation. There we go. We really want to find the exact position. As you can see that it's not like matching perfectly. And it also has to do with the fact that we move the hip up a little bit. But again, I don't think this is going to cost us much issues as we're experiencing here. I definitely do want to bring this down because otherwise this is gonna be really, really long. But something like this should be fine. We can try of course, to move this thing into the proper position of the concept or get it as close as possible. But I'm a little bit scared about the movement of the hip right here. Um, I I really don't want to mess that up right now, so I'm just going to like accommodated in this way. And we're gonna be reading now this piece right here. This is just like the piece that's gonna be connected and from where we are going to be rotating the knee. The knee is going to be again like the like the original elbow like this, two sites that are going to rotate around this section right here. So pretty much the only thing we need to do is add a couple of black pebbles and stuff. So let's just move the fraction up a little bit. Like this, like this, and like this. And we're gonna do that moment right there. A second. There we go. That's it. So now again, just to keep things a little bit cleaner, Let's project the things that we deleted, which is this whole thing right here. So just mirror to the x negative world. Were having some issues there. Let me shift P to get them out of their stuff. I'm going to freeze the transformations. Very important. And let's go to the mirror options right here. X negative world, hit Apply. Actually, all of these guys right here, I need to do the same thing. Because we did modify some of the positions and look at that. Not bad, not bad. And again, where we're trying to take rigging into account because eventually if we want to rig this character, everything needs to have a reason. We're not just like modeling for the sake of modeling, we're trying to add every single piece as we need it. So I'm going to Control Alt S to do an increment and save where I'm blocking zero-zero five right now. It's really dirty over here. We need to do a full cleanup before we jump onto the armor. But we're in a good position. We're getting ready to get to the next part. So hang on tight and I'll see you back on the next one when we do the knees and the rest of the way. 27. Leg Modelling: Hi guys, welcome back to the next part of our series. Today we're going to continue with the leg and that we're pretty much not pretty much, but really close to finishing, to be honest. The next step or the next part that we're gonna be doing here is again, a very similar process to what we did with the front leg right here. But as you can see, this bone actually has a little bit more curvature, which I think it's great. So what we're gonna do is I'm going to duplicate this guy right here. Isolate the Real quick, delete one of them because we're not going to be using that one. And then this one right here, I'm just going to center the pivot point, which since it's a cylinder, should be right there. We're gonna be able to push this out and just create a little like section that's going to be rotating around. So this one of course we're also going to rotate to the other side like this. Or we're going to have the, the other, the other part as well. And these two pieces, we're going to combine because we know that this is the piece that's actually going to be rotated. Now, I don't see a lot of detail on this one, but that's the thing that it will be a nice idea to add it. So what I'm gonna do here is I'm going to grab this vertex right here, and this vertex right here, Control F, 11, control E. And we're going to offset to create a nice ring on the center. Now we select that ring and of course we're going to bevel this, go into our bubbles and we're going to modify the fraction. And that's pretty much it. We select that edge ring or a loop. If they're both sides, control E and just push it down a little bit. I want to leave it like smooth. I don't wanna go like super intense on the effect right there. Now, one of the interesting things is that again, if we think about how all these things move, like this thing is going to move this inner piece right here. And then this outer pieces will rotate and they will move to bone over here. That means that we need to create something or we need to do something about that bone that attaches to this thing. On the outside, like on the edges of this elements. And there's a couple of ways to do it. Here's what I'm gonna do. I'm going to select the four faces on both sides of the object like that. It's got to a right view. And you can see that it's pretty much the ones that are here on the bottom part. And I'm going to duplicate them. So mesh, edit mesh and we're going to duplicate those and push them out just a little bit so we can select them a little bit easier. There we go, that guy and that guy. And what I'm gonna do is I'm going to combine them and extrude them. So we start getting this sort of thing. So eventually, this thing right here, of course, it's going to be smaller. And we're going to generate sort of like like leg bone. Now you can see the leg wellness again, a little bit of curvature and I kinda wanna go with that. So I'm going to add a couple of divisions here. And then using soft selection, I'm gonna select this guy. And with soft selection a little bit bigger on the soft selection, I'm going to curve this things back like that. As you can see, we're only curbing one side which is not ideal. Let me go back here. Let's go back to a right view. Instead of using Insert Edge Loop, I'm just going to literally call across like that. Now we can select this guy is again, soft selection. Just push them back a little bit. This one's pushed them back. I'm gonna go shaded mode so we can see the character a little bit better. There we go. That's what we're going to have. So this is gonna be the main support. However, we know from the front part that we, we definitely need a little bit more more support and decide, I don't want to leave this things like this. I would like to make this a solid. So what I'm gonna do here is look a little bit crazy. But I'm actually going to delete or I wanna kinda want to bridge. This face is right here, to the other side, right here. So let's get rid of soft selection by pressing B. I'm just going to start deleting all of these things right here. And again, just to give this a little bit more of an interesting look, we might leave some elements out. So for instance, the top and bottom part, we're gonna, I'm gonna leave them hollow. So when we bridge here and with that, we could, this is very, very cool looking piece that we're gonna be able to use as our, as our bone right? Now on this piece right here on the lower end of the elements shown want to push this thing a little bit lower even. Because this is where we're going to have another or a new sort of rotation axis, which is going to rotate the thing. However, this one is going to be inverted. So you can see that this one is hugging the outer surface. And this one's going to hug the inner surface because then again at the outer surface is going to be coming from the ankle. So we can actually grab this guy again. Just Control D, bring this down. This is gonna be the rotation of the ankle. Now here we need to decide whether or not we want to have something similar to what we had on the front, which was the what's the word the sort of like 36,300.60 degree rotation. And to be honest, I don't think we want that. I rarely seen animals like royalty, their back legs, and we have enough movement on the hips to rotate the whole system if we need to. Eventually, this thing right here can rotate a little bit, right? And that should give me enough room to position the foot a lot like properly. However, if we wanted to, we could just like literally like to replace or just duplicate this whole system on the front. And bring it all the way to the back. Now I'm seeing one thing that I missed them. This one there's there's this for like protection like panels or something. But I'm not sure if I wanted to add them, to be honest. We don't do the armor to see if we add those because I think you're always going to cover quite a bit of the elements. So for this ones though, for this piece right here, there are some things that I want to keep round like this round, the fact that there is a really, really good, but they definitely want to add support lines to the top, right there, to the bottom, right there, and probably to the sides. So there there, there and there. As you can see, that's going to give me a really, really nice like sharp cut effect everywhere. Like given this sort of thing, like this sort of like negative, like again, like machine part looks really, really nice, very aerodynamic. Now, there's one thing I don't think I've mentioned enough or if I have, it's always good to go over it again. And that is something called texture stretching. Every now and then when you have an object and use Moodle that like this, if the edges are really far apart, you're gonna get something called extra stretching, which is the texture that we normally like mapped to this area right here. When you press number three, as you can see, the whole area quite a bit. So a good rule of thumb is if you press 1.3 and the object changes quite a bit like you see the silhouette change drastically. It's better to just give it a permanent smooth mesh and then smooth. This is gonna be my low poly. Now it might seem like a little bit too much and we could simplify a couple of things. For instance, we could delete some of this edges right here tomb to minimize the amount of polygons that we have. But now when we jump 1-3, as you can see, the texture does not switch or the topology does not stretch as much. And we still get some very nice result overall. So, yeah, we're going to be very careful about texture stretching once we get to the final parts, which is the, what's the word the UV of the thing. But look at dad like that looks really, really, really freaking cool. I do think a kind of know, I think it's fine to be honest. Like I know it looks a little bit out of like it looks a little bit weird compared to everything else, because everything is very boxy. So I'm tempted to just add one there and one there. Let's see how that changes because I really want to have that round effect. I think this might be a little bit too much. There we go. So that way we have a sharp lines right there, like some intense lines. And then the softer, the soft selection right there. We give this sort of like curvature to help with the springing sort of thing. I've seen some like Paralympic athletes that, you know, those guys that are running who are missing their legs, they have this really cool looking like a running shoes or running apparatus. And they usually have a little bit of curvature to help them with that sort of spring. So maybe this thing could be following a little bit of that sort of effect. It's not going to deform, but it just, I don't know. I think it's one of those things that looks really, really interesting. Now, I know my fees or the shape is going in the opposite direction. But in this case, I think it looks quite nice. So we're gonna go here now with this guys and we're going to do a very similar thing that we did before. I'm just gonna control D this, make this really thin again, have this on the outside and then have this on the insect. This is gonna be the shape that is going to be moving the rest of the element. And you can see that we have something interesting here. There's some sort of like, oh, I've explained this before. But if you think about a human, the human, we have our hips, right? Then we have our femur, have her kneecap here. And then we have our tibia. And then we have the like the ankle bones. These are called the metatarsals, and then we have our toes. That's the normal leg. What's the words? Organization of life in the quadrupeds? And it works in a slightly different way. We have the hips as well. We have the femur, we have the kneecap or there will be like a kneecap right here. And then this is the leg, the lower leg, this right here. That's their ankle and this is the heel of the character. All of this section with here are the metatarsals. So the thing that joins the ankle, fingers, this is what we see right here and this that we're seeing right here, these are the fingers. Okay. So it's kinda like if they're walking on their tippy-toes. That's how most quadrupeds do it. Except for horses. Horses aren't even weirder because they, they're working on their thumps. It's really, really crazy. But yeah, so as you can see now, we have right here, where's the blue pencil? There we go. Delete this. So what we have right here is we have the wrist or ankle, and then we have this section over here. And that wouldn't make that section look a little bit cooler. So we're going to have an extra sort of like support here. I'm going to grab this whole thing. I'm going to say Edit Mesh, and we're going to duplicate this. And then that phase right there, I'm going to Control E, give them another round thing right there. Of course, to separate this from the other piece might be a good idea to give it a little bit of a bevel. Going to keep it like that. I want to keep it a little bit like softer. Let's center the pivot point and make this thing smaller, like that. There we go. And now that we have this, we are going to be attaching pretty much a cylinder to these things right here. So I'm gonna go to the right view. I'm going to create a new cylinder. Remember, easiest number to work with is going to be eight position of the cylinder where this thing is supposed to be. Right around there. We might need to make it a little bit smaller. Because as you can see, it's not really matching. I'm going to go this guy and add one division right there. And then I'm going to move this to the center. There we go. And that's where we want to snap this thing. However, as you can see, this is way, way too thin, so we've got a couple of options. We can make this way thinner as well, which I actually think is gonna be the best option. I know that in the concept of thing It's a little bit wider, but it's, I'd rather have this thing be a little bit thinner or, or can even make this thing a little bit bigger, not super big. Just a little bit bigger. So we can scale this up a little bit now on this guy right here, and then go to the right view. I'm going to try to rotate this thing a little bit. So we have the eight faces pointing closer to the cylinder. This is a very, very common construction of an object. What I'm going to do here is I'm going to grab this vertex Control F 11 and delete. It. Seems like I modify something there. It looks a little bit off, right? No worries, we can fix that later. So we've got both of these guys. We combine. Then we delete this face is right here. And now, careful with that lower face, we delete those faces. This are gonna be eight phases and these are gonna be eight phases as well. So when we bridge, we're gonna be able to properly combine these things. And gentlemen, this is very cool looking shape. Now of course, to give it this little bit of extra, the sign, we're going to add like a line there. Kinda thinking about adding a bevel on this guy right there. Mole fraction, like the whole thing. In. There we go. Now of course, we're going to add a couple of edge loops here, here, here, here, and here. So that's a little bit rounder and sharper. And then if we want to make this thing look a little bit more like it's a welded. We can have one support edge right there. So now we've got this and we're gonna be able to rig this separately. Of course, placing the pool point on the center eventually. And if we need to rotate this thing around a little bit, we can do it. It does look a little bit weird, to be honest. So I'm just going to grab this guy. Let's see if we can go. We can go to component. Are there we go. It's going to bring this down to be honest, I think it was a little bit too big for the proportions of that particular pieces. So we're going to get better. But simple, something like this. Now this one's right here. I kinda wanna go the opposite side. So again, I'm going to select both of these guys combined. Select these vertices right here, Control F 11. And now, instead of what we're going to go in, of course, there's stuff going in. I'm actually going to go out to create something that looks a little bit more interesting, changes the silhouette. Remember that's what is really important for creating interesting looking pieces. So by pushing this out instead of n, we are, we're changing the silhouette of the back leg and going from a really slick soft effect right here. Sorry, to something a little bit more hard surface. We're going to look good, or hopefully it's going to look up. So let's add a couple more over here. There, there, there, there, and there, and that's it. Get the sort of like caps on the outset. I still want to add the little detail that we normally get right here. So Control E, I'm going to go Offset Control E and just push this in a little bit. That line and that line. Grab this one and this one right here. And we're going to Bell, there we go. Mole fraction. And that's it. We've got this very, very cool, looking like we can, of course it start grabbing all of the pieces that we have right here, shift to right-click and we're going to mirror world native X. And we should get this on the other side. And a character is almost done for its base like skeleton, we're almost done here. We just need to finish the metatarsals as we've mentioned, and the what's the word and the food as well. So before we jump onto the next one, I think this is a good point, of course, to save like everything, delete history to make sure that we have clean stuff. Still need to organize all of this stuff right here. It's gonna be a really clean at the end. Even before we jump into textures, we should clean everything. And now the only thing we need to do is assign a couple of fun materials. So let's turn off this thing right here. Let me grab those guys, those guys and these guys. And let's start by assigning the basic like clay material. Now we can start playing around and deciding which ones are going to be like the rubber material. So for instance, I think Douglass Right, there are good options and lack robber than this guy. This guy, and that could also be a good black rubber candidate. Let's make sure that we add the clay material. There we go. And we don't have the blocking anymore, like we lost the blocking. So let's just delete this layer. We don't need it anymore. I don't want to just duplicate stuff and get it in there just for the sake of the render. So just going to keep it like this, even though we're missing the legs. Let's just show our render real quick and we're gonna go Arnold Render. We're going to run there, of course, from the shock camp. There we go. I feel like I assign the wrong material to this guys are shining way too much. What material? I assign the chrome material, my bad. Let's select those guys, those guys and those guys. And let's assign the black rubber. There we go. If we render, look at that. Not fricking bad. So yeah, we're almost done with this guy. By the way, this guy is eventually going to be made out of Chrome, right? Or metal right now I'm using this clay material just so that we can appreciate the forms and the volumes a little bit better. But eventually this is going to be metal like galvanized or something. The black things might be like carbon fiber and stuff like that. But this is a really, really good results so far. So I'm going to save this image real quick. We're in image salary now. I think by the end of this, we're probably gonna have like 24 images. And if we get to 24 images, one of the cool things is if we do that, that's a second, a friend. Alright, so we can make each image last like five frames. And that we were going to have a five-second animation of how we're switching from one to the next. And it looks really, really cool. People love works in progress because they can see how they move throughout the whole process. And I can actually show you here real quick. If we go to images, this is how we started. And you're going to see something like this on the, you probably saw it already on the video. Like how we keep moving and changing the blocking from something that is just the very basic blocking too in more advanced creatures. So, yeah, that's it for this one guys. I'm going to stop the video right here. And on the next one we're just going to finish with the foot. So hang on tight and I'll see you back on the next one. Bye bye. 28. Foot Modelling: Hi guys, welcome back to the next parts of our series. Today we're going to continue with the food modeling. And this is pretty much the last part that we have here for the characters. So the food is, as we've mentioned before, it's the metatarsals. These are the bones that go from the ankle bones all the way forward and they'll connect. As you can see, we have a hinge right there. It seems like a cylinder you're going to connect to the foot. Now, what we can do here is I'm actually going to grab this foot right here and then bring it forward or backwards because we're going to recycle the foot. One of the reasons why we want to do that is it usually from, again, from my shape, this sign perspective, it would be really weird to have the foods be a different sort of effect. So we're gonna grab this guy right here. Of course we're gonna go to our thing right here, centered at that point and snap it to the middle line or a central line like right there and position it where it's supposed to be, right around there. Now one thing I'm noticing and it's really, really, really bothering me is that this little bolts right here, they look so week, so, so, so week. What do you mean by week is like imagine this whole body, like being supported by just those two things. That's a no-no. So one thing I'm gonna do it, I'm just going to make these things look bigger. I don't think we're gonna get into that much of an issue. I'm going to grab a hold of them and combine them. And we're going to just give them a little bit more thickness. That way the foot's going to look a little bit thicker as well. I mean, we can always justify, justify this by saying, yeah, we had like a super like advanced material, like some sort of like alloy that does not exist yet, but they will exist in ten years. But still we would kinda wanna make it kind of, we kind of want to make sure it's again believable. Now, for some reason we lost the cylinder. Remember we had a piston here. I don't know where it went. Well, he deleted at once or one point. So one thing we can do here is just set to a food web here. Let's just add another little detail here. It's also going to give me a little bit more mass in that way. Things are not going to look at as a week as they were looking. Now there's also this sort of like big band on the side and I'm really wondering if we should add it or not. I think it might make it a little bit more difficult to do all of the things that I want to do. And then we still have the armor. So again, as I've mentioned before, we'll take a look at that once we, once we figure out the armor. Now on this one though, we do want to have a cylinder. So we're going to add 0s on the right here. Of course, rotate this 90 degrees, or we can turn on our discrete rotate, both of those options will totally work. And we're going to move it like right around there. Now you can see that this thing right here is just going to have an overlap on this element and that's fine. Overlaps are fine. Like again, they're not the end of the world. How are we definitely want to be careful on when and why we add them. So one cool thing about overlaps, if you overshoot them like this, it's usually a little bit better. Like it's going to hide the whole thing a little bit better. Let's make this thing a little bit thinner. And let's start adding some interesting details. So let's start with the hard bevel right there. Or modify the fraction a little bit, something like that. I can kinda see some components going on here on the inside. So I'm going to Control F 11 to select the elements right here, Control E offset. And now to work a little bit faster, I'm just going to add a central line right there. Delete half of this thing like that. And eventually we're just going to mirror this thing to the other side. So Control F, 11, control E. Let's go in. Control E Again, let's offset a little bit control E, Let's go out Control E. Let's go in. Control, he lets go in. And that way we create something that looks really, really complex. Now let's select just that one. Just gonna select that one right there. I'm going to bevel it. And then just this one and I'm going to double it as well. But this one's gonna be a slightly, slightly smaller. There we go. That what we're going to create something that looks quite interesting. I'm now going to shift right-click and mirror or before I do that, let's do this report. I just make our lives a lot easier. So grab our CO2. A couple there. Couple there. One more right there. One there, one there, one there are nine degree angles, so we definitely want to hit them. There we go. So now when we hit number three, as you can see, we're gonna get a really nice and smooth effect shift right-click and we're going to say mirror and we're gonna go Miro, object X or an X negative and hit Apply. If this is not working. Weird because it should work, maybe it's because of the freeze transformation. That's fine. Just going to freeze the transformations. Now let's try that again. There we go. What I wanna do here is I want to add an extra layer. So I'm going to grab this face is right here. I'm going to say Edit Mesh and duplicate them up a little bit. Skilled women who see that, that's a problem. That means that we did something wrong on this one right here. Back. So let me just check that we don't have any issues there, okay, shift, right-click. Shift, right-click in object mode and we're going to mirror, we're going to emerge vortices. Yeah, yeah, thanks. Things seem to be working fine, but sometimes we get extra polygon. That's really weird. We're getting this really sure why? Let's solve this real quick. So for whatever reason we're getting some extra vertices right there. Here's a couple of like a really quick way in which we can solve that. I'm just going to add one random edge right here, one random edge right there. Delete all of those lines, re bridge those elements. Delete this edges. And now if we add one line at the center, it should be the exact same thing. Okay, so that's very quick way to solve this kind of issues. I really don't know where those were coming from. So Edit, Mesh, a duplicate. Let's push this up, hill them in a little bit like this. E up, this one and this one, and we bell. There we go. So as you can see, we get this very interesting looking cylinder. I would probably make this a little bit wider. So let's center the pivot point. So it overshoots as well, a little bit more. We need to even overshoot this one as well. Here we go. And we get just a nice little like a layer there. If we go to a right view, you can see that on the image we have this like like blocky plates and I kinda like that. I think it's a nice things. I'm going to start with a cube. And I kinda wanna have a cube supporting this whole thing. This is the metatarsal. So it needs to be a really, really strong like a support on this, on this particular area. Now one thing that we know is that we're gonna be rotating from the outside are actually from the inside. In this case, this cube right here should be attached to this piece right here, this guys right here, that attached to this one. But what rotates, it's this thing element right here. So when we rotate this thing, all of these elements are going to rotate. So again, the attachment point of this thing would probably be closer to that area right there. Another thing we can do, because I can definitely want to make this thing a strong one is just make it a little bit bigger here. I am going to delete some faces. This one, this one. And the bottom one. Get this sort of shape here, Control E. And we're gonna go in. Right? So as you can see, that's going to be actually a little bit too much. Probably just like that. There we go. A little bit more. Perfect. We of course, reverse the directions of the normals. Well, we got, I definitely want to grab this face right here. And I'm going to push it back a little bit more to make it a little bit thicker. This kind of like an armor piece that's going to be like attached to everything. Now you can see how this armor piece attaches to the cylinder. We go to the cylinder right here. It kind of like goes on top of it. So I'm going to grab this vertex points right here and just bring them forward. Like this. Then since I want this thing to kind of like go around this a little bit, I am going to add, let's say a cut tool. It's already freaking out. How many, like flying cameras, I add by mistake. I don't know why Maya does this sort of thing. I think it's display issue, but again, I'm not sure if it's because I clicked too fast through what kind of like forgets to update or whatever. So I'm just going to, I'm going to bevel this guy is right there we go. It's a little bit better. And then we can grab this face right here, extrude them out a little bit. And then just this face is right here and extrude them out. A little bit more. Force. This means that we either need to move the vertices up, for instance, everything is fine. We will have something like this. Now on the right view. I want to use a cut tool here, got straight through that line. So we can grab this point is right here and just push them up a little bit. Same for this one. Up a little bit right there. And same on the top side for instance, I kinda wanna follow the sort of like round effect of the armor. Then we can do something similar to what we did with the TV over here. So let's actually make this a little bit wider. Makes sense. And then what we're gonna do that I'm actually going to steal some rod like this rod right here, which was really nice. I'm just going to steal There's one lead, one of them entered a period point right there at the center. That one or dislike thing right here is gonna be the one that connects the mix. Remember we mentioned that this is going to be connected to that this central piece right there. That's the main pipe that's going to be like moving things around now this doesn't make a lot of sense to be honest. So I'm just gonna make it smaller instead overshooting, I'm actually going to undershoot. That's when we might spend a little bit more. So the back legs are a little bit wider. And that we get this shape which we can very easily just bevel everything. Got some nice like geometry. So we're gonna get something interesting there. Look at this, I'm actually going to do something, something cool. Let's, let's go back a little bit. I'm gonna grab this guy, this guy, this guy, and this guy. I'm just going to give them a little bit of an extra line right there. And now, when we double everything, make the two fractions. Look at that. Right now. It looks like an armor piece now. But I think it's, I think it's cool. And connect this piece for the whole system right there at the clay material. Quick. And we can start changing the colors of some of these guys to the black rubber. Again, remember that this material is hard, just like placeholders for the whole thing. Now, you can see that there's some extra panel right there. And I do think it will be really useful to have it. So I'm going to add another cube right here. Get back to center of the foot. Simple one, this is just gonna be four for volume edition. Right? Now, grab this face. Like smaller. The whole cube, thinner, up a little bit, grab this face to make it smaller as well. Maybe just like this, and then just bring it back. Actually it's quite square. So I kinda just want to grab this edge right there in Babylon, just that one. Then they will everything. That's going to give us this interesting looking shape on top of the, of the path. Of course, at the horse, at the clay render. The clay material. There we go. I mean, that could even be the rubber like Robert to degrade a little bit more contrast. That's it. Now I do see again like some sort of remember, I think we did something similar, like this guys right here. It's like sort of supports that we have on the front. I see something similar going on, on this side. Kind of like like holding everything together. So let me show you guys real quick how to do this. So to generate that thing that holds everything together and adds another level of complexity. What I'm gonna do here is I'm going to duplicate this object right here, Control D isolated for just a second. Let's add the line roughly at the size that we want. So it will be something like that. And I'm going to select the whole edge loop here. I actually kinda like this one over here as well. So I'm gonna select that as well, shift and select everything else to delete it. And we're gonna be left with pretty much the shape that we want. However, as you guys remember, this shapes are really like hard surface and it's going to be a little bit difficult. We can try. I mean, we can try to just extrude this out. And as long as we don't crunch things, it's fine because you can see there's a little bit of overlap like right there and I really don't like it. So I'm going to show you that the clean way to do this, I'm going to grab this object and I'm going to say Edit, Mesh and merge. Remember that the marriage has a threshold and then we start increasing this threshold to a 0.1 or something. You can see how things get combined. In this moment we're losing a lot of things pointy. One is way too much points here. One's probably going to be 0.05. There we go. So we have 0.05, we pretty much eliminate the verbal. And now we have this shape right here, which everything is square sin, and they're working properly. It's a lot easier to extrude. As you can see, we don't get as much issues with the extrusion. And we can of course grab the outer edges, not the inner ones, the outer ones. And we're going to bevel there. Now that we've filled them, probably going to throw in the fraction already, like the two segments. Now, when we smooth, of course, things are going to look a little bit weird. So here, since we're gonna have actually think of it, will be better if we just double everything and we need to double everything because we did everything on this other guys as well. So you usually want to follow the same sort of things so that things fit the best possible way. So everything with two segments and its mole fraction. And there we go. Now, this case right here, which just assign a existing material to black rubber. And there we go. We have another sort of like support thing for the for the whole leg. And that's it. That's pretty much it. We can just grab these guys right here, freeze transformation, shift, right-click, and mirror to the other side. This is gonna be x negative on the world. Back Shift right-click. Let's go to the Options here and go World x, negative, hit apply. And there we go. With this. My friends were pretty much finished with the skeleton of our lion. Like this is a really high poly element, really high poly like thing. And I hit number three to smooth everything out. There we go. So as you can see, when everything's his mother, we're at 2 million polygons, two-and-a-half million polygons. Which again, it might seem like a lot, but it's actually not that, that heavy for, for productions. Now one thing that we're eventually going to be doing is the following. Again, as I've mentioned before, we're going to try to always be working with this like a mesh right here, which is the low poly mesh. There we go. So we're 156,000 polygons, which again, it's still heavy but not as heavy as well. We have sometimes even went when you're reading, you might have something called a proxy mesh, which is like a really low potluck, just blocks of the mesh lead. You can animate a lot faster and that proximity gets replaced by this thing, which in turn gets replaced by the sub-divided mesh at render time. And this is what I wanted to show you. So if you go to the object options right here, the G or shape and we go to Arnold. There's an option called a subdivision method. And what we can do is we can activate the Catmull clubs have division method for this thing and we just do one iteration. So what that's gonna do, or actually we can do two iterations. What that's gonna do is it's going to smooth this thing twice, which is pretty much as the same as if we play it, press number three at render time. So observe how this thing is very blocky right now. Going to bring the render setup real quick here. And let's say before anything bad happens and let's render. If we render, remember that the rib cage was set up as like number one instead of the viewport. But here at the right time, it looks smooth, it right? Everything looks smoother. So that's how we do it. To work very lightly on the viewport, but have the subdivisions at the very end. I do believe we should be able to change that for every single piece. Let me try that real quick now actually it's not gonna be possible because the shapes are a little bit different. So let's just delete the history to clean things up and, and yeah, let's just do 11 more render now one important note is if you're gonna be using number three, if you have a computer that can handle it, turn this off because otherwise, when you smoke this out and then add two more subdivisions, it's gonna be way, way, way too many polygons. So I'm just going to grab everything here, press number three, smooth things out. And then we go to render time. And we render, we are going to have our completed like skeleton ready to go. So that's it, guys. We've finally made it to the end of this first section of this first like big chunk of the course, which was the rig or not the, the the, the rake focused element that we need to take care of, which is the skeleton of our character. Now, on top of the skeleton, we're going to be placing all of the different armor pieces. And let's just saw the concept is quite, quite heavy armor pieces. So the next couple of chapters we're going to start focusing on those armor pieces and we're going to start getting everything ready for the final stage, which is texturing and rendering. So make sure to get to this point, make sure your topologies as clean as possible and as close as possible as what we have right here. And make sure to also save images right now where I mentioned number eight, there's going to be our eighth element and we're, we've moved all the way from a very basic blocking. This is a very cool looking shape. So yeah, hang on tight and I'll see you back on the next chapter. 29. Armor Image Planes: Hey guys, welcome back to the next part of our series. Today we're going to continue with the armor image planes. And we have them right here on our setup. We have the right view. We have a d. That's the Aren't. There we go. It's this one right here. This one right here. And of course, the front view over there. Now, I did make sure to scale all of those images properly. So now it's gonna be the fun part because when I select this image plane right here, I can actually go to the image plane shape and I can change which one is referencing right now it was referencing this right view. I'm gonna go with this right arm or caps which has the domain. And I want to include the main because I do want to take it into account when modeling all of these things, I'm going to hit Open. And the thing that might happen is exactly this. As you can see, the scale of the image is no longer going to be the proper scale for the whole thing. But don't worry, we're going to select the image plane and of course we're going to scale this down. And we need, we need to try and match this as close as possible to the size of our character. Now, how we're gonna do that, probably by trying to match one of the things such as the elbow right here. Okay. So that elbow right there, this is getting as close as possible to the size of the things same for the tail and the hips. So as long as we get as close as possible, I think we're gonna be we're gonna be fine. Something like this seems appropriate to me. You can see all of the pieces that I can actually match it right there. There we go. So that is as close as we can get it. And we're gonna have to, of course, fix a couple of things here and there. Now, keep in mind this number right here. Actually let's make this a, like a whole ten. So that's a little bit easier. So the scale of this image is ten. Why is that important? Because now we're gonna go to the front view. We're going to select the front view image plane. And if we change that to our front view caps right here, it should be a little bit easier to just change the scale of this back to ten. Because I'm perfectly sure that that's the scale that we had. On the other thing, I'm going to press Alt. Just kinda wanna sit through this thing. So lover difficult. What's roughly around there? Again, I'm trying to figure out this section right here, which will be that guy right there. This is on the inside of the leg. So kinda works probably lower this a little bit. There we go. We need to lower this even more. I'm going to bring this forward and I'm just going to compare it to the size of the head because I'm pretty sure it should be the exact same size. Let's bring the Alpha gain up to one. Same for this one, for just a second. There we go. So we positioned this case right here. They should match. There we go. As you can see, the size of the image matches the size of the head and everything. So we know that this is the proper size. So now we'll just go to the front view. We get it right there. There we go. That matches a little bit better. And now it's just a matter of pushing this back. So scale ten is what we're going for. It's like this one now, control a again. And we're gonna go to the alpha again, sorry, not the Alpha gate to source images right here. We're going to use the top view caps. There we go. He taught you. And of course we're going to modify this again to a scale of ten, which is like the uniform scale that we're using. And technically we should just move this into position like this. And that should pretty much match. Thanks. I might need to push this forward a little bit or backwards a little bit, but should be pretty, pretty close. They're right around there. I would say. There we go. So with that done, we print out pretty much now have all of the necessary elements on our images. Now, we really don't need these guys to be as transparent so we can bring the alpha again back to one. Now, this whole skeleton though, as you can see, it's really juries, especially all of the species right here. So we need to do a little bit of clean-up. We're gonna have a final cleanup at the end of the modelling section. So a lot of times I just keep things like how they are right now. I'm going to grab every single piece here, except for actually just grab all of these guys right here. I'm going to press Shift P just to make sure that we don't have anything, delete history and everything. We can even use file, optimize the scene size, heat. Okay, so it's going to delete all of the things that don't have anything here we have the tail. Let's just call it tail group. There we go. And we have a lot of groups like this guy is right here and a lot of different things. Don't worry, if you have a clean group like the tail. Let's just keep that one since just a little bit easier. But everything else, like all of these guys right here, I'm literally just going to Control G and group them into a single, into a single group. And where these guys are, okay, they're in the blocking. It's fine. So now this will bring here, I'm just going to call it skeleton pieces again, we're going to have a really nice clean up later on. But for now I would rather just move ahead and continue with the whole process. So now that we have this, I'm going to grab all of the geometry notes. All of these guys right here. I'm going to control gene, that one I'm going to call this skeleton main group mainly do just have things a little bit cleaner. This is pretty much like a, like using folders inside of, inside of Windows for instead of like the Mac OS and stuff. So that way, at any point I can just go here, press number one, smooth everything out or press number three, and then sum of everything as well. So, yeah, that's pretty much it. At the other main reason that we want to do this, this, now that we have this cuts and group selected, let's delete this layer. Actually. What does this layer? Let's delete this layer. I'm going to select this group, create a new group called this skeleton. I'm going to use like this, like let's use this column right there. There we go. Y. So that when we press number four, we get this different color on the wireframe. The color that you get right here will change the way the wireframe looks. Let's go for something a little bit less intense. Or we go something like a green is fine. Actually no green now because it can confuse us when we're selecting things. Let's go. Let's go to this dark purple. There we go. So the cool thing about this is we can keep this thing on template, which is only going to show us the wireframe. We can keep it on reference, which is only going to reference it, but we're not actually going to be able to select it, or we can just turn off the visibility. I'm actually going to be keeping it probably unreferenced because I wanted to see the volumes. But at any point they can just go over here and turn on and off so that we can see, we can also render this. If we render, as long as this is visible, we're gonna be able to render the image planes. They're the same image plane, so they still have this layer right there. And yeah, that's, that's pretty much it. With this. We're pretty much ready to start working on the different like armor pieces and we're going to follow a very similar process. This chapter we're going to do the head and then the next chapter we're gonna do the front part of the character like the chest and the arm. And then the last chapter on the armor modeling, we're gonna do the legs and a tail. That way we can divide things in nice little chunks that you can follow along and just keep going. So that's it for this one guys. I'll see you back on the next one when we start modeling. 30. Jaw Armor: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the armor. And I want to start with this piece right here, maybe a couple of others depending on the time. So that we understand the main objective of this, of this next area, which is to dress up all of the other things that we did, right. So as you can see, this big piece of jaw pretty much covers everything we had on this other piece right here. And that's why we kept it so simple on this particular one because we knew it was gonna be covered by other wall of other different pieces. Now, this piece right here seems to me that it's also made out of a couple of pieces, this one right here and this one right here. And usually with this are the things they're either welded together or machine together or something. But that would expect some sort of like welding. Now we do have this square right here, which again could be something that allows us to see through the piece. Now what's the best way to do this? Of course, very similar to what we did before. I'm going to start with just a square right here. And then I'm going to use my quadratic tool to create the topology that we need. So I know that we need a square right here, might as well already added. We can try to make this nice and clean as possible. And then we need to start thinking about, okay, how is the Edge Loop going to float on this thing? Remember that when we have a sharp corner like this, you can actually make the edge loop flow straight towards it like this. Okay? And it's perfectly fine. Why? Because we don't want this border to be rounded off as we keep moving it up and down. Now it's also important to try to give this thing is nice and smooth as possible. We know how to scale them if needed, but the cleaner we can get it, the better than this thing is gonna go down. It's also going to be a sharp line right there. And then here again, we can decide, do we want to go all the way down? I think so. And then oh, sorry. All the way to the front. Like that. I get like a tongue twister. So every now and then, there we go. So we're gonna go here like this, here, like this. Of course for this to flow properly, we probably need another, a couple of extra edge loops right here and here. Same for that one right there, one more there and one more there. And having this or like angles is perfectly fine if we want or we can try to keep things as straight as possible. Now, it seems like, or it might seem like a really harsh, like a projection here of the shape. This is exactly what we need because once we delete this little square right there, just to make sure that's the right one. Yep, we delete that square right there. We're gonna get the exact shape that we need. And this is why we need the reference for this guy. Because this piece right here, of course, is going to be on top of the previous plate that we have. That center point. Just scale things up so that they're perfectly flat. And this is gonna be the first store like overlap thing that we're gonna have right here. How is this going to be attached? No need to worry that much about it to be honest. But then I'm also seeing that this thing is kind of like attached to the to this jaw hinge right there. Which starts, this is where we're going to start questioning a couple of things because some elements might not make a lot of sense from a design perspective. Minutes, I wouldn't say it's super common for this happened, but it does happen quite a bit where you might have something on the concept piece and then when you translate it to 3D, it doesn't work as well. So for instance, we can have this things all the way here and at the same time have this things all the way up here. Because what's going to happen then is if we push this forward, there's gonna be a huge gap here on the center. And that looks really, really weird. Now I can see that this one seems to be like, like inclined to the forward. But again, that doesn't make quite a bit of sense, right? Because we will need to rotate this around like this. And it also gives a very awkward position and it's not, actually, it's not as awkward. Another, they see a fifth. I'm a little bit concerned about this hole right here. I can see that my friend added some stuff right around there. So let's try it like this. As you can see there, I rotated this element so it's a little bit slanted. And now press Control E. I'm not gonna do this because if I do this, as you can see, what's going to happen is we're going to have an angle and that might not be exactly what we're going for. What we might want instead is to press W. And we're going to change the object here to world mouth. And when we push this forward, now this is going to be a lot like a straighter, okay? So it depends. You might want the other option, but this is not that bad. I would say. I still think we need to push this a little bit more. But see how it just, in my opinion, it just starts breaking a little bit when we follow this process. So it's a matter of decision-making. I think this position right here is fine. Again, we can control E here, but I do want to move this horizontal like this. And then I'm gonna go back to this object right here, grab this face, and just push it in a little bit. That way we're not really breaking the original concept that we have. It's not really destroying anything. But at the same time it's, it's creating something that looks well, in this case, a little bit interesting. We still need to add some armor pieces on the top. So eventually we're gonna be covering a lot of this stuff right here. Of course, this piece that has been modified, we need to do a mirror to adjusted on the other side. And that's how we're gonna get this piece right here. Let's go to the right VMs. You can see we're still following the same silhouette. Let's hide this for a second and let's do this jaw line real quick. So I'm going to again go to my credit quad right here, just going to create a very fast right there in that quadrant. So it's like it's facing the other way. Sometimes happen, that's fine. We'll just reverse the direction here. If we go to right view with the quadra, we're just going to draw this section right here. Now here every time we have a little like a T, there's something, we need to add a couple of extra points, of course, to capture that silhouette as we've done so many times before. As you can see, I'm keeping this really, really, really simple. Now, of course, here comes the tricky part because of this thing right here, I'm going to center the pivot point, bring it to the front view right here. And when to match the inclination of this element with the plate that we have right there. So something like that. And now that we have that, we of course x truth. And again with W, so we get a sort of like slanted cut slammed to the fact we push this forward. That's gonna give us the, the job of this. But tiger, right? And you can see that we are indeed seeing the inner like functioning mechanisms of the whole thing as filled like this thing, especially this lower area. I don't want to have that strong of an overlap, so I'm just going to push it out a little bit more. There we go. I kinda, I kinda want to grab this face right here. This one right here. I'm going to switch this to component mode again. Press W and click and you can switch to component. I'm going to push this in because I really like this sort of like negative space, like this thing overlapping nicely on that specific area. And yeah, that's that's pretty much it for the blocking, right? Like this is what we're gonna be getting overall. Now, I'm a little bit concerned about this inner pieces, like it doesn't make a lot of sense to have this empty space right there. It makes for an interesting like negative silhouette. Like if we press number seven, there's gonna be certain angles where we're gonna be seeing this thing sideways. But we again, from the sign standpoint, from a design perspective, there has to be some way to attach this and we're not going to be attaching it to the cylinder. So this thing is kind of like just floating on top or on front of the cylinder. But it's actually going to be attached to the main jaw right here. So what can we do? I think easiest thing to do, to be honest, is just grab a couple of phases like this guy, this guy, and maybe this guy right here do not extrude. Because if we extrude from here, then the topology of the space is going to be really complicated. I personally would prefer to just go Edit Mesh, duplicate the faces. Let's grab them right there. So I'm just going to go just eliminate everything else. There we go. You can right-click and remove selected objects from that layer so we can hide the layer that seems to be working. Let's combine, right-click, remove selected objects. There we go. Then the only thing we're gonna do here is control E. And of course, overlap with this guys. We're of course going to move some of these faces back so they're not actually touching. And that's it. Just a quick bubble here. The second sentence, mole fraction, that those will be like welded pieces that will get on this particular element. Now, since we're gonna be working with other colors, I'm actually going to do this already. I'm going to assign a new material, Arnold AI standard surface. And I haven't decided the final colors. You, of course, you already saw them on the final render, but I'm thinking about like a blue, like a, like a pale blue. So I'm going to try this maybe on the final one I went from like a sand color or something, which would make a little bit more sense. I'm gonna do a blue color right now to differentiate from both of them. Now this piece right here, just general bevel segments and this mole fraction. So when we smooth out, it looks really nice and clean. This one right here. We can't do that because we would get a lot more lines than we actually want. So we're going to assign one line right there, one line right there. One right there, one right there. One right here. Here you can press number three. And just like check how the tightness, if this thing is working. We're probably going to add just a couple more there. Remember we talked about texture stretching. That's going to solve texture stretching a little bit right there. Pretty much it. I kinda want to add a couple here. We need a couple more, like in some parts of this square, if we really wanted it to be like a tight squared. So weird pinch right there. And that's because we're missing one line right there. We're also missing one line right here, one right there, and one right there. So a lot of lines. I know, I know it's a lot of lines, but this is what we need for this are like subdivided the AI workflow. We can of course, simplify some of these guys if we needed to for performance like purposes. But yeah, this is working, this is working nice. Actually. Let me change the color. Blue looks a little bit weird. Like I do want this thing to be like clay color, to be honest. I'm gonna go for this effect. And now here's what I'm gonna do. I'm gonna select this guy right here and the clay, I'm going to change his name now. I'm going to call this M metal base. We're going to make this metallic. And then on the color, we're going to make it a bluish color. Like a bluish. It's definitely going to be a little bit of buffer. Now it looks very odd. Right here. We know that we can just hit this guy right here and we're going to be able to see it. Another thing that you can do here is just keep the mellowness a little bit down for now and we'll change it later on. But the cool thing is now that if we render, we will get a very nice effect. This guy is this guy and this guy is, we're going to right-click and we're going to mirror this on the other side of the character. That's gonna give us a starting like a jaw right there, which will be our first layer of armor for the whole thing. Actually. Making a little bit difficult to see. Let's, let's bring it to a dark blue instead. Like a dark desaturated blue. For now. There we go. Well, we can do here is we can increase the IOR, which is very similar to metallic. Let's say real quick. Actually I'm going to start a new save file here. So I'm going to Save Scene As, and this is going to be armor dot MA. So we have the body and the armor as separate pieces. And of course we still have a render setup so that any point we can just go here. I'm not going to save this image. I just want to show you how this changes. And we can take a look at the, at the armor with the whole body. So now the body is the sort of like blue metal effect. And we got the first armor piece right there. So yeah, this is the beginning of this next stage of my friends. This is the first part of the armor. A lot of armor pieces are gonna be very flat like this one, like the ones in the neck, like the ones in the head. But then as we get closer or further down towards the body, you're going to see how things get a little bit more complicated. So make sure you have everything ready to start with this process and just follow along with me into this new part. So that's it for this one guys. I'll see you back on the next one. Bye. 31. Upper Jaw Armor: Hi guys, welcome back to the next part of our series. Today we're going to continue with the upper jaw and we're going to follow a very similar process to what we did with the lower jaw. Now, here's where a couple of things to breaking up. We're also going to be doing a little bit of the head armor. But let's very quickly just go through this guy right here. So what I mean by things like holding up is if you remember when we were analyzing the concept, there were a couple of things that were not lining up perfectly, such as, for instance, the what was it? The camera position not being the exact same position on the armor version and on the unarmored version. Sometimes you will have the option to talk to your concert artists and figure that out and be like, hey, what were your original intentions? In this case, we're going to assume that we don't have to, even though I do have at number i, I'm going to assume that this is a constant we just got and we have no time to go over it. So this piece, for instance, right here, Let's center this point. This is one of the jaws. This is, this will be on top of everything else. So eventually this is probably going to be floating a little bit more right around there. Now let's go back here and let's hide this for just a second. And let's create a new one, which is going to be this one right here. We have another circle. Now, I'm also again, like taking a look at those circles and thinking, are this actually circles or are they bolts? Because it's not the same thing to have a circle than a bolt. There will generate completely different effects. Let's reverse this guy right here. There we go. It to me looks like a whole. I think it's a good idea to treat it as a whole because it will allow us to see into the inner mechanisms. Otherwise, a lot of the inner mechanisms are gonna be hidden. Here. This is gonna be another plate that we need to be very careful about. Of course, if we were going to have a circle right there, we need a couple more divisions. So I'm going to add two more right there. Two more right there. That does look more like a real cool. So let's use the technique that we've used before. Then that delete, this face is right here. And then this new hole right here, I'm going to say Edit Mesh circularize. We're going to scale this down. Just wrote it a little bit so it's a little bit more relaxed like this. Now you guys remember, we can control E and create a little offset. And that's going to help us with the topology like issues that we might get. Everything is lined up. Let's center the pivot point. Let's bring this to the side. Now this one will be touching the jar real really nicely right there. Here's where, again, it might change my mind. A couple of elements like that little point right there doesn't make too much sense to me. Let's first extrude this a little bit of thickness similar to what we had on the on the lower jaw, which will be right around there. Then this one right here. It's gonna be right there. And again, control E. Just push this out, this one, I'm going to keep them straight like this. The bottom ones were slanted due to the cylinder that they're protecting. But this one's could be like perfectly, perfectly straight. Now here you can see that we're having some issues with the camera, like this thing is now. I'm like colliding with the camera, but we were like properly aligned with the head. So that tells me that we might need to move the cameras slightly to accommodate for this particular piece. Which again, shouldn't be that much of a problem. Now, this is what I mean, Like this, this border right there. It is really bizarre to me. So I'm just gonna grab this guy, I'm just going to bubble it. So that's a little bit flatter. And then we can play with the fraction. So it's actually inline. We can even, let's go to World moment, push this in. So it's really flushed. Now if you want to have a little bit of overlap, that's fine. But I'd rather have like a like a straight overlap than something that looks a little bit weird. Now, when we did that babble, of course we create it and then gone right here. Easiest way to solve this angle, as we've mentioned before, is to just like go around. So I'm going to grab this guy right here, go around. It's not gonna be perfectly symmetrical, but that's fine. There we go. So now everything is a squares and triangles. So now this piece right here again, we don't want to just add a bunch of support that just because it's gonna make it really, really heavy. So we need to be very smart about where we add them. We're going to have one there and one there. One there. Looks good. One there and one there. Front and back. There we go. Definitely a couple here to really hold those edges and definitely want to hear. And here, only one more. There, there we go. So as you can see, that the observers were just gives us a really nice clean shape, null or stretching, which is great. And we can of course assign the blue material. I know it's called blue, but it's not exactly blue. Now here one thing that we definitely need to do is we need to bring this vertex up. There. Hidden but overlapping. The other section should have a really clean line right here. Now, remember that technique that we showed about like creating straight lines. We can grab all of these vertices, r component. We snap them and they would just rotate. And that's gonna give us a way we cleaner look on our elements. Careful with this one. Like I'm not gonna do that for that one because we have extra, extra points right there. So if you have few polygons, are few points like this. You could also just eyeball it. There we go. Now, this one, this one is a more like a simpler thing. So, so in the blue one and then build everything to segments in the small fresh. That's gonna give us the effect that we want. Now, I'm actually thinking about having a different material for this Jaws right here, or for this inner things so that we have a little bit of contrast. But it's fine for now. Let's smear to the other side. And there we go that we were creating this, this place right here, which again gives us a really interesting effect here on the front. Now one thing I'm seeing on the front, especially on the tongue, see that like a V-shape on the mouth. That's something that we can definitely add and it's not gonna be that difficult. Let's isolate this piece. I'm going to grab this vertex right here, this one's right here. Go to scale our world. We're going to sculpt a scale them out. And now we can just grab one of these phases. Then another one of those ones Control E. Just extrude in. We don't even need to add more supported edges. That's just gonna give us a very nice effect there on the cut of the object. So just a small little detail there for the bottom part of the armor. We don't have any more armor on the jaws. So that's pretty much it. But now we do have the box, the head box. So this had books that we have right here is a really tricky one. It's a really cool one, but it is quite tricky. So I'm gonna do a quick blocking of the armor right now and then we'll figure out some more shapes on the next video. I'm going to hide this for a second. And we're going to start with again our quadrants. You can see we have this section right here where the camera is creating its insertion point. Then we go forward. But pretty much go all the way forward right here. Yes. I know we have a couple of cuts right there. You can already add them. Then. I would expect this to go forward for Worth. And then probably like there. So that would be like the main shape of the box. Let's bring this back. If I grab this box, center the pivot point, and move it to the side, this is where it's going to be living, right? So that means that we're actually going to have to move this thing. Let me I'm going to delete half of this guys. Here we go. So we're going to have to move these two guys are a little bit further out, right? Because we need to leave room for the insertion of this piece right here, which again, is having a little bit of a conflict with the head right there. But that's fine. So what I'm gonna do here is I'm going to Control E. Give this a little bit of an extrusion. So we captured the first sort of like a thickness of the armor right there. The first layer which without one. And then this is the interesting part. We need to grab all of these interfaces. And we're going to snap them to the center of the grid right there. And we're going to delete them, right? Because eventually this armor should be like sort of hollow. Can see a couple of lines right there and elements that we need to think about. So for instance, on this front view, I can see that roughly at this distance, the distance of the head, all of these elements can go out a little bit more, creating a sort of like slanted surface. You can see it right there. Of course, this thing is going to be mirrored to the other side. This is roughly the block of armor that I want to capture with the, with the face of this, of this lion, right? So the thing is we have a lot of code lines. We have that cut line right there. We have another cut line right there. So it's not such an easy piece for us to figure out. I would definitely expect there to be, for instance, another line, like right around there, definitely one line right here. And all of these areas would be hollow. Like I would expect all of these areas to be hollow. Right? Because this is where the head of the lion would be going in. Let's delete these guys for a second. Like this lower sections, we will definitely not have them for like all of these guys because that's where the mouth is. Maybe when this guy right here, maybe this guy is right there. But we do need a little bit of thickness. So that tells me that this edge right here, Let's delete that face right there. So you can see how this becomes a little bit more complicated when, when thinking of this from a production standpoint. Because it means that we definitely need to take other things into consideration that we were not visualizing at first. So for instance, this guy will be probably around there. Same for this edge loop. Like not everything because this actually needs to go there. But this first I should write here, probably just smooth it out a little bit. I mean, it's fine. We can leave it there for now. But this is the piece that we're going to have to figure out how, how we're going to get the proper the proper construction. You can now see that the jaws, they are no longer functioning properly. Right there they are. They're looking a little bit weird, so we need to make a decision like do we keep like this flat faces here? It should be. There's wants, this ones we're probably not going to need. Let me delete all of this case. I'm going to try to keep this thin element first. So this face is right here. They're perfectly flat. And we need to decide, are we going to keep them perfectly flat there? Or are we going to get them a little bit of an effect? Or are we going to push this case in, or are we going to push this guy out, right? Like maybe we are. After all, we are going to move this thing and rotate it out. So there's a couple of decisions that we need to make in order for this to make sense. But this first like blocking of the armor is gonna be really, really important. We can of course mirror it to the other side. Get ourselves a general idea of how this thing is going to look. We have the top view as well. We know there's a couple of extra details that we need to add. Now, don't think that we need to model everything from a single piece. I would say that's one of the, one of the worst mistakes people will make. Which is, how do I model every single detail from a single piece? That's not what we're gonna be doing, okay? We're gonna be modifying things just slightly so that we get the best possible result. So I'm going to stop the video right here and make sure to do this second jaw For now. Even though right now we're not sure how this is going to attach to the rest of the skull. Make sure to model it, and we're gonna be ready for the next part. So hang on tight and I'll see you back on the next video. Bye bye. 32. Head Armor: Hi guys, welcome back to the next part of our series. Today we're going to continue with the hair armor, which is where we left. And yeah, we're just going to start figuring out how to solve the issues that we have right here. So the first thing issue I see on this character right here is the fact that when we turn on the skeleton were actually colliding on a couple of points right here. Also, this line right here is like intruding on the rest of the elements and it doesn't look as nice as I would like. So how can we solve this? Well, here's where we can. Of course, they got a little bit of artistic liberties or figure out if there was something like inside of this concept that we can break up into different pieces. And I think that's gonna be the way we're gonna do it. I'm going to add one line that goes right here on the top part. And then I'm going to select this face is right here. Especially probably not that one, probably just like until this point right around there seems like a good idea. Maybe not even that one. So just these guys right here. Now I'm going to say Edit Mesh, extract. This will extract the pieces from the, from the main piece and it will allow me to move these pieces into a different depth. So what I can do is I can center the pivot point, flatten this things. So it's a flat surface right here, okay, like this. There we go. And then if we go to the right view, we can literally just push this in. So it's underneath the rest of the elements. We can of course go to the right view. And especially this part here on the, on the sort of like round thing. I'm going to add just one more line right there and delete at this two phases. That way, we can still keep this or like an armor piece underneath the whole section without actually affecting any of the other elements. Let me grab this guy right here. I'm going to bring it down. There we go. So this should allow us to very easily just extrude this thing, give it a little bit of thickness. Again, be very careful where we place this should be probably right around there. Careful on the collisions as model collision there. I'm not too worried about that way. We can still have a really nice silhouette for the whole thing without actually destroying all of the geometry that we had on the inside. I am going to grab this guy and just push it forward a little bit. Feel like it gives a nicer shape to create a little bit of depth as well. I'm just going to push this guy's up like that. So this creates this very interesting angle right here. We need the jaw and it should give us an interesting effect overall. So you can see that we see this like faded part, which is part of the skeleton. We can still cover a lot of the engines and stuff that we have over here. Now, this piece is really interesting because as you can see, well, first of all, I'm going to delete half of it or just mirror to get the same thing on both sides. As you can see, we do need depth on this thing, right? Like when do need a thickness to create the proper armor. However, if we try to extrude this and this is a very common mistake. If we tried to extrude this and push this in, you're going to see that the corners look at that. The corners look horrible, dirt, dirt collapsing and they're really, really weird and ugly wave. Well, this is one of those cases where you're not actually going to be using the local translate C, which we normally use. We're gonna be using the thickness. And as you can see, if we just thickness, things tend to extrude in a more uniform way. This is something that Maya didn't have a couple of years ago and it was really, really, really annoying trying to get some thickness to our elements without destroying the overall effects. So that's it, which is of course, reverse the bone over here. We reverse the normals and we're going to get the proper shape of the element right here. So this gives us a really nice like creation for a helmet. And I know that once I start adding all of the support, I just did stuff. We're gonna get something that looks really clean. But one thing that they really want to do is this COD right there because I feel like that God is a really, really cool looking cut. And we can make something that looks quite nice. Now, that chord is probably going to be done, uh, with, with Booleans. Booleans, as we already know, can be really tricky, especially we have thickness. So one thing I'm gonna do is I'm actually going to go back a couple of steps. And we're going to first get this shape out of the health of the lion. And then we'll do the extrusion width, thickness. I'm going to start with a cube. I'm going to move my cube over here. Just make a little bit bigger because I know that this is the cubital I'm gonna be using to remove pieces or to remove a piece from this guy right here. I am going to grab the upper face. Right there. Of course I'm going to move it up. I'm going to extrude, move it up, move it back. We're going to have to grab all of these guys and I'll probably just this vertex right here. Try to match the angle is close as possible. Let's go right around there. I'm going to grab that face again, control E over here. This vertex right here with up like that. And then that phase right there, move in and position the vertices where they need to be. Of course, we can flatten this edges or vertices right there. Flat and this one's right here. So we get a really clean cut. And that's it. So this piece right here, we want to remove it from this section of the lion that on the front view, I don't see how deep that goes. It actually doesn't seem to go that deep, which leads me to believe that that might be a section line. But I think it will be a really, really cool if we can actually remove a little bit of it. So I am going to go for, for the Boolean. So I'm gonna go right here. It's select the first one. So the second one then we're going to say mesh booleans difference. It's not working perfectly fine and you guys know why that is. It's not working fine because of this piece right here is a single shaded piece. So that means that it doesn't have any volume that we can use to cut from this guy right here. So we're gonna have to do this a little bit more. Let's call it a little bit more traditional. I'm going to push this. Oh, okay. Okay, this is interesting. I'm going to have it, this one right here, but then this elements right here, this vertexes, This guy's. We need to push them out so we can follow the proper size. There we go. So that's the sort of intersection that we want right now. We might need to do the thickness thing that I was mentioning it, but we need to make sure that we get enough thickness to not have this thing be on a shallow part. So I'm going to grab this guy right here, Control E again. And we're going to use the thickness to the inside until we cover that as close as possible, as much as possible. So something like that. There we go, Even though we're getting a little bit of crunch right there, That's fine. Let's invert this thing. Grab both of them until their history. Now we can do it. We can say mesh, and we do booleans, difference. There we go. So look at that. Now remember that we're working with something called interactive booleans are kinda like light booleans. So we can push this out a little bit more and look at that. We get that beautiful shape. We of course, a delete history here. And this is the new element that we're going to have. Now to clean this up, easiest thing we can do is we can delete this half of this part right here. And we need to go from all of the angle and pieces until we can clean pretty much the geometry right here. Now, another thing we can do here, to be honest, let me, let me go back there a little bit. If we see that there are certain things like this guy right here, that makes more sense to just attach right there. Just move it with v. We snap it right there on that one right there. And we do a center pivot point. Okay. Just like that on the inside. Actually, we don't have any issues here on the inside Teams. I press number three. Yeah, inside this fine. That's great. Now this one right here, same deal. Let's just move it right there. Grab those and merge to center. Now, topologists should be a little bit easier to manage. So for instance, we can grab that point right there. Just lower it. There we go. So we can see the topology a little bit better. For that one. There we go. Okay? Good topology is getting a little bit weird there, but it's fine. We can fix it. Let's start by fixing the easy ones. I usually like to go for the ECE topology issues searches. For instance, this guy right here, which is fairly easy to just bring it all the way over there. And then this guy right here, we should pretty much again just bring it all the way to the back. There. Sometimes the knife tool won't let you cut all the way through. Or it will give you those sort of like really weird angles. So let's, let's try to keep this as clean as possible. There we go. And unfortunately, or fortunately, we need to follow this thing all the way through or until we can find a way to move this out of the topology like Philip, like here, instead of following straight, we could just go from here. And the stop bit, actually, no think of it. This is going to be a tricky situation because if we go here, now we're gonna go all over the whole actually it's not that bad. But I don't like Discord. I kind of want to keep this coordinate clean. So I'm gonna I'm gonna go right there. I'm going to stop it right there for just a second. Okay. I'm just going to stop. I know this is an angle lecture. We have two angles right here. I'm just going to stop them right there for just a second to make sure that we can fix everything else. And then as we add more and more lines, we should be able to clean that area over there. So here as you can see, we go through the inside. There we go. Then here we go down as well. There we go. That solves pretty much all of the issues that we have right here. It seems like we do have an angle right here because of this line. So we're going to have to bring this line back as well. Like this. There we go. The reason why we're getting this sort of like weird elements is because we have this empty area over here, right? So again, I'm just going to stop it right there for now to solve this front facing areas first. And as soon as we get this figured out, we'll go back there and fix it. Let's grab that point right there. Merchant. Or here you can see how we get some really weird points as well. Let's bring this upper point down here. Let's merge those two points right there. Let's merge them. Sticking a look at the sub-divided mesh. This makes a lovely more sense. Okay? Push this forward a little bit same for this one. We can make the outside of the jaw a little bit thinner. Careful there you can see there's like a like a folding bed right there. It's this two guys, so let's merge them together. There we go. Of course, this piece right here, we need to solve it. So I'm going to go there, there. And we're pretty much is going to go around the whole thing. So probably this line that I'm adding right now, we'll hit or interact with the other lines that we had over here. Yell, see that? That's going to solve a little bit of this issue. And now we just have an angle right there, which again we need to fix. We'll see shortly how to fix that. There we go. So now everything seems to be smooth in quite nicely as you can see right here. And what I'm gonna do is I'm going to mirror this to the other side. So we get the whole block. And now we can start adding our support them. And if we did things properly, oh, careful here, forgot one right there. Go up to the center right there. And then just mirror this again. There we go. Now, again, if we go on now this is an angle as well. Let's go from here, down, down in there, and the center. There we go. Mirror again. Perfect. Okay, So now things are flowing a little bit better and we can start adding some edges like this one right there, which is going to harden the edge on the front right here. There's another one right there. Beautiful. You can do one here. We can do another one here. One here, one here, one here, one here, one here. Another one here. One here, another one here. One right there, one right here. Careful there we got an angle which again is fine. I'll show you why that's fine in just a second. So another one there. Go. Lot of supporting edges right here. Now I know not all of the support edges are going to the, to the other side because of the separation that we have. I'll explain that in just a second. Here we go. So we of course mirror again to get the same effect on the other side. If we take a look at the head, like if this shape looks like what we want, we're already on a good spot, right? Does it gives us this very nice visual looks? It gives us this very nice soft effects right there. Even though, yes, we have some angles. Here's where I'm going to do a little bit of a cheat, which is I'm just going to smooth, I'm just going to say Mesh and smooth. And if we do that, all of the angles are gonna be solved a right there. Now they're solving a really weird way actually, I kinda don't like that. So let's fix the angle. So I'm going to show you real quick how to fix some of the segments. I'm going to delete half of this so that we don't have to worry. I know that the way that this is a smoothing is working in nice. We definitely need to solve certain things. For instance, this guy right here, Let's delete deadline, which was creating some really weird, weird issues. And the way you're going to fix your angles, my friends, is you need to first of all find them. You need to know where do you angles are. For instance, this guy right here is an angle. It's a phase that has more than, more than eight sites. So I'm going to remove some of the edges that we don't need, some of the supporting edges that were contaminating that angle like this one and this one. Because I know at any point I can just add them again, right? I know I can add those lines again, but it's easier if we just fix this angle first. So I'm gonna grab this guy right here, go all the way to the back, all the way back, all the way to the back. All the way to the back, the back, the back to back, to the back. And this is for image gonna go, actually this is going to flow all the way over here. I don't want to do that. I'm gonna show you another little trick right here. If you can find a flat part of the element, you can stop the angle right there. So for instance here, this area right here I noticed is very flat. So I'm going to stop it right there. Then from here, just go down, down, down and to the center, and there we go. Okay, so that pretty much solves the ammunition. Now, here's a very handy tool that you can use to find more angles. If you go a mesh cleanup and you go to select matching polygons, faces with more than four sites and hit Apply. You're going to jump into selection. And as you can see, we only have two angles down here, which is great because that means that we're pretty much almost, almost ready to clean this. Now, this phase right here, I know this is an easy fix right there. Let's do this again, apply, and we've got those two faces, so there's two angles right here, they're really close to each other. Again, let's remove some of the support edges for just a second. Because every support actions that we can remove, it's going to make our lives easier to figure out this solution. Usually if you have two angles that are really close together, there usually is a way to connect them. Like for instance, like this. So now this is a triangle. This a weird lobe right there. So as you can see, triangle, it seems like it's an angle. Kinda looks like an angle 1234 are eliciting gone. That's really weird. Let's just simplify this a little bit here. Let me go back just a second because oh, okay, I see it now. Okay, so let's go up here on this angle. Keep it square and square. We go here. It's just with one more. Let's go right there, which is a flat area as we just mentioned, and go right there. Now, this is a square and this is a triangle, but that's a flat area. This is now an angle like this face right here. Let's simplify it right here. Let's just triangulate it over here. There we go. So now we have squares everywhere and it's an area that's not gonna be as important, it's kinda hidden. And if I select this, taking that hit Apply, nothing gets selected telling me that we don't have any angles. So now that we don't have any handle ganglions and we finally solve this really complex piece. We can go and start adding more agile like the support edges that we didn't have. Alright, so we just start adding all of the support edges there that we need to get the really sharp effect that we're missing. There we go. Can even add one right there, one right there, and you're going to add one thing on the center. It's going to make sure that we don't have a lot of texture stretching. We've talked about that a little bit before. One there. And that's it. That really, really cliche. We get a little bit of a, what's the word like a really like a very, very subtle page right here on the support edges running on this side. Very, very subtle. Some of you guys might be able to see it. Super interesting pinch right there. But I don't think it's gonna be that much of an issue. Let's just mere this to the other side. And this is gonna give us our final head right here. Let's add the clay material or was it it was the blue, right. Let's change the name. I don't want to get confused anymore. Well, the history of course. Let's call this m armor. There we go. So on top of this thing, we're going to add even more stuff, even more elements that are going to help us build all of this complexity that we have here for the antenna, we also need to do a little bit of a cover for that one final piece here. I know we're getting a little bit longer than usual, but just just the final piece here that we definitely need to Support. Just a quick one right here. Making sure we have a really nice hard edge on all of the hard edge sections. Of course, in an out. There we go. We assign the armor material. And this is how we're building a very, very nice character right here. Kinda want to make this thing a little bit thicker. That's it. Now some of you might be like, Hey, you know what, I kinda want this like plate to cover more of the face. That's fine. As long as we are not touching the cylinder, we should be fine. So for instance, all of these guys right here, we can move them a little bit closer. Can even use this to create a little bit of a curvature is where things are going to get a little bit tricky. Recall, we're missing a little bit the first section right there and the cable here, the cable management right there's a little bit weird. So I'm just going to push this up to create something interesting right there. To be honest, I'm really tempted to just keep this really straight right there. Even if we need to add some extra support lines. It looks weird if it's not like perfectly straight. And then this guys right here, let's push them back. Let's add one more line here. We're going to learn this thing and just bring it up a little bit. We get that section right there. With that, we'll solve that in the next video when we talk about the camera and everything else because I don't want to do something over there. I don't think it's the worst thing if we keep it open for like cable management and stuff. But it might not be a bad idea to to add something there to make it look a little bit nicer. But yeah, there we go, guys. The head is looking quite nice once we go into texturing and not all of these bolts and stuff, It's going to look even that amazing, even more amazing. So that's it for this one. I'll see you back on the next video. 33. Head Antenna: Hi guys, welcome back to the next part of our series. Today we're going to continue with the cover off our head or the antenna rather, we've got a couple of mechanisms here on the top which are really, really interesting that this box, just like some support things and then the antenna. There's one thing I did forgot about the head, which was this interesting detail that we have here on the top. So pretty much on this guy right here. Well, we're gonna do is we're going to Control E, extrude this in to create a nice little effect. But this kind of goes back and combines back with this element. I'm going to grab this edge right here, this edge right here, and this edge right here. And we're going to collapse. So I'm just going to go and say our mesh tools, mesh collapse. That will or should try to collapse things. We might need to call up this ones as well. There we go. So as you can see now we create this very nice flat area and it looks like an indentation where the, where the head is going in. Now of course, we're going to need to add some support edges. So we're going to add some support edge right there and one support edge right there. And pretty much that should be it. I don't think we need to add too many Edge supports because as you can see, with all of the edges that we already have, we get this very nice gut. So that's a, that's a really cool detail that it's not difficult to do. And as you can see, it gives us a super, super tight like sci-fi. I'll look for the whole, for the whole thing. So now let's jump into the little again like this box right there, which is a simple one, I would say. I don't know what that could be. It could be just a cover for the the inner mechanisms are like the GPS or something. We're going to have a box right there. And then there's another box that's gonna be kind of like supporting that initial box on both sides. Of course. This guy right here, I'm going to grab this face and just push it in like that. Then this face and just push it back like that. It makes sense for again, this is some sort of like plate is going to hold this box. You can see it doesn't make sense for this to go all the way in. So I'm just going to push us in. Let's go to the right view again. If we know that that's the line where things are going to be cutting, let's just add one line right there. Again. It's going to grab my cut tool and cut like right around there. Hit Enter actually. Or let me just, oh, wait a second. Okay, So I accidentally added some vertices right there. Remember that this is something that we don't want. So whenever we do this control and delete, reporting control and delete. So let's just bring this thing up. Rather, all of these guys just love this guy's. There we go. Now we can just position them where the cut is going to finish. So pretty much right there. And that's it. It's gonna be hidden underneath this other piece. That's fine. We don't need to justify every single bit. So we can have this one right there. Now for this one, again, so it's just a box, but let's make it a little bit more interesting. So I'm going to grab this thing right here. I am going to bubble it. And then we go to the front view. It looks a little bit weird because it's really white. It's like a really, really wide box. This birth season. Why them, them up again. There we go. Then we can grab this edge right here and Bevel as well, is to create something that's a little bit more interesting, right? So we take a look at that and we're just pretty much the shape of the box. Then this piece right here. I'm going to add that this is sort of like detail or support detail right there. Actually, that looks quite nice. Now it makes sense to to bring this guy's further down right around there. Are probably going to make this a little bit thinner. And then we can push this in a little bit more. Just, just, just from a, from a design perspective, it makes a little bit more sense for things to look a little bit more flushed. There we go. Now, this one on the back, kinda want to add an offset. And just like an entrance right there, this again gets an interesting sort of like silhouette to the whole thing. On the front. I kinda wanna do the opposite. So I'm gonna go offset and then just push this forward or out a little bit. We're of course going to bevel the edges right there. And we'll get disorders like shape. Okay? So very simple box. Of course we got some guns going. Good. Let's fix them real quick before we do anything else. So that's an angle and fixed rate there. And that's the second angle and fixed right there on the back part. That's the egg and fixed right there. So super quick fix and it's a very low poly object so we can just grab everything and doublet with 2 s. So when we smooth, it gets very nice box. Again, it's just the box. So we're gonna go here, assign the armor, and that's it. This guy is, this is one of those things and we'll talk about this once we hit the texturing. This is one of those elements that we might want to play around with in regards to like material breakup. So this guy might be black and then everything else is going to be slightly or slightly darker or something just to break things up. Like, we don't have a color. I actually asked my friend That's folks to not add any color to this because we want it where I wanted to talk about that sort of thing, like color design stuff. So let's push this out a little bit more. That means that this can be a little bit wider, like right around there. And this one does have a hole right there. That's an interesting hall and I do think it might be valuable to add it. So I'm going to add some edges right there, 12345678. There we go. And we can graph this object right here, grab this phases and delete. That's going to create a hole right there. I don't love the fact that we are seeing a little bit of the green thing. Let's push this a little bit more. There we go, a little bit better. And then this one also, I'm gonna make it a little bit bigger. There we go. I don't want to see that the green thing. So we're going to, I'm going to grab these guys and just push them a little bit further down. Perfect. And now this guy, of course, if we want perfect circles, we can grab this edge right here, right-click and grab the edge. And we can say Edit Mesh and z circularize. Grab this guy, Edit Mesh and circularize. Now, remember to get proper things here. We can offset first and after we, after we bridge. That's gonna give us a really, really clean circle right there. Let's add our support edges, which is going to be one right there and one right there. One back here, one on the top, one on the bottom, one on the side. To three. To three. And that should be it. Oh, I forgot this guy. This guy and this guy right there. One more right there. There we go. So that should give us a really nice tight piece. And that's it. Very nice, clean circle. We see that thing right there. We can later on LED color for a bolt or something. But we're not getting any weird reach over there. And look at that beautiful, that looks beautiful. And thanks to this little shelf that we have right here, right? We still have some space right there. That's where the antenna is going to be. So let's build the antenna real quick. As you can see, simple block. I kinda wanna make it a little bit more complex. So let me show you. I'm going to build a block right here. Grab the top face, and it's extruded up like that. Right there. We grabbed this little block, move it to the side. Versus low blood is going to be a little bit smaller, thinner, something along those lines. I'm going to have a little bit of a shelf still. So something like that. Right view. We definitely need to match it to the, to the actual curvature that we have right there. So something like that. Then this block will just about what? Two segments and a small fraction. That's gonna be the base of the, of the antenna. Right? Now, the antenna itself, again, because I'm thinking about rigging and the movement that I want to give it. So I kinda want the antenna to be on a sort of like telescopic like thing right here, so that we can move and rotate the antenna if we need to. So I'm actually going to start the antenna with a cylinder. I'm gonna do an eight-sided cylinder. And I'm going to move the antenna to the base right where it starts. So right around there, I'm going to rotate this cylinder 90 degrees -90 degrees. There we go. N. If we look the antenna or we'd look for the antenna, we're going to have this here on the outside like this. Again, it's gonna be like all that telescopic sort of sort of approach like that. There's mechanism rescue because you can see the antenna is actually really close to the head. So this mechanism is gonna be right there and then grab these two faces, Control E and width w. I'm going to move them out like this. Get them closer to the, to the main thing. And then this guy right here Control E. And that's gonna be the actual antenna right there. Good luck. Second division right there. Then this one Control E and push it up. Look at that very cool looking antenna. Let's go to the right view. It's, it's a slightly modified right there. So I'm just going to lower this thing a little bit at the top. So the antenna has a slightly interesting shift. Now why did I do this whole thing? Well, because I am going to add one division right here at 20 per cent and one division right here at the 30 per cent, that's fine. And I'm going to delete or extrude this things in control, ie. An extrude in. And then this thing, things right here are actually this face is right here, Control F 11. I'm going to say Edit, Mesh and duplicate. Now we have a perfect circle right here. If we move right there and we control E and extra back, we're gonna get the mechanism that's going to lift. Let's send to the point inside of this thing right here. Okay? So this mechanism right here is then I'm going to do something very similar to the what would the antenna. Let me, Let's push this guy's up a little bit. There we go. And then these two phases, control E. Let's do Object Display, reverse. There we go. We're having some display issues. Again, it's horrible. I've been trying to figure out why this is. I feel like it's the myelin just freaking out. Either data. I made a mistake right there. They'd like double extruder something. I don't think. Usually, if you look on the forms they tell you to to make sure you have the latest driver and stuff. I always do that so I don't know what it could be. But this is gonna be the domain like an anion. So what we're going to have ventrally is this thing will be able to move like this, right? So we're making or build, we're building all of the whole sort of engineering thing so that this little antenna can animate and move like this. So we have this little block that receives all of the information. And then we have this little thing that hooks the antenna to the little block. Right? Now, if I wanted to move the antenna on a sort of like 360, 60 degree angle, then we need to add a different or if, what I mean by this is if I want to do this sort of movement, This is the guy that's going to move, right? Like if we move this thing, if we position this element or the pivot point of this element, and we have it right there. We should be able to move the antenna to other directions, which is kinda what I wanna do here. We might need to raise the antenna little bit more if we want to, to like not collide. But so far this, this looks good. So now let's just add some support edges. So we're going to add one right there. One right there, one there, one here on the inside. That said we really don't want to add anything on the outside. And the reason why we don't want to do that is because when we go to this one, we're also going to get a similar result coming from the same piece, right? So there we go. That looks good. And that's it. Maybe, maybe one right here. We'll get that nice little section right there. Then you guys want to go the extra mile. You guys want to be perfect or super detailed modellers. Let's offset this twice. Then we grabbed this ring right here, this ring right here, and we push it in and give us a nice little circle right there. And again, like this guy, we can later on justify this sort of movement. Or we could just add more stuff. I don't think it's really necessary to be honest because this is such small piece, but it could be done. So just one more right there. One more right there. And that's it. Our antenna is ready and we get this very cool thing. So these two guys, I will definitely add the armor material and then this little guy, I'll probably add the black rubber material just to do a little bit of, again, like a breakup on the pieces. Maybe even the, the antenna. Actually, I think the antenna could benefit from being black rubber. Looks very, it's very difficult to see now. So, yeah, that's it. So we gather antenna, we got the elements. Now, the only thing that we're missing is the cover for the eyes, which again, it's a, it's a little bit weird to me that they don't perfectly match from the concept, but we can just build something really quickly. So I'm gonna grab this guy right here. And let's say Edit, Mesh and duplicate. When I push this up just a tad bit, Let's assign the armor material real quick. Control E. Just make it a little bit bigger like this enough that we go through those elements. And then we can of course bevel all of those things right there. So when we smoothed out, we get this cover on the ice. It seems like we lost half the I over here. That's weird. Let's just mirror this real quick. We go. This guy right here, it has a couple of cut lines, so we definitely need to add those. As you can see, we have one right around there and then one right around here. And it has again, the sort of like protection going back there. I don't feel we already have that thing right. Like see how like they don't match for whatever reason. So I feel like we already have that. Don't feel that we need to add more stuff. I don't want to complicate things more than they should because then it's just adding noise and details for the sake of adding them. And I'm usually off of the idea that things should have a reason to be. There we go. That looks good. Of course, we just need to either bevel or add support to this suggests we're going to go for the Bible. I would definitely add a couple of lines right here to avoid some texture stretching. That's now one thing we could do though, is we centered this thing, can actually make it bigger. Make it so that the, that the components like the metallic components and everything are protected from the weather. Maybe this is what my friend meant when he was like creating this sort of things. I'm really not fond of this overlap the week gallery there. It looks a little bit weird to me. So another thing is we could create like a little buffer cone to protect that. But it looks really weird to be honest. And I don't want to overdo it. I don't want to go in a little bit more there. Let's do it on both sides and see how this looks. Because on one point on one side they can look okay. On the other side can I don't like it. Kinda want to bring this back like this. That looks a little bit better to me. But now we're interacting with the, with the cable over here. Let's go to right view. Go right around there. Like barely touching the cable or the components right around there. That to me, looks a little bit more interesting. Preroll want to keep this. But then again, if we need to change it instead of a scaling could just move this things up or down depending on on how we want the whole thing to look. Well, we'll have to look or take a look later. When we go into the data right there, it looks really nice because it blends nicely with this piece right here. I think that's I think that's the position right there. So yeah, that's pretty much it guys. With this, we're in a really good position. I'm going to select all geometry. So select all by type geometry. And here on the garden, Let's delete history. Make sure that we have things clean, That's of course, increment and save to make sure that we save everything. And I think this is a good point to do another quick render view. So let's say Arnold render. Let's go of course, to our shotgun. Remember we're referencing this file so that in case we by accident delete the camera, we can just go back to it. Let's take a quick look at how this looks. Warming up. Let's give it a couple of seconds. Let me pause real quick. There we go. So not bad, not too shabby has. So one of my teachers used to say, this is looking quite, quite nice. As you can see, the deconstruction of the hair that's really, really like popping. And there's a lot of shapes, lot of complexity of course later on when we add the metal, the dirt, and all that stuff with the textures, this is going to look even better. But you can see how by building all of these different pieces were little by little creating a really nice and interesting complexity. Now, this piece right here, it's a little bit concerning and on the front side of things. So one thing we could do here is I'm just really quickly just going to go to the form. I'm going to use a, once a day, a lattice. And I'm just going to grab the lattice points right here and make them smaller extent overlap right there. I don't like it. So it's going to bring this really, really close. There we go. Nothing should be affected on the backside, right? Because the cluster on the backside, this is keeping everything really, really tight. This should give us a slightly different built. I'm even tempted to just grab this thing and bring it in so that we also don't have the sort of overlap on the front right there. So you see how we have the thickness here with this amine elements that we created. I think respecting that is going to give us a better look just at the history. And that's it. I'm tempted. I'm a little bit curious because we do see it a little bit here. I like the armor piece. Kind of looks like a, like a weird teeth. So maybe this part right here is going to be reinforced and that can just duplicate this thing and add more armor because otherwise it looks, it looks a little bit weird. But yeah, that's it for this one, guys. I'm going to stop it right here. And in the next one we're going to take a look at the neck. The neck pieces are gonna be really easy. And after the neck. And since I wanted to have this on, I want to have it on this chapter. I think we're going to go for domain. We're going to start building up domain. I would dislike basic plates that we have right here so that we can, we can get a general idea of how we're going to be positioning and definitely gonna be complex. And then we'll finish the chapter and we'll continue next chapter with the next part of the parts of the armor. So yeah, hang on tight and I'll see you back on the next one. Bye bye. 34. Neck Armor: Hi guys, welcome back to the next part of our series. Today we're going to continue with the neck armor and I've made this a second decision. We're not going to do the main on this chapter. We're going to leave it to the very end because I kind of want to build up all of the whole armor before we do the main and have that as the big reveal, the neck armor is gonna be the final part of this chapter. And then we're going to jump onto the chest armor and the front leg armor. The Fortinet government is actually really, really, really easy. I'm gonna start with my polygon tool, and I'm just going to very quickly blog in this polygon right there to match the exact same shape of the armor. Now, we know that this is an angle, so we're going to just look this up so that we get a nice little sharp line right there. You can see that we actually have an interesting section line on both sides, both of these elements going into border, right? So I'm going to grab both faces right here, Control E. And we're going to offset to create these sort of effect that we have right there. Now this does not go to the front, right. Let's delete that face. So this guy right here, we're going to delete. And then this vertices right here. This will come on. There we go. This is British is right here. We're going to scale with R and we're going to flatten them up. So they're right there at the front again. Now, it seems like we got the weird face right there. Let's fix it. It's really weird. What happened here? Let's grab these guys right here and I'm just going to shift select everything else. I'll know why maya likes to do this to me. Every time I try to select something, it's Alexa, like a different object. It's horrible. There we go. So we can go back to a right view and just go one-two, one-two. And the bridge, this should give us a clean like masterwork. So we know that this mesh is going to be, if we sent to the point, of course, it's going to be right around here, right about there. I would say that's probably the thickness that we're gonna have. We're going to have this thing go towards the center. So I'm going to grab the section line right here. And I want to like, actually, I just wanted to grab the top part right here. And this site part like I don't want every single piece to go to the other side rather, because this thing will indeed covered part of the we need to move distinct further back. It needs to cover the neck. So since we want to have the movement working on this piece, this tells me that we can mirror this. So I'm going to mirror this to the other side. There we go. Then we can bridge the upper part like this. So let's just bridge. But we shouldn't just breached this part right here. Because if we do this, we might have some issues. She can see with this piece connecting, right? So what I'm gonna do is I'm gonna go to the right view. And right around here is we're going to add a one more face. And then this piece right here, we can delete like that. Now since we have this shape language on the inside of the origin, on the lateral side of this things, I would expect to be something similar over here. So I'm going to offset this once as well to create a sort of element right there. Now what I mean, like, like another border and other sort of like special detail on the top part. And the now we need to do what we mentioned on one of the last videos, which is the thickness, we need to give this thing thickness. But we can't adjust, say Control E and extrude this out because it's going to make everything look really, really weird. So what we do instead is we grabbed the object. We control E to extrude, but we use a thickness right here to the inside. This is going to give us probably the cleanest one. And we still might have some issues. You can see a little bit of the issue there. So we gotta be very careful on how intense we go here with our thickness. This to me seems about right. So now we just say Edit Mesh and, or sorry, mesh display and we reverse. And that's, we're going to have this big box right here, which is going to capture most of the detail. Now I'm going to grab this edge right here that we have on the, on this side. And of course, this one that we have on the top side and on the other side. Let me isolate this thing real quick, is we're actually going to have to go to the inside as well, right there. And right there. There we go. Make sure that we're selecting all of the elements. We're going to bevel, this elements. Go to a poly bevel here. Make it a little bit smaller. On the fraction side of things. Select those new edge loops that we created. And we're going to say Control E and extrude E. That's of course when we smooth things out, then we add the support lights and everything that should clean a lot of this stuff up. Now one thing that I'm noticing here on the concert piece is, as you can see, this, a bubble right here at this element right here has a slightly different like a bevel, right? So we need to fix. The direction of this element a little bit. And to do that, a couple of options, kinda, I kinda want to work with a secondary piece. I think we're gonna do work on psychotherapy. So let's, let's start sharpening some of these lines right here. Let's start with upper one. Right here. Of course, the inner and the outer shells. One right there, Right there, two right there, another one right there. Then here on the inside. Probably going to need a couple more. Right there. There we go. It looks a little bit better. And of course we mirror this again. We get the proper boxy shape right here. And that's pretty much it. With that, we've successfully created this sort of like a neck section right here. Now as you can see, it's quite thick. We don't see it from the front, but it's quite thick. And I do think it's important that it's thick because I think most of the main is going to be attached here. That's one of the things that my friend did not include on this creation or in the creation of this concept pieces, how is the main gonna attach to the element? So we're gonna have to figure that one out. I'm going to move this thing down like there. And then we're going to recycle. This point is right here. So we're gonna go like here. Here. Just move this corner pieces so that they match. What we have. That way we can recycle the same piece. We get an armor pieces still. Let's center points. Of course, we're going to make it smaller because this should be e inside of the cell. And technically this thing is going to be attached to this thing. So however this thing moves, this is going to rotate this well, I'm a limb bud concerned about this like back movement because it's going to collide with this thing right here. So we could either remove a little bit of this border or remove the border higher up. I think that's gonna be the, the right idea here. So we're going to grab all of these vertices. Just move them up a little bit more. Why the bit? Something like that. And what that will allow me to do is if this thing rotates, we have quite a bit of rotation axes there to not touch this other part right here. Now this one, we definitely need to make a little bit. There we go. That's it. Simple pieces right here. Simple small elements. Again, I think deadline right there is one of those things that we can add in texturing, just like one line here that goes and creates that sort of like sharp look. Because otherwise, we're going to have really, really dense geometries and I think we're already quite high for what we have right now. And nothing more stuff, it's not gonna be as ideal as we might want. So that's, that's pretty much it for this one guys, that's pretty much it for Chapter five. We're now going to jump into chapter six where we're gonna be doing. All of the chest armors are like big blocks of armor that we have right here, this guys and the front leg. So yeah, hang on tight and I'll see you back on the next video. Bye bye. 35. Chest Block In: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the chest a blocking. This is where we left off last time. And what I'm gonna do here is I'm actually going to graph this thing right here, grab all of this species right here, which are not cleaned. By the way, We have not cleaned the whole thing. I'll explain this in just a second and just going to be called head armor. Grab the group. And then we're going to create a new layer here, which is again going to be called head armor. And that's it. That way we can hit armour layer. There we go. That way we can hide this without any problems and we can focus on other things right here. It seems like this guys right here are part of the skeleton because we we duplicate it. So that's fine. Now, if we take a look at the chest, it's it's a really complex shape to be honest, but we need to break it down. And this right here is pure ref. I've used purebred before. I think I showed you before here in the video. But if not, you can get the software for free on the internet and you can just look for a pure ref. And this allows us to just have a look at another window on top of everything to make sure that we understand what we're doing. So I can see that this piece right here is pretty much it's the block that sits on top of the upper arm, leaving most of the scapula and stuff open. This one right here. It sits out in front of the leg, this one in front of the ankle and this one in front of the foot. And I do recommend that we block those in a real quick before we as long as well as the as the chest, but these ones are fairly easy. So what I'm gonna do is I'm just going to create a cube. Again, focusing on the first part right here. Let's delete this one's right here. Now, I'm pretty sure I'm going to recycle these cubes. I'm just going to duplicate one to this side. There we go. And then what they can do is you can literally just grab this guy right here, make it a little bit thinner. Make this whole thing a little bit smaller. This is just a general idea or a general indication of how this thing is gonna be, right? Like we know that eventually we're going to have some sort of armor piece is going to be covering the foot like that. Then the duplicate this cube again, I'm going to delete this face now so we get this L-shape. Because again, I could just get this right here. And we know that this thing is going to be covering the ankle. Pretty much like this doesn't matter if it's not perfectly lighten up yet. We're gonna, we're gonna switch this around. This one. Same deal. We're going to have this right around there. Let's go into scale object mode so we can scale along the axis right there and make the scope closer to the leg. And again, eventually we know that we're going to have this armor piece right here covering the foreleg. And finally, we're going to have something very similar on the upper part, which is this one right here, a lot of blocks here, right lot bigger. So box here. And I'll look bigger. Probably like around there. A little bit. Like you can see eagles pretty much all the way to the, let's actually go Object Mode, going to make it easier as well. It's gonna go pretty much all the way to the, to the connection. Right around there. I'm going to graph this edges. Now. I'm going to extrude, which is up to kind of go a little bit further up than other pieces. And then this guy is we're going to bridge together. So you can see that this bigger pieces are giving us the BRAF volume that we're gonna be occupying for the, for the arms and for the legs. And this is important because we can already mirror this things and see in context with everything else. If things make sense, like if the bulk of the overall thing is making sense. Now, for the side view, you can see right here that these are pretty much just plates that are sitting on top of this rib cage right here. And that's what we need to model now we do have this thing right here, which you can see on the side view gives us this element right there. So again, let's, let's focus on making these things look as nice as possible. Now, here's where we might need to make some big decisions, right? So let's start with the very basic cube again to create the basic blocking. And I know that on the side view right here. And actually go of course to this guy right here. On the side view right here we have this big box. So I'm just going to go up to the vertex omega is so much hate that. There you go. That's true. So this guy goes there, this guy goes right there. This guy Goals to the front leg right about there. And this one goes like right around there. So that's gonna be the general shape. It's not the exact shape. Don't worry, we're gonna be modeling this properly after we're done with the blocking. Kinda wanna see this on reference. And that way we can find the specific placement that this thing would have. So you can see there's a little bit of empty space right there. We're going to have to find a way to solve that, but that's roughly where that thing is going to be. Then if we take a look, we have another big plate right here. I'm just going to duplicate this guy, make it smaller and modify the vertices right there. If you want to be a little more exact on this blocking, we can of course add a new division their district to match the silhouette of the piece as close as possible. Of course, this thing is gonna be out here. Probably, probably slightly churn. So that creates the connection that eventually the cables are gonna have, like on this area right here. Then we have, again from the top view, it's a little bit difficult to see. But we have these things right here which are like exhausts. That's what I'm seeing on this piece is right here. And also there's a big like another big box covering everything. So like this plate, this big plate right here. Well, interesting shapes, a little bit difficult to understand, but like see that the exhaust right there that one's important, can see the leg over here so that XOR straight, they're going to duplicate this thing right here, it twice. There we go. If we go to the right view, that exhaust is pretty much this wing shape that we have right there. So I would expect that x has to be like right around there. Again, if we go to top view, we can kinda see it like all the way back here, which is, again, a little bit weird. That's fine. You like a couple of things don't like perfectly match. Again, if we look at the top view, especially on this eye right here, you can see that we have the excess right here. And then some cables and stuff. Not exactly sure what's going on, To be honest, it's a little bit difficult to visualize. So I'm going to have to again take some artistic liberties here. And I want the EXOS to be coming from the, from the front. Going to be like this huge shape right here. Probably behind the What's the word? Dislike? Shoulder blades. So probably something like that. Like I know on the top view in the scene cuts right here. It doesn't make much sense to me that it cuts right there and then we see it all the way here on the front. So I'm gonna, I'm gonna do these excess piece right here. And then we're going to have this point right here. Now, again, you can see that there's a, another plate right here, another thing, there's probably gonna be a secondary played right around here. This is already like creating some issues with the what's the word with the shoulder blade, right? Because in theory, this big piece right here, it's not going to move like we are going to keep that piece as is. What's going to be moving is this section right here. So that means that whatever we built, we need to take this piece into account. Or, or maybe think of this, maybe this piece that we're seeing right here is part of the scapula that actually makes a little bit more sense now that I think of it. So now this piece could be, or we could have this or like extra support in this piece. That's relatively easy to fix or to do. I know we added this extra armor bits so we can just remove this one. And where will that? That actually makes a little bit more sense to be honest. So that to me, tells me that then this guy is if we go to the top view, we're right in being back here. Something like that. Now, again on the top, It's a little bit weird because we see like a, like a flat armor armor piece right here covering the spine are it seems to be covering some elements right there. So what I'm gonna do here is actually one. That one looks interesting. Yeah, it's a tricky, tricky concept here. So let me show you how I would solve it. So I'm going to start with a cube right here. Now I'm going to try to think like an engineer like, okay, we know that all of the key components of this character are inside the spine. And I know based on this piece right here that I want to protect the spine. So if we go to the right view, we can see this big chunk there protecting the spine. There's also like this big that I really liked that big piece to be honest. So this thing is going to be protecting the spine. Right here. Is vertex is going to go right there. These guys are gonna go back here. There we go. So it's gonna be like the center armor for the whole spine. Just gonna be some interesting interactions over here. We might make this things a little bit thinner. Probably a little bit thinner, right? Wish him to the side a little bit, something like that. Which is this big piece right there. So really match the shape actually. It's right there, right around there. And it looks a little bit better. So this piece then, as you can see right there, it's gonna have a line that goes right here. And this block is going to extrude out. How much? Again, basically the top view, not that much, probably like just around there. And then from there, I'll probably just extrude one more time. Make it really thin, like a flat surface or flat area like this. Because it kinda looks like it's going like this line right here. It tells me that it's going over. I see this piece right here, it goes over this other piece. But at the same time, I know how hard that is gonna be, to be honest. So I think I'm just going to stop right here. And then this piece, what I'm gonna do is eventually we're just going to create the extra piece that's going to sit on top. That's just going to make things so much easier. And I think it makes a little bit more sense as well because from this assembly perspective, you don't want to have one thing that's hogging another one because then you're going to have to remove everything in order to repair elements. So let's mirror this to the other side again, just to get a general idea of the main bulk of the character. And we have this like huge issue right here, which is a lot of intersection. I have to solve this once we do this piece right here, we're probably going to have to create some cutouts so that we are actually like, like freeing this elements. Probably right around there. Then. We're going to need one cut-out like they're there. So eventually this piece, we're going to have to delete this guy right here. And the bridge. Like that. We're having the display issue again. I hate when that happens. I really been trying to figure out whether this, but I'm not sure if it's a delete the history sort of thing. There we mirror. So that's going to, that's going to have to cut out there for the scapula. And we also need to do some colors for this piece right here. So there are some editing to do, but that's why we're doing this blocking to figure out how things are like merging and looking and to make sure that the bulk, the bulk of the things that we're doing makes sense with the overall character. Right? There we go. So if all of the bulk that we're adding makes sense, then that means that we are on a, on a good position. Let's go side view again. I'm gonna do one more cube. Have this cube here on the top. Grab this vertex right here and move it down. Grab that face, move it in like that. You can see how it has this like really straight line going down into something like right around there. Let's say we go from a top view. We can see that that's a really, that's why I have this thing over here because it's getting a little bit difficult to read all of the information. So it's quite thick, like this thickness right there. So probably around there. Just to make sense, I'll probably just like the crunch it up or something like that. It'd be our, our back element. And finally, we have a very similar piece. But on the lower side, this piece right there. I don t think it was present on the yeah. Wasn't present on the on the armor. You can see it sits on top of the armor. So again, just grab the wrist, He's move them around. And that would expect this piece of armor be supporting the sites like that. Maybe you didn't like it. It seems to be very far out. So probably like like right there under on the side of the of the recurring probably just going to push this down a little bit more. And we'll have something like that. Then we create that way, we create another panel. We still see everything else and just have something they're protecting the inner mechanisms of our, of our character. Let's just mirror this thing right there. And that's the general blocking of the chest. Now, this whole chapter is gonna be dedicated to creating all of these different pieces. I know it's a lot of them. But once we have that, that's going to look really, really nice. So I'm going to stop the video right here, guys, we have a nice idea of how things are going to be looking as we keep adding more and more elements to this character. And you have already started polishing. So hang on tight and I'll see you back on the next one. Bye. 36. Foot Armor: Hey guys, welcome back to the next part of the series. Today we're going to continue with the foot armor. I think we're gonna go from easy to hard in this one because we're gonna be learning some stuff along the way. And once we hit the complicated pieces like this ones right here, we're going to have a lot of skills that I want to show you what this particular ones. So as you can see what this one, of course, we're gonna go to this one, just ability to have it. Let's look at history. There we go. And actually, let me, now that's fine. I'll just do a another video after this one, I'm gonna show you a really cool scripting thing. So what we're going to do here is we're going to just give this a rough shape of what we want. And you can see that this two edges right here are pretty much beveled. So we're going to bevel them. But however, what we're gonna do is I'm going to grab this edge right here. And as you can see, the shape on the front seems to be a little more square than on the bottom. So I'm going to play around with the shapes of the objects a little bit right here to get something that looks a little bit closer to what we have on the concept piece. Now one of the things that you can do to have an easier time when modeling is a concept called modeling from the inside. Usually we modeled from the outside, meaning we create the outer shell. And then from this outer shell we extrude in, if we, in case we want thickness. Well, we've seen that doing that can cause some issues, especially if we don't control the edge flow are properly right? So by doing what I'm about to show you, which is extruding out. Usually we can alleviate a little bit of that problems, are solved those problems and generate a mesh that looks a little bit cleaner as you can see right here. However, before we do that, I definitely want to fix this one right here and then show you a quick trick. I'm going to Control E, extrude out and offset with little squares right here like this to create a sort of like a rounded edge. And then as you guys know, we can delete this one right here. And with our knife brush, I'm going to cut from this point to this point right here. There we go. So now we have this shape right here. Um, we really don't need to be too concerned. We don't need to be too concerned about the shape because it's going to be covered by this metallic bid right here. And actually no, they see it. We might need to have this thing be a little bit sharper than the other hats. So I'm just going to modify this a little bit like that. Now. We're going to extrude out to create the thickness that we want for the armor plate, which is gonna be, I would say probably something like that. And we of course need to harden this because there's going to be this shape right here now, this little detail, I think I am going to add it as a small detail, but this one right here, I'm going to add a texture, so for the outer details. So let's isolate this thing real quick. And we don't have a lot of geometry. So we might be able to get away with our traditional like fraction and Bevel thing. There we go. Because we know that's gonna use here really nice hard surface will look for this block right there. Now, I'm already going to add with that cut tool, we're going to add the division right there, right there, right there, and right there. I'm going to do 50%, 70%, and 70% right there. And I'm going to grab this six elements right there. Actually, I'm just going to grab two of them. Control E, Offset, Control E and push this n. And as you can see, that's gonna give us a nice little detail there for looks a little bit smaller. Let's go back. And let's grab the sixes I originally intended. So we grabbed six there, Control E, or careful there, Control E. We offset a little bit and then Control E and we push in and where we have quite a bit of thickness, but don't go overboard. And there we go. That's gonna give us a very nice detail. Now, if we feel like does detail is way too like a little bit like fat, we want it to be a little longer. We can just scale this up like no big deal right there. As you can see, we're gonna get the very nice detail right there. Cool. So now we have this piece right here, which is going to be on top of this element, but it's kinda like an armor. So I'm going to show you very cool process. I don't think we've used this one before, so here we go. First of all, I'm going to go to the front view. And I'm going to delete half of this thing. Why? Because this thing we can just mirror and we're going to have the exact same thing and it's just going to make the next step a lot easier. So I'm gonna grab this guy, I'm going to turn on a live surface. And with my quadrat tool, I'm actually going to draw the profile of the armor. Do they want? So it seems like the armor starts right there, goes right here. It creates this little section right there. And we're going to do this now has a sharp line, so we're probably going to have the sharp line right here, right around there. And then this thing goes, or actually kinda goes around the whole thing right here. I want to play with the angles a little bit right there. There we go. We go down. We rebuild the geometry here. Sit. There we go. And then on this side, we're going to add another line. It's going to be going all the way to the back. Let's go all the way to the back like that. Right around here. I have this sort of like detail. We're going to lower this, this, and modify this thing a little bit so we get the very interesting and nice looking armor. But I think I'm gonna go around as well. It just makes sense to be honest. And there we go. So now we have this piece right here, which we can of course x truth out. And look at that. That's going to create the nice little like armor piece that we want on this particular place. Now, this line right here, I think we can delete it. That's going to give us a sharper look. It's super, super blocky. We of course are going to delete these guys right here. Select the object, go to front view. Select all of the vertices that are right here. Align them so they're perfectly flat. And the snap them to the foot so they're perfectly in line with the foot. Now we can move the pivot point. This is very important. We're gonna go to the front view again. The pivot point should be on the center shift, right-click and we're going to mirror on the object option object will always take your pivot point as the source of your elements or your movements. So we're going to mirror right there. And as you can see, we will get this. Now of course, all of these vertices right here. Then I flatten them out so they're perfectly, perfectly straight. And that's it. We got this shape right here. We can do the same thing for this one shift right-click mirror. And look at that, we get a very nice like border, therefore the foot, this, of course it's probably gonna be some sort of like a rubber or something. And we're gonna be able to make this thing look quite, quite nice. Now you can see here that we actually have some indentations. Those might be some of the elements that we do want to have. So we're going to use my Offset edge loop tool to offset some edge loops right here, as you can see, there's three of them. And he looked at the trick that I'm going to show you here. I'm going to isolate this piece to work a little bit faster. Then I'm going to graph like this guys right here. The lines, the lines going back. And remember, if we babble those, we're going to create a nice little rows, right? We do create some angles. Don't worry about those just yet. But we're going to create this little indentation right here, which are pretty much edge loops. They're not full edge loops because we stopped them at a particular point, thanks to the triangle that we have right there. But they are edge loops. So we can just select this guy is right there, Control E. And the, I knew this catalog to be going in. I kinda want to move this out. I'm going to offset a little bit and play around with the thickness. Because I feel that could be a little bit of traction that we can gain for the ground and stuff. So there we go. Now, how do we fix all of these angles right here? Well, some of them are gonna be easy to fix like this guy right here, and this guy right here. That's a squared, That's the square. And then here we can just have like probably a triangle right there. It's a flat area or a flattish area. So as long as we're not destroying the topology, we should be fine. There we go. Same deal over here with G. I'm just going to repeat the last action, which is my knife brush. And we're gonna go from one point to the other. And then from here to the triangle right there. And I know these kind of breaks, one of the rules which has never to have one point with more than six elements. I know they're not six, it's five of them. But it could be, it's not problematic because it just looks a little bit weird. So on now, we need to decide how to make this thing hard surface. And again, one option is of course to just double everything with two segments and a small fraction. And that should give us a really, really blocky effect, as you can see right there. It's a little bit more blocking. I would like you can can you see that little like like pinch that we get right there. So one thing we could do is maybe remove this guy right there. It's going to soften things up a little bit or when I show you here another option, this is an option that I don't use as much, but it's really handy, which is when you have a pinch like this one, we know that pinches happen because edges are really close together. So if I go to this guy and this guy, I can go to Mesh tools. And there's this option called papa, papa bomb. Where is it? Slight edge. The option is called slavish. There we go. Slide that just middle mouse button. You click the middle mouse button and you're gonna be able to move on. You should be able to move there we go. The edge like that. That's going to modify the topology quite a bit. But it's also going to get rid of the pinch. So now as you can see, these guys do not have the pinch. We do have a little bit of the pinch right here. We could of course, go back again and select from this guy right here, like that little guy right there. That little guy right there, press G and just move this up a little bit like there. And do the same with the other one. We got this one all the way to here. And go right there. And that's it. So yes, we're going to have a little bit of a split right here on the corner. It shouldn't be that much of a deal and we have a really, really nice hard surface effect. Now the amount of triangles that we're getting is getting a little bit ridiculous. You can see we go from 3,000 triangles for this like a layer of armor to almost like 50,000 triangles. But again, I've, I've shown you before some other examples. I know this polygon seems like crazy, but it is close to what we might have to do for a specific like productions and stuff. Now, the one thing that's bothering me quite a bit is the fact that this does not fit perfectly on the shoe, on the, on the axial skeleton. And that, that would be fine. However, you guys know me, I like to do things that look a little bit nicer even if we're not going to see them like a lot. So one thing that we can do here is I'm thinking that if this thing were to rotate, it will rotate from around here. Just adding some sort of like Box or hinge or something, uh, right here might be more than enough to give us that sort of connection point. Some people might not even bother about that. But again, it's just one little detail that we it's not going to affect anyone is what I mean. It's not going to really destroy or may things like superintendents in regards to topology. So we can just recycle something like, for instance, this guy right here. Let's see that we have that back area there. I'm just going to Control D, The D neck. And just use this as a hinge, is going to be attached to the to the to the foot. A little bit difficult there to see if we're exactly on the middle of the foot. That seems to be it. There we go. Like even if we don't like barely see it, it just makes me more comfortable to know that there's something attaching this thing. One thing we could do those we can just like this back a little bit like that. And again, when people see just that small little connection, it's just going to look away, away, back. So yeah, that's that's pretty much it for this one guys. You can see we've got this very nice piece of armor, really hard surface you really, really like tight. And then some of you might be like, Well can't we eliminate some of the edge loops that we added when we did the Bible? And the answer is, it depends because most of them are actually supporting things that we need to. For instance, this guy right here supporting the edge on this guy. And if we were to delete this one, it's going to make it look slightly softer on this side. So, yes, if performance definitely becomes an issue for you, you could definitely try deleting some of the edge loops and see if that alleviates the, the amount of our topology that you have. But again, I wouldn't recommend it, it, it shouldn't be that much of a deal. And this is like a normal amount of polygons that we might be working with. As you can see, we're almost at half 1 million polygons with the whole thing right here. Well, less than that. Triangles, 2000 triangles. Now, I'm thinking ahead when we get into texturing. That's when we might have a little bit of issues because when we texturing, it can get quite heavy instead of substance, substance painter. So I'm going to show you a couple of tricks to optimize. We might need to export things as separate pieces, but that's pretty much it for now. Let's just add a very quick material here and let the armor and the black rubber. There we go. You can grab these two guys and of course, mirror them to the other side on the world. On the world, we're gonna have our foods. And as we saw earlier or when we did the back foods, we can actually already have this. Wants to be honest. I'm just going to delete the history. Control D. Let's just recycle, like no need to redo or re-invent the wheel. We're just going to grab it. This goes right here. Get them into position as close as possible, right around there. And this guy's actually already have this black thing here. So it's perfect for what we want. The only thing that's a little bit different is that section line that we have right there. If we want to add it, we could do it with like some modeling stuff. Let me show you here. Here. I'm gonna grab these two guys. Just get this guy out. I'm going to grab the, the element right there, Control E offset. Then this guy is Control E Offset. Control E, push in a little bit. And of course we're going to need some extra support edges. So one right there, one right there, and one right there. And that's gonna give us d, sort of like extra little detail that we have. Some of you might be like, well maybe we don't need this guy anymore and you guys will be totally right, like we actually don't need this guy. So let me show you here how to very quickly destroy it. We just do that. Delete this line is right here. And bridge from here to here. That's the beauty of doing proper topology and everything. If you build your stuff in such a way that is very modular than changing things like I just did. There is very, very easy because everything flows and follows the exact same thing. You can see the armors is slightly different. Again, for the sake of simplicity, I'm going to take an artistic liberty with this one. And I'm probably going to keep it like this. I'm like some of those decals and stuff, we can definitely add them later on. Right now. I think it makes more sense to have things that are very similar, right? Like you wouldn't design a footpath as an engineer and then decide they completely different one just for the sake of it. So we're gonna keep it like this. And of course we're going to mirror this to the other side, on the world. And on the world. And there we go and look at that beautiful, beautiful. It looks like he has shoes now. And yeah, that's it, guys. We're done with this part. Next part we're gonna go with the ankle and the and the arm. The wrist and the arm armor. So hang on tight and I'll see you back on the next video. 37. Wrist Armor: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the rest armor, which is this piece right here. And as you can see, we have a really nice base. We just need to modify this a little bit. As you can see, this goes out a little bit more than what we have. And I can actually see this pushing forward, like it's not perfectly flat. It's actually has a little bit of a curvature to it. So I'm going to grab my Insert Edge Loop. And when they sort of one edge loop right there, when I should write here. And then I'm gonna grab this guy right here and just push it forward a little bit like that. Of course we're going to delete the other side. We're going to get it back in just a second. We might even grab this guy right here and this guy right here. And just move this out a little bit as well too, again, to recover or get a little bit of that sort of like curvature that we have right here. Now that we have that, I'm going to extrude this and we're going to create the outer edge, which probably should be similar in thickness to the one that we have down here. But the one thing that definitely gonna do is I'm going to bring this vertices in. With scale. We're going to scale this in a little bit because it should be following the ankle over more. We haven't even thought about how this thing is going to connect to the actual ankle. It's probably going to be connected to this thing. So if this thing turns around, This whole thing is also going to turn around. That could be one option. Another option is that maybe we use this little like Boulder we have right here to connect it to like, there's a lot of different options. Actually kinda like the other option, like that option right there a little bit more. I'm actually going to rotate this a little bit like that. Let's keep it straight for now. The main thing about this one, this is you can see we have a really interesting shape. They cannot divide the shape into two different shells. So since there are two different shells, what we need to do is we need to create this edge cut that we have right here. I think for this species, since it's that simple piece, we can use the technique that I showed earlier when we were doing, I believe the armor for the neck where we separate into two different shells, right. So I'm going to start by cutting distance in half. That's going to solve my, it's going to save my half of the work. So I'm going to cut this there by half, delete half of it. That way we can just focus on this thing right here. So if I start with my cartoon, I know that we start right around here. We go in a little bit and then we go down. We go to the side right here. We go down to around there. We go all the way back and then we go in there. And I'm going to stop right there. We already have like basically the rough shape that we want for the whole thing. Now we need to do a little bit of fixing because this, this piece is definitely like a mess. One of the easiest way to do it is to actually grab this edge that we just created or careful with this one because that's going to generate some issues. So I'm going to just go there. There we go. Oh, can we not let me say real quick. Haven't seen in awhile. Let's just delete that right there. That's the square root. Interesting. Fits the square. Why is it doing that shape? Let's recover that square with a bridge. Are we getting a weird shape right there? It's really, really weird. I'm going to feel whole. I am going to triangulate. I'm going to say match triangulate. Okay? Okay, So that's, that's really weird. It's the edge. So let's delete that edge right there. Let's delete that edge right there. And let's just recover this one right here. So we go in, we're going to go down to around there. And we hidden. There we go. That's what I wanted to do. So now we can do is we can grab this edge that we created here all the way around. And we can say double, we're going to bevel this. We're going to bevel this with a small fraction. As you can see, that already creates disorder like the shape that we want. I'm going to delete that guy right there. As you can see, it stops. In this case, it stops right here, which is fine. Since we have, we now have to clean the topology. I'm going to go from here to the top around. Let's stop right there. There we go. Okay. So with this we can rebuild this shape right here. Just bridge. And on this side we're going to do something similar. So we're gonna go from here, up, back, all the way down, down. And we're going to stop right there. So we go up right there from this corner, we go across and there we go. And then similar thing here we go down. Around. We bring this all the way up and we're going to stop on that corner right there. So we'll have or actually, I think it might have been a better idea to stop on this corner right here. So let's keep going over here. And we go right there. So everything seems to be squares right now we have a couple of ones like this one right here, which we can just move around. And all the way to the center. There we go. That looks good to me. And we got just this last one right here. So we'll just go again to the back, all the way to the front. And there we go. We did, with which we're pretty much just a fixed the whole topology. So now what I'm gonna do is I'm just gonna grab this guy and this guy bridged together. This remains as a triangle, that's fine. It's gonna be hidden. We have it hidden and unknown, highest place right here. And we're going to actually grab from this point, I kinda wanna recover our estrus right here. Kinda regretting, deleting it now, because it's gonna be a lot easier to just extrude this in. So as you can see, we're just rebuilding this path real quick. We can't use breach as easily because we're going to have to be really precise. There we go. And that one's just they feel whole or for a feel, hope, There we go. Now we can grab the whole edge loop. Control E again, push this in. That's going to create the path that we need. So you can see now that we have the very nice cut line, nice little triangle there, hidden by everything else. And if we mirror on the bounding box, we're gonna be using bounding box x negative. We're going to get the exact same shape that we need right here. So now that we have this, we can start working on the sharpening of the whole thing. So how are we going to sharpen this, of course, with our international? So I'm gonna grab my cut tool, one on the outside, one on the inside. That's going to sharpen the general effect right there. And to really sharpen these guys right here, we need to add a couple of ones right there. Couple wants right here. We're going to need one there and one there. There we go. You can see how, how nice things are looking. Look at that beautiful definitely one here, one there, and one there. There we go for another 11 more there, they're in there. With that done. As you can see, we've got this very cool looking shape, really complex. Like it's not an easy path to create this connection right here. But that's gonna give us a really nice big, we still have a nice round like effect over here. And texturing ways. There's a lot of things that we can do like metal Ashworth and stuff. I think I see something in there. I don't think I want to add that it's going to make it a little bit more complicated, but in case you guys want to do it, one thing we can do here is just another offset and a small little model guy right there. Of course, with my officer that should loop. I can offset a couple of them right there just to give them the indentation. But those sorts of innovations, even though they look really, really cool, it definitely increases the poly count quite a bit. And it's something that we can very easily do with texturing on the texturing side of things. So again, you might want to evaluate water now we want that. Now one thing I definitely do want to add this on this corner right here. Actually, there's one passes, so let's just mirror again, not in the bounding box. We're now going to mirror on the, on the object mode, hit Apply. So we get both corners with the same intensity. Now, one thing I want to do before we wrap this video is I do wanna figure out how this thing is going to be attached to, to this part right here. And again, don't overthink it right, so we can just duplicate this guy, move it down, scale it up, and that's it. Like just a very simple connection right there. Of course, like not overlapping, but just having something there that makes sense is probably more than enough. Okay? Probably more than enough. It seems like these things are not perfectly not preferably lineup. It's just push this in. There we go. And we're going to have another piece. Of course we're going to have to mirror this mirror shift right-click and we're going to mirror this to the world and negative Acts 6 ft apply. And there we go. This guys. Armor and grit. I might paint some of these parts black again later on to, to break the shapes a little bit more. But to me that that looks like a nice compromise there for our for our legs. Now we can't really reuse this on the back leg because the anatomy of the back leg is a little bit different than this front arm, but it's almost there. So what I mean is we're gonna use similar things when we get to that part right there. So that's it for this one guys. I'm going to stop the video right here and I'll see you back on the next one. Bye bye. 38. Forearm Armor: Hey guys, welcome back to the next part of the series. Still, we're going to continue with the forearm armor, was doing some experiments here. Don't mind those. So today we're going to continue with this guy right here. And this is actually built in a really, really interesting way because I think this is one of those pieces that we can actually split into a couple of different sections. And that should give us a little bit more control as well. So the first thing I notice on this particular piece right here, I'm going to frame it here on pure ref is the fact that it tapers in on the top side of the element. And it pretty much goes and covers a lot of the sections right here. So I'm gonna grab this guy right here, Control E. Let's go to Object movement and scale them in a little bit. Not too much, probably just around there. And then on the other side we have something similar. So we're going to grab this three lines right here, push them up a little bit, control ie, push them down and scale them in a little, swirl. Just a tad. But that one is, you can see it's a little bit less than the first one. Now that we have this, I'm actually going to split this. So I'm going to select this edge right here, this edge right here, I'm going to say Edit Mesh detach. Remember that detach what it does. It separates the objects. And if we say separate, we're now going to have three different islands, right? So let's start with the site islands first, because I can see that they have a really interesting sort of like front view or something like this, this like blind right here. It's really interesting to me. So I'm going to combine them both because they're not close together. And we're going to control E and extrude them out like this. Okay? Then I'm going to grab these two guys right here. Then we're going to push them out a little bit more because I want to have a little bit more of an angle right here so we can get this sort of like extreme effect. And that's it. That's pretty much it for this guy is because what I can do now is I can just bevel them of course, two segments in this mole fraction. And that's gonna give me the first leg outer edge of this specific way. Now, yes, we can see that the top part and the bottom parts seem to be separated. And here's again where we can grab, for instance, this face right here, and this face right here, Control E. And just push this in a little bit. Because when we smooth things out, you're gonna give us the cut line right there. Now for this one, since this point is still in the center, we can just mirror. We're going to go object and hit Apply. And we're gonna get the exact same result on the other side. To avoid texture stretching, it's important that we add some support edges on the top parts. Where do we usually don't want to leave as much space here on the outside, so we'll just add a couple of extra lines there. That said like two lines right there. And that's gonna give us a nicer results. So that way, we're not going to get as much texture stretching later on in the texturing process. Now, it does have a weird, interesting line right there. I don't know if I want to add that here in the in the what's the word in the modeling stage. But if you wanted to, let me show you how I would do it. So I'm going to grab this face is right here, which are roughly at the center point. We're going to control ie, push them out a little bit. Then we're going to grab this edge is right here on the bottom part. And remember we can collapse this. Actually let me add the collapsed tool because we do use quite a bit. So we're going to collapse that one right there. And then this line right here, I'm going to push it in. So it's a little bit more in line with what we had before. As you can see, that can actually be little border there. And since this is a very straight like element, we can go to the right view. And what we can do here is grab our cut tool and cut right across and then add another one right there. And that's going to really sharpen that sort of like extra little detail right there. We really wanted to mark this outer edge. Of course, we will need to go with her Cut tool and create a new line here, really close to it. There we go. As you can see that Chris and interesting shelf like, is that useful or is that something that I would do for my own character if I were designing this? Probably not, but it looks interesting, especially when we see it from the other side. It's not a bad detail. Now, that little thing right there, That's definitely going to be done inside of inside of substance. Now, we can jump onto the next area or the next part, which does have a little bit more interesting features like this top cut right there and then little opening on the bottom side. And first thing we gotta do, of course, is just extrude this up. Now, here, we need to make a decision. Do we want this thing to be flushed out or flushed in with this parse like this. Or we want these guys to do when this guy rather to be flushed in like this, like which one of those is what we want. And to be honest, that's not an easy thing to come up with. Like not even on the front view. It's not really easy to tell me the kind of seems like these guys right here are actually like like this. Or rather it seems like this thing is, is like closer to this part right here, like that, right? So I'm gonna grab these three guys and push them forward a little bit. This one we need to push it lowered a little bit so it's a little bit more flushed with the rest of the elements. We might need to scale this in a little bit like this. And this thing is going to leave inside. This other elements, Let's grab this guys again. I'm gonna go to World so we can push all of them like for work without modifying the distances. And there we go. So you can see the most important thing for this part right here is that we have an interesting like W shape cut up there. So let's grab our cut tool. I'm going to press Shift to do a 50 per cent. And then it's gonna be like kinda looks like 30%, which will be like 70% over there. Yep, that looks good. And then we have like 50 per cent right there. Probably a little lower error of the there, there we go. So we're gonna go through that line in just a second and create that little shape. And down here, I'm gonna go to 30%, 50%. And we're gonna do a little window on this lower part. But first, let's do the W shape that we have right here. So I'm going to graph like manually graph DW shaved, of course, goals through both sides of the element like this. And now that we have this selected, we're going to double it because remember when we babble things like this, we get a very nice edge loop. We of course are going to make the fraction little bit lower. We have an guns. How do we eliminate those? Remember military, we go with uniform. That way we get a uniform cut under filtering section. And now we can grab this guy Control E, just push it in. So that's gonna give us the sort of like cut that we have up here. Now that we have that, we can focus on this other one right here. So I'm going to add two more lines, 50% both of them. And of course we're going to cut on both sides. And we're gonna get this Windows. We bridge those. Don't worry if that happens. Remember we just reassign or we can even assign the armor material already. And to clean this thing so a little bit more, I would definitely add a little thickness, very important with thickness. And a little too bright there. It's going to keep things a lot tighter when we start smoothing things out. So for this moving of this thing, we're going to follow, of course, very traditional processes that we've been doing so far. One on the back when at the front. Here's where things can get a little bit interesting. We need one here, one here, one here, and one here. Those are helping a little bit, but we definitely need to add a couple more here and here. Probably one more there and one on the top. And yeah, that's pretty much it. I'm just again going to F a couple of lines here to avoid a little bit of the texture stretching. And that's it. We're gonna get this very cool little chevron there. We might need a couple more elements right here. So 1,212,121.2, it looks a little bit better. And I'm tempted to bevel these edges to be honest. So just double them. That's gonna give me a sharper little window right there. And now of course we assign the armor material to both of them. And we also need to think about how are we going to attach this guys? Because even though we're not seeing them that much, this case seem to be a little bit wider to be honest. So I'm going to change this to 0. They're already in object mode. Okay? So you see the problem here with object models. If we do this the district quite a bit. So we're gonna go here and we're going to eyeball, we're going to press D to jump into pivot mode. We're going to eyeball that. And that way we're gonna be able to to give them a little bit more thickness and then push them back. Can I want to leave a little space right there because I really want to cover the legs like I don't want to be able to see the metal things on this slide right there. But again, we probably do need a connection point, right? Like something that connects both those guys. But let's just keep it really, really simple. It's a solid pieces, so it's never going to move, right? Like everything else is going to move with this. This is gonna be a solid, solid piece. So easiest way is just grab a cube. Let's just bevel the cube real quick. Segments in a small fraction. And we're literally going to move this cube across both elements like this. It's just the BIM data that pretty much connects. The leg bones are what we consider right here. The leg bones with the, with the rest of the elements like that. We can even add two of them to really support them, right? And this are definitely going to be like black rubber or something. So if we see it from the back, we can see that these guys are attached to this thing. This blade right here is attached to the side plates, so no need to move it or add anything, and that's it. So now we just grab all of the elements right here. Shift right-click, we call mirror and we're going to mirror this on the World x negative. And look at that. We've got this very nice looking. I'm plates with a little hole and everything in our lives looking chunkier and chunkier, which is the deal rightly, we definitely want this guy to be like a tank because he's gonna be defending everyone on the savanna. So thanks to this construction right now, things are looking quite, quite nice. I'm going to select all the geometry, just delete the history to make sure that we're clean. We can freeze transformations as well. Actually, no, we cannot freeze transformations on the tail because there's like rotations and stuff, they're gonna be inherited. We don't want that just yet. But at least on this, all of these guys, we can definitely freeze transformations. So yeah, that's it for this one guys. I'm going to stop the video right here and I'll see you back on the next one when we continue with this big box right here, this is a little bit more complex. It might take a couple of beers actually. Before we do that, I want to show you the cables real quick because there are definitely going to look really nice and it's super easy. I'm just going to create my curve here. And I'm going to create a couple of cables that go up into the, into the leg. We can go into control vertices and just like modify some of this vertices if needed. Like this. We'll grab this guy right here, push it to the side. Again. No need to make a lot of sense out of this thing, right? Like we don't need to be super specific about where they're connecting. So as long as it kind of makes sense, that's fine. This one is going to be on the left. Like this. We can definitely move the pivot point of this guy in the Lord's, this guy's a little bit. Let's push this guy up. So for this one, it's going to be one. We're going to have to decide how we're going to connect this to the leg over here. And then there's a second one. I'm just going to literally grab this curb and duplicate it, move it to the other side. Let's center the pivot point on the curve. And we can rotate this curve 90 degrees, or from this case 180 degrees, because it's a relatively clean curves. So again, it might be useful to just reuse. It's going to be the left one, right? You can see how it just touches this bar right here. And now if we grab both of them, we can use our sweet mesh tool to create the cables, which you can see right there. Definitely make them a little bit smaller. And that's it. Scrubbed the cables. So their history. And when we smoothed them, we're going to have a nice little cable going right there. Those might be the only kind of things that are going to be erected with Dynamics or with some sort of softer regular or something in order to, in order for us to be able to see a little bit of deformation, right? Like them tightening and moving. Look at that. The insertion point right there on the leg doesn't make a lot of sense from an engineering standpoint, but it looks, it looks just fine. We're just going to push this in a little bit to hide it. And yeah, that's that's pretty much it. Definitely going to assign the same sort of like black rubber material to these guys. And we're also going to mirror them. There we go. And we're, we're almost there, almost there. So the next part is going to be again, this part is right here on the upper arms or what would be the shoulders? Close to the shoulders. And the after that we're going to jump to the chest or so. Yeah. Hang on, tight tail to you. Back on the next one. Bye bye. 39. Arm Armor: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the arm armor. We're gonna be working with this block right here. Now, this is probably the trickiest shape that we've done so far. Because a lot of the pieces that we've done, our very flat elements, like the jaw right here, even that one right there. Cylindrical shapes like this one that was easy because we had to split it into two different elements. So we've, we've had relatively easy so far. This one is where things start getting a little bit tricky because you can see, first of all, we have some crazy looking pebbles going on, on the top side. And then we have some insects and another bubble right here. So again, it's a little bit complicated. So let's delete half of this. First of all, one of the things that's going to be a little bit easier for us to work with is to make this thing solid. Why solid? Because remember that when we're working with solids, we have access to other tools such as the Bevel tool. When you have an edge like this one right here, we can't really bubble it unless we have a solid piece. So you can see that here, there's a very big bubble in this position right here. So I'm going to bevel it right there. I'm going to go to the Bevel. We're gonna increase the fraction quite a bit. And then this guy right here, I'm going to press W and we're going to go to object mode to play around with the directions of this thing right here. Because remember we have frozen the transformations. We can create a relatively easily create this sort of shape right here. Then I'm gonna go with my Insert Edge Loop and we're going to insert an edge loop right around there. As you can see, it's, it's almost halfway, halfway, but not quite right? And if we then select this line right here, we extrude. We should be able to push this actually, in this case, local translate C. And I'm going to grab this edge right here and we W going to push it in because we want to have this thing be really, really quite flat. Rather we can also grab these guys and we'd scale going to component. Or in this case we can try going to not symmetry when they go along normals. Let me see we have over here. Let's reset the tool and let's go along normal. There we go. And just rotate this a little bit to get the exact thing that we want. Same for this ones right here are we can flatten them. And then we recover the sort of like very straight and nice line that we have right there. Now, I'm going to grab this edge right here and this edge right here. And we're going to bevel it to get that sort of shape that we have right there. Probably increased the bevel or they're a little bit more. You can see that it's kinda like flushed with this thing. So now that we know that we can grab, for instance, this guy right here and just collapse. Or actually to be honest, I'm just gonna go up this vertices and snap it to the next one right there. Same for this one right here. We're going to snap it with v, with the V key in your keywords. Actually, I think I haven't just Karnak in a while, sorry about that. There we go. So we use the V key there. And then very important, we need to grab all of the vertices, all of them and say in the modeling tab, of course, we're going to say Edit Mesh, Merge, going to merge the vertices together. So that gives us the first shape that we have right here, which is this fluid element right here and this one right here, I see another bevel on this one right here. So I'm going to add it just kinda makes sense to me to have like a like another bevel right around there. Now, that's the first like a beak shape that we have on this area. And of course right now it looks a little bit soft. We can go mesh display and hardened the edge to make it look a little bit like hard surface. And we get the basic shape. Now on the corners over here you can see that we have another bevel and that's important. So I'm going to add another line right around there. So they can grow that this two edges right here and Bevel them as well. It's going to create a really, really interesting breaking point right there. That's a little bit too much. So I'm going to use my fraction, make it a little bit smaller. And then this one right here. That looks quite nice. It looks really, really interesting to be honest. So I'm going to leave it like that. Again, it's a little bit interesting to see we have this other shape right here, which we're going to add in just a second, looking like an extra appendix on a separate piece, right? Like this whole thing is gonna be a separate piece in this area. Then on this part right here we have that cut out, which is also going to be quite important. So Midas, we're already like a library. They're not gonna be able to do it, of course, because we don't have a nice clean elements. So I'm going to cut right through that. And then I'm going to delete these faces. Use my cut tool to add one line right around there. And now since we have two faces here and two faces here, we can bridge. We've got two faces here and two faces here. And we can bridge is going to give us a nice clean up loop around this whole thing. And that we can grab again our CO2 and cut right around there. Then the one there right in the middle. And this guys seem to be going probably like 50 per cent. They think we go, we go 50 per cent on both sides. And of course, I can see that this You guys a little bit smaller, right? So I would expect this to be reduced. So for this once again, to keep it clean topology, we can just modify things. They're a little bit, we can grab these two guys right here, Control E and push it in like that. And that's going to give you both the indentation that we're going for. Very blocky. Like again, I'm not worrying about the angles that we have on this side right here. I'm not worrying about anything. I just want to make sure that we get the very basic shape. If we can get the basic shape to work at this stage, then everything else becomes a lot easier. Now that we have this, I can see that these things are kind of like flared out disguise right here. So easiest way to flirt this things out is to just push them back a little bit. That's going to give us a little bit of a flare out right there. There'll be one option. I could also grab these guys and maybe bring them in a little bit more. It's going to give us a really, really interesting break. Like right there. We do have those like little circles. It, it is possible to create a little silk goes right there. However, due to the way that topology is, is being placed right now, the way we have it placed right now, it is definitely going to be a little bit trickier than you might think. So those are the details, especially since they're so small. Those are the kind of details same for this bench right here. That will definitely add essay detail on another and another time. I'm going to add, there seems to be nothing that's pretty much shared, right? Like that's pretty much it for this whole thing. Now, the only problem that we have with this is that we need to actually create the thickness, right? Because this thing is supposed to be some sort of like thick element. There's going to be holding everything else. So I'm going to delete all of these phases. Careful they're not this one. I'm going to delete all of these phases to create a shell, right? We've talked about this before. How do we create a thickness for this shell? Where then press Control E. And we're going to use the thickness option to push this in just a little bit. Actually, we don't need us as much things for this particular piece. I think a minus -1.2 might be more than enough because otherwise we're going to start crashing. As you can see right there, we're going to start colliding with other elements And we kinda wanna keep it clean. Let's of course, reverse the normals. Maybe make it a little bit bigger, maybe make it a little bit wider. Just again so that we don't touch the metal. We can now definitely go into object mode, snapping to a central line. There we go. You get a little bit wider still. Now, that's going to house pretty much everything. Right? And yeah, that's that's looking quite, quite nice as a blackout. Now we need to fix the ambulance because as we've mentioned before, we have this angle is right here. But let's fix it in a list. Let's call it a relatively clean way because I don't want to just add like a lot of lines are gonna go all around the character or the element. So what can we do here? Well, we can actually try and see how COO, how can we reduce 12321, right? And that's, that's a very common like Topology tool or there is a very common topology trick where we create a square coming from the center face. Then we just loop this to the corners like this. See that? So by doing this, look at that. By doing this, we've successfully converted this three lines into a single one over here, while not adding a bunch of different lines going everywhere. It's a flat area. So even those like pinches on the corners are gonna be perfectly fine. And as soon as we start adding some support that justice is gonna look even better. Now, one thing I'm definitely gonna do here is I'm going to mirror this on the object mode x negative so that we can get the exact same pattern on the other side. And if we live history and do a quick test, remember with our mesh cleanup option, we're going to see that, oh, that's, that seems to be an angle. Okay. That's a really weird that we got a that was because of the mirror. You can see that like really weird line right there. And we have a couple of angles on the inside as well. That's fine. Those are very, very easily fixable. So how do we fix this? Simple? First of all, we delete the vertices that we don't want, or actually let me go back a little bit before the mirror. There we go. So I'm going to isolate this real quick. Let's first fix this insight thing as well. So I'm going to use my car to go from here to here to here to here. The little box, and then go to the course like this. There we go. And easiest way to do this is just let's delete half of this thing. And we mirror now. That should give us a clean result. Okay? Now again, if we give this a quick shot on our mesh cleanup tools, we are going to get a very minor thing there. It just an extra little point. Just delete that one and we have clean to patch. Now we need to harden this whole thing. So I'm going to start with my introduction loop, and I'm going to start going on this ones right here is first. You could try, although I usually have issues with this, you could try using object x symmetry. In this case, it is working, which is great. Sometimes it doesn't work. So if it doesn't work, you're probably going to have to do this manually. I look at this, one of the beauty about is the new topology change that we did there is that we're not going to have to send this lines all the way to the bottom because they're gonna be held by this initial elements. We of course add some supported it just to the whole war. There we go. One right there for effect. And this should be pretty horizontal lines. So one there and one here. We can add the one right there. It's going to keep it really, really nice and sharp. Another one right there, perfect. One right here, one down here. Nice. And now here's where things might be or might get a little bit complicated, right? Because if I try to insert one right here is going to stop on the triangle. And the second one that I tried to insert, it is going to work. It's going to give us a really weird pinch. So here's the trick for this particular area. I'm going to grab the triangle, so I'm gonna delete them then with my Insert Edge Loop tool. Now, knife tool, which whichever you prefer, we're going to insert one right there and one of the sides. And as you can see, that really is going to work quite nicely. This one more here. Just stop right there. And as you can see, that makes it look quite, quite nice. However, the topology here, it's a mess. So what we can do here is just select this field, the whole, right? And if we press number three, we're gonna get this thing which is not bad, it's not ideal either. I know some people like to just grab this thing and go mesh and triangulated like not carrying what we get. We're gonna get a, not that bad a shape. One more thing we do here is we answered a natural. And that's it. We get this very interesting cliche. Yes, there's a little bit of a weird topology going on there. But as long as we don't have, what's the word, as long as we don't have any sort of angles, we should be fine. Again, we can try adding another cut right there, going through the middle or we can treat it as like collapsing some elements. I don t think we're dead bad actually like having this triangle float this way. It's working fine. You can see like we have this edge right here. We might be able to delete that one that will clean up things a little bit there. That yeah, that's that's pretty much it. I would probably add one line right here. Used to sharpen things a little bit more on that specific area and look at how clean this whole thing looks. Not bad, right? Probably one more line right here. And that's gonna be it. That's gonna be the main shape right there. Now, this shape right here, very easy, very easy. We're gonna go to the side view. I'm going to go to my Create Polygon tool and it's like 123 all the way down. And then we go to the border. We go here and we go up. And like right there. So we get this shape right here and we can start just like flatten things, rotating them, scaling them and just getting some nicer and nicer lines actually come out like this thing. The concept, we don't see that that much, but I kinda like it going a little bit further in again, kind of like a like an extra layer of protection right there. We can still see the bevel. I'll probably push this vertex down so we can actually see the bevel. So I'm going to keep it right there at the corner. Along with that one as well. Maybe get it closer. Follow the shape of the element. Quite nice. Let's delete that one right there. Actually, we need it. We're going to have it right there. And that with a knife brush. Let's just create a very basic, very basic shape, as you can see right there. Control E, extrude this out. It'll be this extra platelets going. They're giving us some interesting angles. I'm actually going to grab this edge right here, which seems to be babbled. And let's bevel it a little bit concerned about the fact that we're gonna get some a couple of angles right here. It's not the end of the world. We know that we can fix them. So this one goes there. Then than it does get tricky, right? Because we're going to have to, or actually might be a better idea to just go around and meet with the other angle on the other side. There we go. That's a lot better. That way everything is soft. And this one would just be able to segments and small fraction. So when we smooth this out, it looks perfectly fine. Now this does, does have a circle right there, which I do think we need to add. So before we do the bubble, this is a lot easier. We don't do any like weird things first. I'm going to assign a new, or I'm going to introduce a couple of edges right here. Remember, for this kind of stuff, we need at least four faces. So this guy is right here. I'm going to say mesh or Edit Mesh, circularize, maybe rotate them a little bit. Control E, Offset. Control E. I've pushed this ear. That way we create a nice little circle. We can do another control ie already there. And maybe even like a bevel right there. And that's what we get. Now since the topology got a little bit more complex, it might not be a good idea to double everything. So we're gonna go with traditional shops right here. This is going to harden all of this like strong angles that we have on this particular area. Give it a nice straight element. Now here, careful because when I do this one right here, you can see that this one is actually going to go inside the circle. But we need it because we need it to heart and this corner over here. So how are we going to avoid this from influencing the circle right here, what we're going to collapse. So we're gonna go to this guy right here and this guy right here. And we're going to collapse all of those. And yes, we're gonna have a triangle right here going into the actual of the circle. But that's going to allow me to keep a really tight and clean circle right there while having support edges that go all the way to this area. Now from a texturing perspective, again, we can just add a couple of edge loops right there and one more right there. So that when we do the tax restructuring, we don't get a horrible thing right there. Once we have this right here, this is very interesting shape. Of course what we can do is we can grab this and move the pivot point. Very important. Let's isolate these two guys right here. I'm going to center the pivot point for this one. And I go to the front view. And I'm going to move the pivot point with D to the center of this shape. So that when we mirror, we're going to mirror from the object, which is gonna be on the center of that shape. And we're going to get this detail right there. Look at that beautiful piece. Not bad right now, fricking Beth. So with that, we've successfully created this piece which I really like this sort of like wings style thing that protects the mechanisms here a little bit. Yeah, we're ready. So this one, for instance, I think will be or would look good as a, as a rubber thing. And then this one would look good as an armor piece. We've grabbed both of them, delayed history, and we're going to mirror now on the world axis. And again, we're looking for this sort of chunky feel for the whole thing, which in this case I feel like we are getting there. It kinda seems like we need a little bit more black somewhere. So I'm gonna grab this guy is right here. I'm going to make this rubber so that we would create a little bit of a balance. So on this one, the side ones are rubber and the central one is armor. And then on this one, this side wants our armor and the central one is rubber. Again, just playing a little bit there with the balance of things on this one, I am actually attempted to do something similar like maybe this front cap or something could be made out of rubber. We'll take care of that later on under texturing process as well. Remember that this thing is right here. This green elements are pretty much like welded to the mainframe or to the box of the character are going to remain there. They're gonna be slightly covered by what? They're going to be heavily covered by domain. And of course, all of this place right here. So I'm going to stop the video right here, guys. And in the next one we're gonna do this little plate that we have right here. We start with this one and then we're gonna be building from the top part all the way to the bottom. So yeah, hang on tight and I'll see you back on the next one. Bye. 40. Chest Plate Modelling: Hi guys. Welcome back to the next part of the series three. We're going to continue with this at chest blade right here. And this just put this actually really, really cool and really easy. It's one of the pieces I will say because it's already there. Now, one thing that I notice what this one is that we actually rotate it a little bit. So I'm going to go back to rotation zero. We'll careful there. Let's delete this other half right there. And you might remember that we rotated. This easiest thing to do, to be honest, is just, let's, Let's get rid of cemetery. There we go. Grab these guys, shift, select everything else. And there we go. We got flat faces. Then we grabbed this flat faces here and we are, which is a scale it down back so that it fits the world. That's it. That way we are sure that this is perfectly, perfectly flat. Now, I'm going to rotate this thing like this. I'm going to grab this edge right here, move it down from the world axis. So that's balanced, right? And we're going to mirror this guy because as you can see, it's like it's off. It's off. It's just off. Let's go world again here. Flooding this up, flooding this up. And the, ideally we want this team to be like really, really, really straight. So actually, let me show you this. It's a little bit of what we're repeating, a lot of stuff here. But it's just easier to rebuild this and make this a little bit more precise. So I'm going to move this like this. There we go. And now that we have this, we can of course a mirror this on the negative axis from the bounding box and hit Apply. Well, that's really weird. Let's do a very quick freeze transformation. Delete history. There we go. So now we have the shape. This is the shape of the word looking for. I think this should be a little bit sharper. So I'm gonna make this a little bit sharper, a little bit smaller, something like this. I'm just guesstimating here. Of course we can go to our actual element and we can fit this. Tried to get as close as possible. Sorry about that. So to get as close as possible and then bring the rotation back to zero. Why do this? Because it's a little bit easier to model what we need to model when this thing is like perfectly straight like this. It seems like the vertices right there and not merchants, merchant together merge to center, both on the top and on the bottom. And there we go. Now, this is a slightly different because you can imagine that the inside part is going to be really flat, but then the outside parts come like a bevel, right? So I'm gonna grab this guy is Control E, W. I'm going to push them out. And then I'm going to scale them in just with the traditional skill right here. And this is gonna give me the effect that we're going for. Now, this central edge, I'm going to actually make it slightly smaller because you can see this sort of like straight line going across the whole thing. So slightly smaller. And we're going to get this definitely going to bevel the outer edge because I hate having razor sharp edges. So I'm going to bevel this. Given the feed goes inside like that, I actually really liked that sort of like shave that we have right there. Probably a little bit less, something like that. There we go. This is pretty much the shape that we're looking for. Now, the main details that we have is that this band right here, which is actually another element like we don't actually need to model this in the circle, which is debatable whether or not we want to have this as its own little piece. I think it might be valid to have with us its own little slot. And then at this cut right here, right like that one definitely needs to be modeled in. So I'm going to add one line right here with my knife brush and pressing Shift. So it goes exactly the 50%. And then it definitely seems like another 50% there and another 50% right there. On the center here, we can already start adding some lines for our circle. Let's go. That one's a little bit more closer to that, like the 60%. So let's go 40% there and see 80%, 70%. There we go. That's a lot better. So this guy is right here. We're going to circularize or workshop. We can delete this, grab this edge, and circularize mesh as circularized. There we go. And we should have this very nice, interesting effect right there. Of course, control ie, Offset, Control E forces in, control E offset or in this case thickness, and then fill that hole right there. Some people might be like, well, we can just poke it right leg. Let's just poke it and we're gonna be fine. However, we actually would benefit from continuing the edge flow. Because since we're going to have to cut over here like this, this thing right there. It's going to, it's going to allow us to really utilize those edge loops to go through other places. So now we can go to this guy right here. I actually want to make it go a little bit wider. And we can grab this edge is very similar to what we did or what we've done before. Let's grab the edge is going around. We're going to bevel. We're going to of course go to the options, two segments and the small fraction to create the actual loops. And we're going to change the filtering to uniform. Actually, let's go back to one segment. There we go. And that's gonna give us the disorder like Ashley though we want right there. Now we can grab that edge loop that goes through both sides, Control E off. So just a little bit and push this in so that when we smooth, we get a nice cut edge. Right? Now it's time to add our sport edges. So let's start. Let's start with a knife brush here. We're going to add one right there, one right there, one right there, and one right there. That's gonna give us the nice sharp look. I'm going to add one right here and one right here. It's gonna give us the sharp look right there. A couple of edges here again to keep things uniform, we already know that one right here and one right here should pretty much hold most of the edges on this site. That seems to be working fine. And then on this side, we're probably going to need the one right here. You can see here, here's where we're going to need one right there and one right there to really give us the soft effect we want on this part right there. However, as you can see, we're having the same issue that we had before, where this lines are running all the way to the other side. We don't want that. So here's the trick. Let's go back a couple of steps. I'm actually going to delete this line or this phase right there and delete that face right there. And on the other side, same thing, I'm going to delete this face and this face. Okay? So now when we insert the edge right here to sharpen this line, it's going to stop where there are no faces. Then we graph that edge right there. We collapse it. We grabbed that the tree there we collapse it. Same deal over here, same deal over here. And we just bridge from one side to the other, like this. We bridge from one side to the other lightness. And there we go. We're going to have that little picture there. Nothing to worry about. It's very noticeable and we're going to have a super clean circle with our cutout right there on the middle. Now I can kind of see this lines like going a little bit higher. So it's kind of like sharp on this side right here. And this is again where the non-linear band, or sorry, the lattice is really useful because we can insert a lattice tool. Let me very quickly save. There we go. So we can do the form, insert a lattice. And on the options here on the lattice, we can add one more division on the division and grab this lattice points right here. And push this up. As you can see, this is gonna give us see sort of like, I don't know how to call it. Actually add three lines here as well. Because it really lets go to a top view. I really don't want to like pull the edge. I just want this guy right here. So as you can see, this keeps the edge like tight. And we can do this to give this very nice interesting effect to the whole piece though, the history. And there we go, our very nice like plate, this is ready to go. The only thing that we're missing is this piece right here. And we can actually just get it from these pieces. So as you can see, it goes pretty much to the halfway point. So I'm gonna go to the right view. I'm going to select this piece is right here. Probably. We probably don't need to go to the front view. Probably don't need this face is right here. Maybe this once we do, we go, we're going to say Edit Mesh. And we're going to extract, or sorry, not extract this mesh. Or I didn't mentioned in duplicate. There we go. Push them just a slightly up. There we go. So we can select a little bit easier. And I'm going to delete some of the sport edges. So we can work with a low poly version. First. Let's go to the right view. You can see how this thing like follows the shape of the element, but then it becomes thinner. So let's make it thinner. We can even like just delete this guy right here. That way we only need to control this. And we're going to get the sort of thinness that we want, which is probably about there, seems to be a little bit thinner as well right there. And that was just a matter of control. E thickness up. Give this like an armor pieces like a attached to the whole thing. Let's pebble segments and it's more fresh. And there we go, we get the very nice-looking piece. And now we can of course grab these guys and just tend to feel with points and position them with the proper rotation and everything that they need right now I'm going to keep them like this because we're going to still need to do more stuff. This one is definitely going to be armor, and this one is definitely going to be black rubber. So, yeah, that's pretty much it for this section. However, we're not done. We're still missing that little cylinder that's going to be pumping out, which could also be like black, right? So I'm gonna select this edge right here. And this face is right here. I'm going to say Edit Mesh and duplicate. Push them up a little bit. Let's assign the black material, black rubber. Let's turn off the materials for just a second. So real quick. And then this one we're just going to extract out, right? Because it's going to give us this very nice. Look. Here we go. Let's do a little bit of tightening so we don't need the back faces. This is one of those parts. What I would probably delete the back faces because we're not going to be seeing them. This one's verbal them a little bit. And then the fraction small segment. There we go. We've got this and as you can see, we have two little indentations right there. And I think it might be a good idea to add them. So what I'm gonna do here is I'm going to do an offset on the elements right here. And I'm going to smooth this permanently. So I'm going to say Mesh a smooth, which is gonna give me way, way more pieces. Now that we've got more pieces, we can grab this case right here. For instance, Control E, offset a little bit, Control E pushed up. And one more. There we go. Now when we smooth, we're gonna get the result that we're looking for. We can take a look at the things without the elements and look how beautiful dad ******, Look right now, Beth. So yeah, that's pretty much it for the back plate or for this plate that we have here on the chest again, we're gonna have to like properly placed it and stuff. We go to the right view. I think we're a little bit small. So I'm going to grab everything here and just freeze transformations. Center the pivot point for all of them have been grouped. This to be honest, central pivot point for the group. And just play with the shape of the element. Looks like don't, don't scale it or anything. We can just play a little bit with the shape. And that pretty much captures the whole, the whole thing. So, yeah, now of course we can grab the whole group and just a mirror this to the other side. Let's do x 0 World negative. Same for this one, we're going to have to go world x negative. And this one we're going to have to go world x negative. There we go. So that allows us to have both pieces where they're supposed to go. And again, the character is looking chunky, looking very, very tacky, which is the main idea behind the whole, the whole guardian thing. And even though we are getting quite high on the poly count, so quite manageable like with everything on the single low poly version, you can see that we're only at 21,200.19 thousand polygons, which again, it's more than fine. I'm going to repeat this once more. I know I've said it before, but just so that everyone understands, we will, we might read this in the future, not necessarily in this course right now, but we might read this index rig this in the future. And when we read something like this, you usually work with something called a proxy, which is like the base measure, the blocking that we did so that animators can animate everything with the proxy that Maya is not struggling with a lot of polygons. And then the proxy gets replaced with this, I would say high poly element. And then at render time, activate the rendering option data. It's going to sub-divide all of the pieces and it's gonna give us the best possible result to go. Again, believe me, when I say you that this is the amount of polygons that you might be doing with really heavy pieces like this. Of course we're not going to just like sub-divide them for the sake of subdividing. If we can save performance and save some pieces, we're gonna do that. But it's, it's relatively normal to have a high density of a folic count like this when we're working with a high character like this. So let's do a rather I think I render is garret will not guaranteed. What's the what's the proper word? I think we can do a render because we've advanced quite a bit. So let's do a very quick render right here. There we go. Look at that view, the foveal, if it's looking again, nicer and nicer, I do think we definitely need to smooth a couple of things. So let's, let's try it. It's gonna be a little bit heavy, but let's try it. Let's do a select all by type geometry. And let's press number three. We're gonna go into almost 4 million polygons, but it should be working fine. Oh, except for this guy. So of course, because that's the new blockings. Let's render again because I really want to see the detail on this pieces and a lot of the detail only shows one, we are really sub-divide the elements. So yeah, that's it. Look at this. Not beth, not bad at all. So I'm going to stop the red right here. Let's save this image to compare to the rest of the elements is going to be guardian nine. That's it for this one guys. In the next one, we'll continue with the chest. So hang on tight and I'll see you back on the next video. 41. Upper Back Modelling: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the upper back off the character. Let's turn off all of the materials for now. Let's of course, turn off our render setup and bring back on our image planes to write here, there we go. So what I mean by this upper plane is at this part right here, and probably this little part right here, which are easy models. And they're going to help us see how everything is just looking right here actually already has a very similar construction to a work going from just going to adjust the vertex right here a little bit. And this line right here is a little bit problematic because as you can see, it's really close to the circle. So that means that if we wanted to do something similar to what we did with the big plate over here. We need a little bit more space. I mean, it is possible to do it, but we might have some issues. So what I'm gonna do is I'm going to insert a natural right there and right here. And it should right here. And then really close right there as close as possible as I can to that particular place. One more right here, and one more right about there. This, as you can imagine, will give us the necessary faces on this piece. Now, to keep things a little bit cleaner, like we already know that this is the thickness that this element is going to have. So I'm just going to add a line with my cut tool right at the 50% mark. Delete half of this and delete this guy right here. That way we're not going to be worrying about the back faces. And we can work with this ones right here. Control E. And I'm going to offset a little bit, and then I'm going to delete. Now here's where the issues are going to arise. So when I select this guy and I say circularize, we're going to have to scale this thing. Does, you can see it doesn't perfectly fit, right? And I do want to have a perfect fit right there, but that means I'm going to have to move this thing back like this. Now this is fine because this element is completely flat. But be very careful that this lines, especially here on the element, is not gonna be perfectly, perfectly aligned. This is because the closer we get some of the vertices, remember the tighter the circle is going to look. So by moving these things to the side a little bit, we're gonna make sure that we give a really sharp edge right here on the top, while still keeping things nicely on the circle. Like place right here. I'm going to make this a little bit bigger, just get as close as possible their control E offset to create a very small edge loop right there. Control E, push it in, control E, thickness there a little bit. And then in a very similar fashion to how we did the other piece, we're going to fill the hole, but we're going to use her Cut tool to just cut from one side to the other. That way we're keeping the, the topology flowing. And if we need to add support edges, they're gonna be able to flow through this circle right here. So now that we have this, and since we already have the button, might be a good idea to get the button already. So I'm gonna grab this guy right here and this four guys right here, Edit Mesh. And we're going to duplicate, of course, forces up a little bit and then just extrude this all the way up. So when we smooth, we're gonna get the sort of like nice effect that we want that has a nice little like detail. So of course I'm going to bevel this thing. And then I'm going to grab this guy right here, Control E offset that once, Control E offset twice. And then this guy right here, probably this one as well, control E, Offset, Control E and push it in. That's going to give me the effect that we're going for. Now. I'm actually having the same issue that we had before where it's too soft. So best thing we can do here is just grab the object and say Mesh and smooth. That's going to give us way more geometry. And then with this new geometry that we have right here, it's going to allow us to get this guy in there. And that's going to look a lot closer to what we have on the concept that we go. So that's gonna be our element now, to save a little bit of polygons because we do have a little bit too many. We can just delete that caps here on the back. Just expand this a little bit so it's a little bit flatter. And there we go. Now we have this very nice, very nice looking cylinder shape. On this area. We can make a little bit flatter, push it up. It's all up to us how we want to modify it. Now, other than that, because this piece pretty much seems to be ready. To me. We have this extra like cover piece on the back, but we're going to extract it from this one. So we're gonna go to the right view. And what I'm gonna do is I'm actually going to duplicate this piece. And then I'm going to select two of these pieces. Go here. With the Cut tool. We can add some elements right there and use the points that we have right here to model the silhouette of the piece that we need to add, the armor piece, right? So it's gonna go right around there, right around there. And yeah, that's pretty much it. Now, we just delete all of these pieces over here. Well, the extra faces that we don't need. And we're going to have this interesting piece right here. Probably going to delete this lower part as well. We're just gonna be left with this guy right here. From, again, from a modeling perspective, it's a good idea to add a couple of more like edges right here. But before we do that, remember that the simpler the element, the easier it is to do the, the thickness option. So we're just going to make this a little bit thicker. Probably something like there, there we go. Isolated real quick. Let's grab this inner edge loops that we have right here. And of course we're going to mirror on the World x and negative x. And we're going to get this shape right there. It doesn't have a lot of like elements. So just like bubbling everything might be a good idea. Let's just delete history. Let's throw in a pebble. It's not really working. If it's not working, the problem means that we have some errors on the topology. So let's, let's check this out. It's really weird. Let's go back. There we go. There we go. Let's history again. Just going to grab all of the edges. Let's read bubbling there. Okay, So that means that the bevel, the edges are like way, way too far apart. The Bible can't really find a way to to make it work properly. No, no worries. We're just going to press number three and we're going to start adding our supportive. Just for instance, we can do an offset right right there. And then of course with our inset can do the borders. So one right there and one right there. We do one right here, one right here, one right here, one right here, one right here. Oh, there we go. Look at that. Yeah. Okay. So my bad, That's my bad. Actually, let's let's go back real quick because you can see when I press number three, this is perfectly fine, but something happened here. Like something really weird happened there. Now we can actually, I think we can solve it because it's this face right here. So let's just delete them. Let's delete some of the support edges here and we can very quickly rebuilt later on. That should be a very basic like block. So I'm just going to feel whole. And then with my CO2, we're going to cut from that point to the back point. There we go. So now, so now it's a clean up point right there. And then we do our offset tool again. We're going to recover that element. Of course here we are going to need the one right there. It goes across both of them. What the **** is happening here? Let's try this again. I'm not really sure why that's happening because as you can see, the sea clean topologies is clean. Clean up blocking. Let me delete history just for the I don t think we have any angles or anything. Okay. Okay. Okay. No, we don't have it then gone, but we do have some there we go. That as the crazy Brzezinski that we had right there. So yeah, unfortunately, I don't know why this happens, but unfortunately the mirror tool, sometimes we'll add that extra polygon even with the proper settings. I've tried a lot of different variations and I always get that affect every now and then. So it's just a matter of being very, very careful about where we place our stuff to make sure that we don't get that sort of problem. There we go. Again to help a little bit of the texture stretching. Let's just add a couple of lines right there. And that's gonna be our main element. Now we do have a hole right there. You can see that one right there. However, unfortunately, the topology is not ideal to get that whole in there with with modeling gummy, we could of course, but it's just going to stress things a little bit too much. So I'm going to leave that for the for the, what's the word for texturing? Now we'll just mirrors this thing again. Again, I use points, use one brush border everything to make sure that we get the proper effect. But even then sometimes we'll get an extra vertices. So it's always a good idea. I'd like to just smooth my objects and then go into vertex mode. And you should be able to pinpoint if you have a, a vertex like a crazy vertex doesn't seem like we have it right now. So let's just at the domain lines that we need. So it's gonna be one right there, one right here, one right here, and one right here. That should give us a really clean effect. One right there. That said again, just to help with the texturing, stretching, Let's add like 123 right there and just like one right there, maybe one right here. And that's going to work a little bit better. First number three. We get this very cool looking effect. This one, we of course do a mirror. No issues because it's not gonna be like pasted or anything, just gonna be on the top or on the back. And there we go, we get the very, very cool detail. I kinda want to add detail, like another detail to this guy right here. So I'm going to alter the line. And then I'm going to do what we've done before to add a bevel. So we're going to select, like I'm going to click and then Shift right-click on the, on the backside click Shift, double-click, click, Shift, double-click. And then we just select that one. And that one. We bubble. Small fraction. Got everything here, Control E, Push it in a slightly. We can try thickness to alleviate a little bit of stretching us that we get from the support edges. But there we go. And then maybe just add like one support that's right there. We don't need as much. There we go. So it's just a small little detail, right? But those are great for like the like the dirt in the middle edge work and stuff once we go into texturing. Now this one actually kinda, kinda make sense to have a section line as well. Let's actually do the trick we've done before. It gets remember, so I'm gonna select this line right here. I'm gonna say Edit Mesh, and we're going to detach. And then grab this one. Just push it in a little bit to one side or actually to the other side. And then push this one a little bit to the other side, grab both of them, control E. And we're gonna do a thickness to the inside. And then we're going to cross them. Like as you can see, they're gonna be like really close together. So when we do this, we get this very interesting section line right there. And it's a little bit cheaper because we're not going to have to add. A lot of elements. Might be just add one level right there and look at that. Now it looks like a like a like a section line, right. Like something that we would expect from a car manufacturing process or something. And yeah, that's that's pretty much it. I can imagine like maybe you take these things out and then there's a big boulder, something. And then when you remove it, you can take this piece of art. And that's it. Let's go to the bottom view. To this piece right here. This is probably one of the easiest pieces we've done so far. I'm just going to position the points a little bit closer. I want to like other bevel, to be honest to this edge right here. Of course. Let's delete the other one. So I want to grab this edge right here and just bevel it. Of course not that much. Something like that. And we need to fix it, right? So easiest way to fix a gun is to connect it on both sides as we've done before. So we just connect it on this side, and there we go. Now, if we want to be super, super clean about this, well, we can do is delete half of this. Flattened this, if it's not flattened, like make sure it's perfectly flat. There we go. Then extrude again. That way. The front and the back vertices are exactly what they're supposed to be. Now we do have a circle and this one, I do think it might be a good idea to have it as an actual circle. So I'm going to add one code right there. One could write their own code right there. One could write their own code right there. And one corridor, we need our eight cuts. Let's delete this guy right here. Both sides. Select this guy, mesh, circularize, circularize both of them, and then select both of them, control E, offset a little bit, and then Control E and push in. And then we bridge. Then if you want to keep things symmetrical, we can just grab that ring right there and collapse. There's gonna be a symmetrical ring now. And we're probably going to bevel this little edge right there. And that's it. That's pretty much it. I kinda want a bevel, the whole thing. So remember when we rebel, it's a good idea to select every single site, so close the loop so that we don't get any any handguns. We bevel something like that. And now we start adding our our edges, right? So 1234, 567, 891-012-1415, and texture stretching. There we go. That's it. We get this very cool looking sci-fi plate is going to be protecting the inner side that I remember we were saying that this guy is gonna be like, like right around there, right. Let's go to the right view. That's where it's supposed to be. So we're going to have this big plate right here, which is one of the main things is that we need to model this, this big guy right here. And that's pretty much it. Yeah, of course mirrors this to the other side. And there we go. Let's turn on our colors. Like giving this guy some color. So those guys are going to be armor. Then this guy is going to be black rubber. There we go. So yeah, little by little, we're building our line right here. Now. I just know that there's another very similar plate right here. See this one right here. So we're going to have to do that one as well underneath this thing. But we'll do that after this piece. I think this is the next piece that we need to do. We're going to do the ribs piece. We're going to need to we need to position it properly where it's supposed to be like with proper inclination and everything. And the Amsterdam, we're just gonna be missing this guy and this guy. So two more big pieces here on the chest area. And we're gonna be done with this chapter. So make sure to get to this point, guys. Make sure to increment and save to have some backups of your of your stuff. I would hate to know that some of you guys got a corrupted file or something. So make sure to get that and I'll see you back on the next one. Bye bye. 42. Side Chest Armor: Hey guys, welcome back to the next part of the series. Today, we're going to continue with the set aside a chest armor, which is this one right here. I'm actually going to delete it because that was a very basic blocking that we did. And you can see that this sided chest actually has a very similar language shape to this one right here. So it has this very nice flaring thing than a couple of cuts right there and it goes back. So we're going to trace this. I'm going to go to my poly Create Polygon Tool. And we're going to trace this piece to get the exact sort of like babbling effects. There we go. I can kinda bevels on the top as well. So we're probably going to go like this. And then like this, there we go. So that's roughly the shape of the main plate. Now, the important thing other than that, this detail which is just a bubble, like, I love this. We can either damage or something. I don't think it's a cut line right here. Or at least it doesn't seem as the strongest or cut line is more of the bubble effect. The important thing is this piece right here, which is a little bit tricky. So first we need to solve this piece right here, and we've already done something similar. We can just offset this with Extrude and then push this up. And that will solve our problems right there. In regards to this, the sites of the piece. Now, very important here. I definitely want to bring this center point, that point, and I want to bring it to where it's supposed to be, which is roughly about there because I really want to give it the thickness that chunk ***** that we need, which is I think something close to this. Let's bring in the skeleton so that we can see where the skeleton ends. There we go. So it's definitely going to have a little bit of an inclination later on. But right now we're going to keep it really, really simple. So something like this. Now, I kinda want to push this thing in and give it a little bit of a shelf like this, similar to what we've done before. And then now we need to solve the issue of the angle and right. So this big, huge angle that we have right here, super easy or relatively easy by using our cut tool here. And just like creating squares where we need them. So for instance, this one right here, Let's just bring it up, up and around right there. Like this one. Very similar process just like that. And then we have this one right here. Again. Let's keep it simple. Like roughly following the shape that we have over here. And that's it. With that, we pretty much have solved the issue of the, of the angles, right? Like everything is a square, everything has proper topology. We know we can make things like add this board edges where we need the big piece is this one right here. This is the tricky one. And then I'm going to show you a slightly different trig. Now, what I'm gonna do is I'm actually going to model this thing with a Create Polygon tool first. So we're going to model this thing right here like that. Then we're going to make sure that we have the proper construction and modelling of this piece. And then we're going to integrate it to the big piece right there. So the first thing I see is that this thing has an offset like that. And then the back face, of course, we're going to delete it. There we go. We should have this very clean piece. Let's go to the right view. And you can see that these points are really, really, really thin. It's not perfectly, perfectly straight or balance. It's going to have something, something like this and then this edge right here. We're going to push it right there. Grab this vertex, and keep it right there. That's gonna give us the effect that we want. It's kinda like one of those things that they add on top of cars, right? But I do want to keep it integrated to this piece. I want to show you how it goes because we could just like literally pasted this right leg on top. But that's not going to look as nice, right? So let's, let's really integrate this thing. Now. I'm going to grab the outer edge. I'm going to extrude it and give it a little bit of offset to create this sort of like insertion point. And then this case right here, I'm going to extrude them, offset, give them a little bit of thickness. Well, maybe not that much opposite very simple offset. A little bit more thickness. There we go. That's gonna be roughly get. Then this fish right here. I'm going to push it in. But then what I wanna do is I want that collapsed these two guys right there. So we create like a, like a thin effect right here and then it goes into a deeper group right here. I'm not even sure that would be like aerodynamic again, I'm not an engineer, so don't, don't quote me on this, but this is the general thing that we're gonna be doing. Now, the problem is that if we smooth, it looks horrible, right? So what I'm gonna do is the following. I'm going to create a new line right there. And I'm going to delete this loop that we have right there. So now it's an empty loop because I want to keep this super simple, but I do want to like add all of the details and the bubbles that we need to this corners right here. Careful here though, you can see the, there we go, just going to push the library there. So I'm going to grab all of the corner pieces, all of them. And we're going to bevel. Actually, oh, that's that's fine. We can even grab that one right there. And let's grab that one right there. If we babble. And we are, of course, two segments in a small fraction when we smooth, this thing is going to look really, really clean, really tight, right? Then of course we need to add a couple of support edges. So one right there and one right there, one right there, and one right here. And that's going to create a really clean looking shape, which is what we want to insert. However, we have a lot of lines here and I don't want to insert all of these lines into this big piece right here. So that's why we added this loop, because we're going to go to this corner right here. We're going to collapse to the center. Or, or in this case actually something that's gonna be a little bit easier to be honest. Let me, let me isolate this so we can work a little bit cleaner. So I'm gonna, I'm gonna do a bridge from this guy to this guy. From this guy to this guy. The original sites. If you guys remember, we're going to be left with that very interesting triangle right there. See that? And the way we're going to solve this, we're going to fill the hole. And then with my CO2, I'm just going to do this. So it's gonna be a stitching technique where we stitch that to the corner of the piece. In that way, we avoid having to send all of those like a bevel edges into the topology of the other guy. So feel home. And then with our CO2, which is cut from there to there. Similar thing right here. Feel whole. And we cut from here to here. Over here, we do the exact same thing. We fill the hole. And then with my CO2, we got from that little point to the corner. There we go. So now when we press number three, as you can see, we're gonna get this super-strong face, right? Oh, the **** is happening. There. Should be getting things clean here. I'm going to do another edge loop here. Control E. And just another edge loops should be like a straight natural. There we go. We're getting a weird interaction here. I'm not sure why that is happening. We have a crease yet or do we do a crazy cut? I don't think so. Everything seems, or it looks fine. Let's find this face. This face right here. So that tells me that there's something wrong with this face. Let's just delete it. That's really weird. I'm not sure if it's because it's very thin. Let's give this some thickness. Now it's not the thickness. So this means that there's something wrong with this face are with this area. And it's usually because we added more polygons that we should. So if you click and just move things around, Let's do a delete history. That's really, really freaking weird. I'm going to delete this guy again. That's solves it a little bit. It's definitely on dislike corners right here, so I'm gonna delete those corners. There we go. So as you can see, that's one of the issues took those corners, right? There are causing some issues. If we get rid of those things are a little bit better. Let's add the one support edge right here away. The second is that all the other letters because that's the triangle. Okay, I'm gonna go to the right view, and here's what I'm gonna do to try to solve. Because I also think that's because this is really, really long. So I'm going to grab my cultural, I'm just going to give this a three cuts right there. That should also alleviate a little bit of the texture stretching. And then now I'm going to grab this edge, Control E. Just push it out. And then Control E again and just push it out again. And then these two guys, we can merge the center and same for these two guys. Rush to center, emergency center. We're getting the same sort of issue. That's really interesting. I'm pretty sure it has to do with the like Dell, the level like once we do this very big shape, as you can see, we're not going to have that much of an issue. So once we combine this with dementia, we should be fine. Let me just rebuild this real quick. So I'm going to again feel whole and then grab my CO2 from here to here. There we go. Same thing over here. We just got from here to here. There we go. So now that we have this shape, we can grab both of these phases or this shapes. Well, I'm gonna do is I'm going to move the pivot point of this guy to like this distance right there. Then snap it so it's right on top of the element. And this element, of course, we need to create enough divisions for this to fit. So I'm going to add like one line right there, one line right there, one eye right here, and probably a couple of lines right there. We might need to move this edge a little bit lower. As you can see, we're building up the sort of the connection point for the whole thing, right? So we're going to be we're going to be stitching this new piece, settlement. And since it's a flat piece, we can actually play around and move these points around. Like if you want to have a look and even cleaner look, we can do something like this. It's perfectly fine. We're going to combine both objects into a single object. That's very important for the bridge tool to work. And that was just a matter of our bridging. So we've reached that one and that one right there. Over here we have 1234 and we have four on the other side. So 12341234, we bridge 12345678 and we bridge, you get that green color. Remember that we just need to go to assign the basic lambda1. Let's go to the right view. And I just want to balance these things a little bit more. So just move this vertex points so there are flowing a little bit better in regards to the other elements. As you can see, we have an edge loop that goes right around them. So when we press number three, we get this piece inserted on the elements. So we've integrated to topologies, two different topologies into a single piece. Now of course, to really tighten this up, we need to Let's delete history real quick. There we go. I'm getting again the display issues. I hated the spacious. Whatever. Let's grab our cartoon. Actually. No. Dysplasia is a little bit like worse than before, because as you can see, I click this. I am doing a history, but to actually not just deleting the history. So yeah, it's just my major is just loosing it. So let's grab everything here. Let's try to delete history and see if that works. Not really working using is just like destroying the whole thing. So I'm just going to say real quick guides. And in the next one we'll finish this piece and we'll do the little small piece on the bottom here, this extra section that we have right there. And that will just continue in the next video. Bye bye. 43. Side Chest Armor Details: Hey guys, welcome back to the next part. So I just restarted Maya and we're back to, we're back in action. Let's start like, I think the details to this guy. So subordinates right there support that right there. Support that right there is going to help that one right there because it's flowing nicely. Like you can even see this one's right here. Well, actually we don't need that one, but we need one here and probably one there. There we go. A couple of one right here. Careful they're screening a small It's the one they're going to help alleviate the the intensity, probably one here to really captured that sharpness. And then one right here. For linear one right here and one right here. Let's do one on the back. End, one last one right here. That's it. And again, to help with extra stretching, just a couple of ones right there. And that's it. We've got this very nice. Like sharp effect. Do have a couple of weird lines right there freely. Like I'm not sure if it's because one line right there. I'm going to try something. I'm going to try deleting deadline right there. I think it's just really, really stretching like things right there. One thing we can do though, instead of deleting that, is, we can try to collapsing this guy's a little bit more. So if we, if we tried to bring this up a little bit higher, that might help, not really helping that much right there. Or we can trace spending them a little bit more. But to be honest, that's one of those things that it doesn't really like destroy the topology as much. So I would probably just leave it as is, to be honest. I'm not sure if like adding an extra support line right there. Yeah, that definitely helps. That definitely helps. So yeah, that's it. That's the that's the big armor piece right here for that, for the chest. Let's give it a nice armor material. There we go. And later on, this one that would definitely, definitely be a rubber. I mean, thanks to the fact that we have edge loops, we could actually just select these guys and just assign the rubber material. We will really want to see the detail right there. So that's of course wanting that we can do. Now we go, oh, careful there. Let's say it's a horrible Look. I don't want to follow. So I'm just gonna go from here to here. Let's delete this selection. There we go. Cool, right? So of course this one, as we've mentioned previously, it's gonna be like right around there. And we're going to have to probably like rotate it. Let's center the pivot point. Okay. I have to rotate it so that it matches or false into place nicely with the chest boost write something like 70. If there's a little bit of overlap, this is what we would expect. We're also going to have to accommodate some of the other pieces like this one right here. That means that this guy is probably going to be separated just a tad bit. Like we have the proper the proper inclination which seemed to like bring this out a little bit and play around with the, with the intersections, right? So they, they make sense, they're playing nicely with the other details, even if there's a little bit of what's the word, a little bit of overlap. That's fine. Now we have space right here for this other piece, which was that I was mentioning, which is this one right here. So let me show you another way we can do the holes. We can just start with the cylinder. Rotate this 90 degrees so it's facing us. Change the resolution or the divisions to something like eight. And then push this forward. Grab this side faces. And when we extrude those sides faces, we're gonna get the edge loop with string again. And then just use this vertices right here to rebuild the shape that we want. Right? Like that's, that's one way to do it. Now the only problem with that is as you can see, the typology flows a little bit weirdly. So I'm going to show you another option here. Once we have the edge loop right there, actually like that. I'm going to grab the to the leg down faces Control E. And we're going to move them back and then grab this three phases right here, or even four faces. Control E, push them forward, and then grab these three phases, control ie, push them back. And finally. Grab like this, three phases right here and push them up. That way we create a grid-like structure, right? With R versus like all of these guys right here. We bring them very much all the way up, probably like right around there. And we use them to create the does he lead of the shape. This case right here, push them up. Then this case right here, push them up. That way we get the more square-like silhouette than what we had. Right? So something like this. Now we do want to be careful like don't, again, don't model more like space are things that we're not going to see. So maybe we can bring this guy's like lower. Like we don't need as much volume as what I'm capturing. There we go. And we just got this like interesting looking shape. That's also gonna be like slightly tilted and everything. Now of course, we grab this face and we delete them. And we brushed them. So we start from, if that happens, this is very common, just rich offset until you find the proper, the proper elements. So lets just grab both of those guys, bevel two segments and this mole fraction, we just do 12345. Now here is where things can get interesting. Six over there. Again, just a couple of lines for the texturing, stretching. And here, remember what we did before. So I'm going to destroy this. Let's start with this one right here first. It's going to do one line right there. Careful need to do it on the other side as well. Or actually, there's an even easier way to do it. I'm just going to grab this edge all the way to this edge right here. It did the other side. So let's manually select this little edge loop here on the side. Then we're going to bevel. Let's do three segments and the small fraction. Then, all of these points right here, we're just going to merge the center for this ones that we were gonna get a nice little sharp corner right there without actually having any issues on the other side. It's gonna be an armor pieces well, and now we find the proper inclination. Given the proper thickness. Again, a little bit of overlap is perfectly fine. Not a lot right there. So let's push this right there. There we go. You got this nice interesting shapes, which again, we can add bolts and lines and change the colors and stuff kinda like this, things being rubber. Think that might look a little bit more interesting. And we can grab all of this guy's shift, mirror and mirror this on the World x negative and hit apply. And we'll look at that. Now that we have that, Let's grab this guy's real quick. I'm going to select all the faces over on this side. And then what I'm gonna do is I'm just going to combine this and rotate this and make it sit the way it's supposed to be sitting. Which will be like right around there. That's her that's her main shape right there which is going to be covering some sort of like exhausting. We have this 22 main, like a hostess. We're going to have to include as well. But this already gives us a really, really nice like blocking leg look at dad. Once we do this business and we assign them the armor bits. Like doesn't this look just amazing? Like a freaking tank. Like I wouldn't like to face this thing on the wild. So yeah, that's that's pretty much it, guys. I'm going to stop the video right now and I'll see you back on the next one. Bye bye. 44. Back Turbine: Hi guys. Welcome back to the next part of the series three. We're going to continue with the vector vine, which is this piece right here. This one. As you can see, this one is just a little bit like complex. It has a couple of cuts that we didn't really took into consideration when we're doing the blocking. So it has this very interesting cut line on the bottom part, this one right here. So what I'm gonna do is I'm going to try to keep this really flat right here. I'm gonna go with my CO2. I'm just going to add the line right there, just gonna be that one. Then I'm going to grab the face and this face, two faces Control E. And we're going to extrude them out. The reason why I wanted to do this is because we want to graph this vertex right here, move it down to, I would say, roughly about there. And then this one right here move down as well. And then this one is important one because it's going to go in an angle to the center like this. So that way we create this very interesting block, it's going to capture the shape of our turbine. Now, again, this is one of the things that we need to kind of like interprets or create our own variation of stuff. And we have this things right here, like this bench, which I think are going to be on this piece right there, but at the same time, I'm not really sure I want to add them there because they're not gonna be as visible. Because this whole like like a scapula or clavicle is going to be blocking it. So having it on this part right here might not actually be a bad idea. Now you can see that we have a little bit of a problem here with some overlap. So I'm going to push this back just a tiny bit. Careful there. I just want this face right there. It's going to push this a little tiny bit right there. And then that should be keeping the general shape of the Sherman. Now, let's add the bevels because I definitely think that the votes are going to be important. And I do think we're going to have bubbles pretty much going like on the front section, like this front section, on this back section. Not in this one because that's where the section line. Yes. So yeah, like that. Of course it's going to create some handguns, but no problem. What I really liked that blocky shape. There we go. Let's keep it like that. One thing I'd like to do with bubbles, especially with this kind of pebbles, is to add the two segments. So two segments but bring the deaf to zero. So we actually don't have any debt. So that way we can keep the triangular looking shape without actually affecting any other beats are pieces. Now actually here, let's bring it back to two. So that way we can just fix them really, really quickly here. So very simple movement over here that fixes the gun. And I think that's all the angles we have to be honest. So yeah, now this phase, I do think I'm going to make it a little bit bigger. Then I push it along the component, along the normal. I'm going to press Control or I was gonna see if we could like yeah, I think we're going to do it. I'm gonna grab this guy Control E. We're going to Offset Control E and then pushes it to create like the exhaust of this abet. Now here on the front, on these two guys right here, we're going to offset and then Control E again and really pushed us in quite a bit, something like that. This is going to be the dimension that we're looking for right? Now. This is one of those situations where I might start thinking about how to simplify things a little bit better. So for instance, this one right here, I think I prefer to have a triangle on this flat face because it's just gonna be a lot easier to, to, to deal with the topology dealt with. So I'm going to snap the points, so just did there. And then merge both of those points to the center. Like that. Now, this is the triangle right here, that we have a triangle on the front end and that way we have a really clean, like a movement over here. Now for this one. Again, like how can we get rid of this triangle? Well, we already know that when you have a triangle and it's really close to another triangle, if you join them like that. Now squares like this line pretty much makes them squares however. So it's going to destroy the topology a little bit. So I might again tried to find something a little bit like slightly different solution for that one. For now, I'm just going to keep it. Of course, if I press number three when start adding some more support edges for this particular piece. So we're going to have right one right there. Have one up here, one down here. Let's do 12.3. It's going to keep it really sharp. Nice line right there. Another one right there. One right there. Looking nice. Probably one more there. Now here's the tricky one because on this lower section, things are not flowing exactly as I would expect. So let's go back because again, that's going to it's going to create a little bit of an issue on this, like lower areas. So to simplify this lower area, I'm actually going to Control E. Just extrude down. Okay, so we're going to create another little section right there. And that line is going to help me tighten up all of those elements. Now, since we have relatively low polygon, it might not be a bad idea to be honest for this particular piece again, to just bevel the whole thing segments and its mole fraction. And that's gonna give us the result that we're going for. And yeah, I mean, that just a just works. You can see it just perfectly, perfectly, perfectly works. So for the bands, I want to show you a couple of things right here. So I'm going to start with a queue. You don t think we have the middle section light, but we can very easily create one with our cartoon right there, the section line there we go. And that way we can grab this element, move it to the center right there. And we're going to keep it simple because if you remember, a lot of this band is going to be covered. So even though we're going to have pens like everywhere, we might do something on the armor later on. But I just want to keep it simple. So this one is going to be a thin piece right here. And to give it a little bit of more visual interests, Let's add a couple of cuts right here. And then this one, I'm just going to push forward a little bit thinner. Bevel the whole thing. And that's it. It's gonna be like my band right there. I'm going to position it. Let's go to World mode. There we go. So this one's going to be right around there. And then just Control D. And we're going to shift D, shift, D, shift D. This one, I'm probably going to push in a little bit more, and there we go. Now what we get this very interesting, looking like bent the system, the force, if we add the black rubber, you can kinda see how that thing is going to look very nicely. And eventually, a rigor could very easily rid of this guy's so that their pivot points are on the base and we can just move them up and down. So nice interactive thing that I can just give some nice extra detail to the whole thing. For the back part, I just want to show you another thing here. I'm gonna, I'm gonna do a little bit of something, a little bit more creative. So I want to create this sort of honeycomb, like a texture for the specific elements. We're going to create these cylinder here. Let's say six sites, which is going to create the Honi com element, gonna go a top view. Let's isolate this guy so we can work with this one. Let's delete it. The phases. We're going to extrude the sides a little bit. Probably like Let's do five, so that's an equal number. There we go. Then we are to, I'm actually going to just keep this line right here for now. So shift select everything else. And there we go. If we go to the top view, what they can do now is I can move the pivot point of this guy to the corner, duplicate, snap it to the other corner, and then press that rotate this. I believe it's 60 degrees. There we go. Then we duplicate and rotate this -60 degrees. And we create this interesting holy comp section. Grab this one, snap it to this other side, and we get four of them. Right? Then once we have this, we have pretty much creating a pattern, right? And we can repeat this pattern a couple of times. So I'm going to combine these things, combine them into a single object, grab all of the vertex right here and merge them. So Edit Mesh, Merge, not much to center, just merge. The corners are merged together. Then the point I'm again going to move it to a point like that one. Yeah. And we duplicate and we can snap it there. And then we can snap it there. And then we can snap it there. We create another pattern. Grab everything here again, we combine, grab all of the vertices, Edit Mesh, Merge. There we go. Now the vertex or the pivot point, we're going to move it to that vertex right there. Control D. We could snap it right there. Control D. We can snap it right there. Control D. We can snap it right there, and we get another pattern. And you can see how this goes right? Like we can keep repeating this pattern and I'm just combining and merging to accelerate the whole process because otherwise we're going to have to combine babble every single piece and that's just ridiculous or it will be quite ridiculous. And I'm just going to say merged again. So now we have a really nice like big pattern right here with this or hex shapes. Hex are always very sci-fi ish. Let's make it a little bit smaller. And what I wanna do is I want to get this inside sexually isolated disguise right there. I'm going to get this inside the, the central line of this thing. So let's put it right there on one of the central vertex. Like small, small, small. And I just want to get like a nice cut out of the pieces. So as you can see, by getting this thing right there, we're gonna get a nice, nice pattern, right? So we know that that's roughly the size that we need. So easiest thing to do is just go into face mode and start deleting all of the faces that we don't need to. For instance, all of these ones right here. This one's right here. All of these ones right here. And then all of these ones right here, delete, some of this extra ones. Probably need to delete this one. So as well. We're going to be left with this like interesting looking element, right? Let's select a real quick. Yeah, it looks fine. We just control E, give it some depth. And then especially on this like upper sections, I'll probably give them a nice little Bevel. We're not going to subdivide this because they are, the subdivision is gonna be way, way, way too big. So we just select the, select the whole thing right there and we bubble. Now working. Interesting. Why is it not working? That's actually a little bit too big. So let's make it a little bit smaller. Actually, we can even leave them like that to be honest. There we go. Yeah. So it was just a nice little extra detail that we can have. There are elements. Now of course, let's go to component and let's just push this in so that's a little bit closer to the base. And that's how we can do that. The content that they can be kept this as a single element. Now, the last part that we need for this particular one, well, one thing I'm seeing here is that the bands are actually touching this piece a little bit. Easiest thing to be honest, would be to just push this thing out a little bit forward. So we get the nice little bends right there without actually having to, to, to move this thing as much. We give this a little bit space. I might even do a cut out here or something to allow air to go through. Maybe that could be a good idea for this piece right here. We could maybe like create a whole offset or we could create a whole going from the front to the back. I think that could be interesting from a design perspective because like air is going to be flowing in at least It's the one option. I'm not saying that has to be the option is just something that we, we might or could do. So the last piece that we need for this one is this thing right here, which to me looks like the support piece that is connecting the whole thing to the frame. Like similar to how this thing is or this thing right here is holding everything. It seems to me that there's again, a big piece on this side. And to be honest, since it has overlap, I think one of the easiest one would be to just quite dry this whilst I'm just going to quadro here, here, here, and here. There we go. We do have a circle. So it might be a good idea to, at the divisions for the circle, which as we already know, we need eight of them. Delete those faces or cannot edit mesh circularize. Now of course that piece right there is gonna be somewhere right there. There we go. Go to a right view, grab the circle and rotate it a little bit so it's not as dirty. Let's make it the proper size control E offset. And there we go. So now we grabbed the shape. We center the pivot point. We bring it out. Let's bring it right there at the centerpiece. Control E extrude that probably around there, I would say it's a good it's a good support because that's where the bevel of the main frame starts. And then of course, on the other side, like on this guys right here, we can just push them in as well to give this a little bit more support, right? It is generating a little bit of an interesting overlap over here like a welded piece, but I think it's fine. And finally, we can just started babbling and adding the elements that we need. I think you've bevel on the outer edge might look good as well. So we just double that thing. There we go. Once we have that, we start adding the corner support edges, the texture support edges on our support edges. And finally, the Babel support edges. This is probably going to be rubber or we're going to make it like rubber. And then we can grab all of the species right here. Chef right-click and mirror this to the world and negative x. I have both of our little thrusters right there. Look at that, this, this shot right here from the back with all of the components and all of the mechanical elements. I think this looks really, really nice. So with that done, we're now pretty much just one piece away from the end of this section. We need to finish this piece, which is a little bit more complex than the other ones. But once we have this, we're going to be pretty much ready and we're gonna be able to jump onto the next chapter, which is going to be the hips. I'm actually going to leave the hoses for the hips because we do need something. What we need to know what's happening here, to know where the hosts are going to be going. But yeah, that's it for this one guys. I'll see you back on the next video. 45. Main Chest Armor: Hi guys. Welcome back to the last part of this video. Are well, probably the last part, hopefully the last part because I really want to move on to the next part, which is the legs with all of this armor. So we have this piece right here, which is the last chest armor piece. And it's a really blocky shapes like I can see right here. We don't have a lot of details. Yes, there's a couple of sexual lines and there's a couple of elements. But I know we can deal with those in texturing, even from the top view, it seems like a very flat area. You can see a couple of cables coming from this side going into the ECS hosts, which again leads me to believe that we can actually push like all of these vertices like a little bit forward, like this, to just give a little bit more space in this area and have something to look a little bit more interesting. Like for instance, remember this thing that we model back with the clavicles and stuff like maybe, maybe like modifying this a little bit there and just leaving a little bit of empty space will make things look a little bit better. Now, from what I can see, probably the most important part of this piece is this piece right here, this section, this element that goes in a hugs this piece right here. So I'm going to grab this element right here. I'm actually going to go into world mode. I'm going to move it back, move it up a little bit so that it lines up a little bit closer to the deal. Now Michigan, I'm like push it a little bit further back. So it's not like perfectly there. You can see we're getting a little bit for weird result there. We might have a little bit of overlap here. Don't love it. But the only way to solve this would be to grab this guy right here. Just like bringing them up. Not that much. I'm going to have to bring only this edge up because I really want to try to keep this upper section as flat as possible. And then what we need to do is we need to extrude and roll this around the whole thing. So I'm gonna grab this guy is Control E. We're going to extrude up, move down. So we hug the surface and we're pushing it back like this. Again, we're going to have to, to box model does a little bit more intensely. So for instance, this edge right here, I'm going to push it back, push it low. So we go right around there. That way we're following sort of like the bevel of the element as close as possible. There we go. Once we have this, you can see it actually goes down over on this side. So if we go to the right view, you can see that at this position we actually go down a little bit more. So we're going to have to do is we're going to have to grab this guy Control E again, w, I'm going to bring this down and flatten this. I'm going to move this out into the second. Let me just make sure that we're probably gonna have to extrude this out. Keep going in this are like round direction. Was just out a little bit more. There we go. And now this new faces that we're creating here, we're going to extrude them down. Extrude them, them a little bit, of course pushed them out. Here's where I'm going to flatten things out. Right? I have two, row two this around from the right view. Push this up. There we go. We're going to have this again piece that's hugging the rest of the, on this. Now here we need to decide whether we bring this line back in. This is gonna be the best decision. Yeah, I think that looks, That's what looks the best of this vertex, for instance, we're going to lower it so that really hugs the surface. This vertex right here, probably going to actually like this whole edge right here. Push it back again so that we create clean shapes. What we wanna do here is create clean shapes. And then this piece right here, again, as we can see on the right view, you need to insert an edge loop right around here. Because we're going to be grabbing this face control E and bringing it down and back. Get to complete the store like D, like the like the shape, the whole thing. Now I can actually tell here that something that's going to change, we're going to change the silhouette of this thing. We have to move it a little bit more like this. Of course we mirrored, so we have the exact same one on the other side, which is fine. It doesn't really impact us that much. And we get this shape right here. Now of course, this shape right here, we've done a lot of like a construction on this right side. So we need to mirror this to the other side to get the exact same effect on the inside on this part right here, as you can see, we also need to do a little bit of management. So I'm going to that thing right there. That means that we probably have an extra, there we go. An extra vertex on the central lines. So what I'm gonna do here is I'm going to use my Offset edge tool to create the sort of like the chamber where this thing is gonna be a going into. Let's delete, we're going to delete these faces, delete these faces as well. And then grab this edge and this edge Control E, W, going to push it back. A little bit thinner. Push it up. Scale it is perfectly flat. Push it back up and it's gonna be hidden. So no big deal here, which is graph, that guy and that guy and merge to center, that gain that guy and merge to center. We bridge from one to the other. We add one line down the middle. We combine those two vertices. Then we bridge from this guy to this guy. We're gonna keep it really blocky. Blocky as we can. We're not going to add any more. Like geometry are things that we don't need to. For instance, I would expect the real piece like if we were actually doing this for real, like holding space here to support all of the pieces that we have underneath Java. But if we're not gonna be seeing them, then we're fine. We can leave it like this. Now that we have this, I do want to clean up this section right here. So I'm going to push this vertex up a little bit. Actually, no, that's not the verdicts that they want to push this case right here. I've pushed them forward a little bit. Same for this one. Again, so we can create an interesting sharp line here at the center that's gonna be important to them. I'm quite tempted to just flatten all of these guys to be honest, and then rotate them back like this so that we will still follow the shape that we have right there. Might need to move this a little bit like this. There we go. That looks a little bit better even. I think this interface there we go. I'm going to push it out just a tiny bit like this, just so we get connections looking a little bit cleaner. And that's it. Of course, if we soften this, it's going to look horrible. So when started like being smart about how we're going to be creating the sharp edges that we need for this whole thing. So as you can see, we don't have any sort of like weird like typologies or anything. So we can just start adding stuff. I'm going to start adding like this one right here. It's gonna give me a really nice effect right there. Let's start with the easy ones. So I know we're going to have with offset edge loop. We're going to have one right there. And then we insert edge loop. We're going to have one right there, one right there. I'm going to focus, of course, on this side first. Here we go, kinda want to keep this warm brown To be honest. However, we also know that's not a good idea to give things super round because of text or stretching, right? This actually, I like quite a bit to be honest. That moment right there, it looks very, very nice. So I might just add like one line right here and one light here. Now actually, I really liked this curvature right there. It looks really, really clean. Let's see if we can keep it. And I'll do that one there. Again. Do one on the outside, the one on the inside. Right here, one right there. Right there, and one here on the back. And that's pretty much it. Of course, let's mirror this. Let's get rid of this one and look at that armor piece like not freaking bath. We do have a couple of extra lines here that I am not such a huge fan about this one. So I'm gonna delete that one. I do like that bevel edge right there. I want to keep it as clean as possible. We'd have an interesting one right there. And another one right here. Oh, that's the one. Okay. So that's the one that's going into this weird loop right there, creating like a little bit of banding. They're not horrible. Now again, it's not ideal to have this sort of thing. It's way too extreme. So I'm going to show you how we would do it. I would just add two more lines right here, which of course is going to make things square. But then after adding them, we can actually push them back a little bit. And that way we can recover this sort of like a round shape that we had this machine part right there. One there and one there. And that way, that piece or this piece right here, it looks cleaner than what we have. And look at that year. Really liked that guy right there. So let's mirror this. So we get the exact same shape on both sides. It's very nice, very organic, I would say. It's really, really, really cool. Now, thinking I look at this piece, especially from the top view, I feel like we can add something because it looks very flat, right? And if you remember, we have this little hoses right there and there's like a little like bold or something that we could add. So it's just like those little details and we can even recycled details. So for instance, I can grab this guy right here that we have on the if you guys remember on down on the word was there. They were like the spine, right? Like the skeleton of the spine. Now let's just recycle this one. Center point. Move the pivot point right here. I can move it exactly where I want. I'm just going to move this thing closer. Like this. We can use maybe like a couple just to add something there, like small little detail indicating that it's a little bit more complex than we might think in those, those little details really helped with the whole thing. Now, this section, lines and stuff, we'll add those in texturing. Of course we could. I'm trying to see if we could add like a like a cut line or something, but I kinda like keeping it really clean like this. You already have a lot of complexity we want we don't want to overdo stuff. So even having dislike rest areas is a good idea. It's a good thing. Now for the cables at this cables from the top view and good, you can kind of see it right there. They're like pipes going into the into the turbine. So I would imagine this picture coming from that piece right there and they're going inside of this element. I'm going to go to top view right here. And we're going to use our curve tool. This one, we're gonna do 12345. There we go. The work. I try again. I think I have my curves hidden. There we go. My curse word hidden, if that happens to you. I was doing some animation a couple of days ago. So herein show, make sure to NURBS curves are turned off. So I'm going to grab this group right here is gonna be 123456. Then we go to the CVs of the curve and we can flatten them pretty much as if they were like cylinders or polygons. You can flatten them and create a very nice clean 90-degree curve right there. We're going to bring this all the way up its position. Right? Right there. We're going to use our sweep mesh. There we go. We can increase the precision a little bit to get a nicer tighter turn right there. And that's it. That's all we need to just control D move it slightly. The right. I think I'm going to move both of them slightly closer like that. Let's isolate them for just a second. The history and this one specially, I'm just gonna this a little bit more. And then we go with some really clean pipes going underneath the turbine. We don't see where they started. We don't see where they entered, just like overlaid right there. And again, when we see it from the top, it's gonna be a very nice little detail there that we can utilize. I think I'm going to give them like armor. Yeah, I'm gonna give them our own piece that way we have a contrast between the blacks, the greens, and the pieces right there. So that's a mirror, this thing. And there we go. I'm going to select everything here. Delayed history to make sure that we don't have anything. History freeze transformations are actually not freeze transformations just delete the history for now. The history. We're ready now as you can see, things are really messy again, before we do the UV in process, we're going to dedicate one whole video, or maybe like two or three to doing that. And I'm going to select all of this like flying cameras that we have right here. Every time I switch cameras. So I sometimes get I create more cameras and I shoot a lot of this perspective for and stuff which is like flying everywhere. We really don't need like, that's the one that we need. That's the shotgun, right? So all of this like small cameras that are just floating around and creating stuff that we don't need. They're not necessary. Finally, let's do a render because we are finished with Chapter six and we're ready to jump into chapter seven. So Let's say real quick and let's do Arnold render and let's see our ***** progress so far. I don't know how many hours we've been working with this character with, oh my God, look at this beauty. Look at this, uh, BUT nice. Let's stop this. Let's see what error we're getting. Okay, this is a very wide this error happens forcing box filter do to use this usage of this thing. If you want to get rid of that error, just go here to the Arnold Render settings. And then under filter is changes to box filter Save, and that's it. So now when we render, we're not going to get to the error anymore. So let's stop the render. Let's say file. Look at that. The renderer takes 2 s is still. So I know it's a lot of polygons and it might seem like it's like overkill, but this is the way, the way it works. Let's do a very, very quick very quick. Look at the oh, not that one here. The progress so far because this is one of the things that really keeps me motivated when I can go back and be like, Whoa, remember when we had nothing but this. Now the head, the torso, the legs, all of the mechanical parts. And now this armor right here. Okay. We we miss something. I think I missed something. Oh, it's not as 000 0008. We really skip that many pieces. That's the full armor. And then we did this, and now we have this. Oh, wow, we really did skip a lot of pieces. I think I'm a good idea with a vent to keep the what was it to keep the helmet on. But anyway, so yeah, this is the progress of our look at this. Really, really, really cool. We're almost done with the armor, the hips and the legs are gonna go really fast. I don't think Chapter seven is going to be as extensive as this chapter was, because there's a lot of things that we've already done. And after that we're gonna be pretty much ready to jump into UV and, and later into texturing. So yeah, of course we're missing domain, which is one of the big selling points of this guy. But we're really close guys, really, really close. So hang on tight. And I'll see you back on the next video. 46. Real Time Light: Hi guys. Welcome back to the next part of our series. Today we're going to talk about real-time, a light or real-time rendering, because it might be that you are having issues with your traditional rendering or it might be that your boss or your hourly this going by and it's always a good idea to show them how things are looking, even if we are not completely finished on a good light, right? So instead of waiting for a render, we can actually turn on a couple of features that we have here inside of Maya. Now, usually I don't work with this. Things turned on, but it's a great way to preview things. So let's bring our render setup here real quick. And let's turn off our image points. And there are other symptoms of this. You can see has some lights going on, right? So if I turn this little light bulb here, it will actually show me the light that we normally have on the render. Now as you can see, it won't give you the same result. It's not the exact same thing as if as if we have the render like in real time. But it's a good idea to see elements. We can actually turn on shadows, which are quite nice. As you can see, viewport 2.0 allows us to have the shadows. We can turn on ambient occlusion, which is gonna give us a little bit of extra depth on the elements. You can actually modify a couple of these things. If we go to the viewport to 0.0 and we go to the rendering options. We can go to screen space emulation and we can increase the amount, increase the radius, which is how big the umbilical region is going to be. That way again, we're gonna get just a little bit of extra extra details. You can see the difference equation and we didn't really question, it really makes the whole thing pop right. Another thing that we can do is we can turn on this one. This one's certainly really important. I actually do like to work with this one every now and then, which is the anti-aliasing. So anti-aliasing is this thing that happens on pixels where if you have a line of pixels are going against or in a diagonal. I'm in regards to the T of the order of the pixels on your screen, you are going to soften them up a little bit. The only reason why I don't love this one is because the edges of the objects, as you can see, they become really thick. So when we're doing UVs, it's going to be a little bit difficult to visualize whether or not things are actually being caught or not. So this one, it's up to you. It's gonna make things look a lot softer, which is really, really nice. But yeah, just by having light and shadows, you can already get something that looks really, really nice in real time. So again, if someone's walking by your, by your spot and you're like, Hey, this is what they got so far. It's a lot better to show this than to show like this, right? It doesn't look bad, just like a very basic model and people should be able to appreciate it and understand it. But just showing this again on a better light is a good idea because it just makes things look so good. And you can see, like my computer right here is running at 300 frames per second. So if you have a good setup, this should be fairly easy to do. Now if you want to go the extra mile, if you're gonna go like another level, you can actually go to the Arnold RenderView right here. And what this will do is you're actually going to get your render on the screen with the noise there and everything. This is a little bit slower. As you can see, you move the camera and it takes a couple of seconds to give you the proper scene. But it's also a very good way to visualize how things are looking without the need to throw in a render. My God. So yeah, that's it, guys. Just very, very short video. I just wanted to include this information here on the course about some quick rendering preparations. I usually work in report to point out. And again, if you turn all of these things on and on, are on and off, you're gonna be able to just like a visualized everything nicely. I'm going to turn everything back off and we're gonna go to the very traditional materials that we had right here. And let's turn off our render setup and we're ready to go back into modeling. We're now going to be modeling the shin armor on the character. So these back pieces over here, hang on tight and I'll see you back on the next video. 47. Shin Armor: Hey guys, welcome back to the next part of the series. Today we're going to continue with this shining armor. And again, we're really on the last legs pun intended of the modeling process. After this, we're ready to go into texturing. Now, this piece, I mean, come on super-easy. Like after all of the things that we've models so far, this should be so, so simple. Let's start with this lower piece right here. So I'm going to move this thing, snap it there to the middle line. So make sure we have a central line. Let's go Right there. Perfect. I'm going to delete this face, this face, and this face. We go. And I'm going to grab this back elements right here and just make them smaller, roughly about their spare around with the proportions. And this thing is going to be covering this armor right here. We can already like rotated. That's fine. I'm going to rotate this a -20 degrees just so that we have an easy number to remember. Let's go to component. Remember we press R and then just click. Just turn on cardinal real quick. There we go. I'm actually going to push this guy's forward again on the component axis. Oh, they're inverted. So in this case it's not going to be component is going to be object. There we go. So I would say roughly about bear. Now, you can see that this guy is do have a little circle going across the elements. So right here, right on the corner. I would guess that's one of the attachment points. It kinda looks like one of the attachment points. So I'm going to have a right around here. There's a couple of different ways that we can do it. But since we know this technique, I'm just going to graph a couple of lines right here. And I'm just gonna do a couple more. So it's going to be like one right there. One more right there. Now I'm using the Cut tool. And the reason why I want to use the Cut tool is because I need to make sure that I'm cutting on both sides. Otherwise I will be cutting on only one side. That's the that's the main reason. So now we're grabbed this guys again, right? View, say Edit, Mesh and circularize. Let's rotate this thing. So that's a little bit more in line with what we want. We're gonna go right around there, Control E offset to create a little thickness. And yeah, that's pretty much it. I'm going to press Control E for the whole thing. And we're gonna thickness this in. Just make sure that we're not collide, collapsing and the edges. This seems good to me. We grabbed this guy right here. And we just invert the, or reverse the reverse normals. And there we go. Of course, we need to sharpen this thing. So with my offset tool, I'm going to offset a couple of lines right there and a couple of lines right there that should hold most of the, those sharp lines. One right there, and one right there. One up here, one down here. Then let's just do 1.2 over there. You didn't even need to be super precise. They're just as long as it's under the border, we should be fine. And there we go. It might be a good idea to add one more line here, but I'm going to use my knife brush. I'm just going to cut straight through there. That's gonna be a support edge right there. And there we go. So that'll be the first piece, that one right there. Then the next piece is very similar. I'm just gonna start with a cube again. We snap it right there to the center. Number, to a center point. We go. Now this one is going to be very, very similar. It's got to be smaller, right? So this face right here is gonna be closer. Actually, can delete that one. And the thing that's going to be slightly different is that this thing and this thing are gonna be bevel, right? So we're gonna double them to create that sort of shape that we have right there. You can see that this guy and this guy are going in. They're kinda like tapered in, in a really interesting way. Now what we need to do is we need to fit this into this piece right here. So we're going to rotate this so that this top portion right there matches or kind of like attaches to the other one right there. Of course, we need to consider the fact that we don't want this thing to be touching the machines just gonna be like, I don't know, it looks like a bumper or something, right? So let's make this a little bit bigger. We're also going to delete the lower section. We don't need it. And we need to solve this issue right here, this angle, super easy solution. We go from this point to this point right there with our CO2. And we go from this point to this point right there with the Kaltura like that. Once we have this, we need to include that little guy right there. Again, relatively easy to be honest. We are all first nationally. Let's, let's do that cut first. So I'm going to select this guy and this guy, Control E. No, think of it. Let's give this the thickness for us to control E. And we're gonna thickness this in until we touch the, the element right there. We might need to scale this up a little bit like that so it fits very flush and very nicely. We go, Let's invert the normals. And now that we have this, I'm actually going to give this the bevel and two segments treatment a little bit more on the fraction. So we get this. And the reason why I want that, I want to have some nice edge loops on the border first. Now I'm gonna go to the right view. And I'm going to create a new cube. We're going to use booleans. So I'm going to create this cube and I'm going to rotate it so it matches the proper length of the element, which it seems to be doing right there. I'm going to increase a little bit more. As you can see, it's quite big. I'm going to try to center this as close as possible. Now, we want a perfect center. We need to include one line right there. In one line right there. There we go. That's the 50 per cent. So let's go Object Mode. Scrub that guy. We assist in that, but where from a shaded right there, perfect. So that's the perfect center. Now we're going to scale this up quite a bit. Go across, select the first one, select the second one. Let's delete those edges that we add it because they're not actually helping right now. We're going to delete them right there. And we're going to select this one and then this one. Then we're going to say Mesh and booleans difference. It's going to cut through this. You can see right there, doing a great job. Let's delete the history right here. Then it's super easy fix because we just need to go from this corner up there. From this corner down here. Careful to hit the corner. Same deal on the other side. We're gonna go from that corner to there. From this corner to here. There we go. So that way we have a whole cutting through both elements. Now we know that that hose looking very like, it's just not good, right? Actually, we need to do this on the inside as well. Because we had to, we had thickness. Here we go. From that corner to this one. From this corner to this one. There we go. Now we graph the edges on the square thing is we're going to bubble them. Let's go Control a to the poly bevel here, small fraction, two segments. And there we go. Of course, when we did number three, we're going to lose the roundness of the elements. I really don't want to, what's the word to? To increase the edge loops and this guy, so we're going to use the same trick that we use on the other element. I'm going to insert an edge loop right here, and right here, right here, and right here. And then we're going to select like the corners. Let's just do one of them because we can mirror and we're going to bevel. So we're going to bevel and we're gonna do two segments. And we're gonna say and change the military too uniform. Let's see if that helps there. That's not really it's not really working. We can do a small one. Too much, feel like it's too much. It's the second time we get that error, right? Let's go back a little bit. That's really weird. Yeah, No. You know what guys? I'm sorry. I think it's just better to just like, let's set some couple of extra lines here and there. Just to support that it just that we need. And then of course we're gonna go mirror object x negative apply, which should have this on the exact same place. On the other side. There's a little bit of texture stretching. So let's add just one line on the centers of all of the things. There we go. That should alleviate a little bit. And yeah, that's, that's pretty much it for this piece right here. Again, a little bit weird, to be honest. Like the shape language is a little bit weird in this one. It's not bath and just weird. This one is going to be armor and this one, let's make it let's make it Robert. Yeah, it looks like a really chunky protection on the machine right there. Let's mirror this on the object. It's going to be world now and it's going to be worth now. Let's do the history that we go. So that's it. We got the protection right there. Now. We are missing one tube right here, which I think is like needed. Kinda wanna grab all of these vertices, just push them in a little bit more, and maybe even up a little bit. And that's gonna give me a slightly like curve on the bottom. But it makes no sense to me that we're gonna be like creating these cylinders so close to, we need to like band or in the fight. So I'm going to create a cylinder here. Let's just snap it right around there. Rotate this 90 degrees, and position it right here instead of the element. Now this one is just a lot easier to, to make it go through. The whole object. Has to be some middle line. There we go. And of course it's going to be like black rubber or something. I'm going to grab the edges here and here. Double two segments. And the small fraction. There we go. That one right there and one right there to help with the texture stretching. I don't really care about the texture stretching on the inside. I just want to make sure that that one looks nice right there. We mirror on the world minus x and there we go. Yeah, that's pretty much it for this. That's actually not the sheet. That's like the ankle. This is the shin right here. So I'm going to do another video called sheen details. And that's gonna be this big book right here because this one is already going a little bit long. And the next part is definitely going to take a little bit more time. So yeah, that's pretty much it for this one, guys. I'll see you back on the next video. 48. Shin Armor Details: Hey guys, welcome back to the next part of the series. We're going to continue with the shin armor, which is this piece right here. And we're actually gonna be breaking this into three pieces, this inner plate, this outer plate, and then this thing right here. Now, this details that I'm seeing right here, they definitely scream of a texture like this is a texturing like a warning thing that we can do with paint. It doesn't really make a lot of sense to have this as an actual element. That means that this cube right here is that it's just a queue, right? So let's do the first shape that we need. I'm going to create another cube right here. And I'm going to snap this cube to the center of the sheen by pressing V on my keyboard. There we go. I'm gonna make this a little bit bigger. And that's roughly the size I think of machine like this. This thing is is really, really going to like hug the leg quite nicely, like right around there. And then on top of this hugging element, if you wish, we're going to have this boxes. So let's go to the right view. We can see that this pretty much ends at the very top of the shin bone. So I'm going to push this quite high right there. And then on the faces, I'm going to push this face really low, like right around there. Now. I can also see that this is a little bit wider on top and then it becomes a little bit thinner on the bottom. So I'm going to add a division right around there. Grab these two faces, and maybe make it a little bit bigger. Let's go world mode. There we go. We're going to push this out a little bit. Which actually doesn't make a lot of sense. And I'll think of it because this is a flat piece. So it's actually this face going forward, rather like this. There we go. That makes a little bit more sense because it has a little bit of a barrier on top as well. So now that we have this, I am going to isolate this real quick. Let's delete all of this intersection right there. Oh, except for this one, of course. So that's the that's the main block, the main armor that we have right there. Then we have this guy, which again, I'm just going to extrude a little bit. It kinda seems to go in like this. And careful not to overlap as much on the outer side. Let's push this down. This will push all of this down a little bit more. There we go. Then this guy is going to push back a little bit. We can actually snap to that. Blake bursts right there. Now that we have this, we can give the thickness that we need, right? So I'm going to press Control. Actually before we do the thickness, you can see that we have some bands right there. It might be a good idea to add them already. So I'm going to do 50 per cent there. Let's go 40%, 40% right there. I'm actually going to delete this one as well. That way, when we press Control E and we're gonna be extruding out with thickness to create the thickness of the plate. So a little bit more. Let's do 11. There we go. Now we're gonna get the empty space right there where we can attach this sort of like Ben's right there. Once we have that, I think we need to add the side plates that we have. So I'm gonna grab this guy right here, say Edit, Mesh and duplicate. And then of course, we're going to extrude this a little bit to give it the thickness that we have right there. This one, simple geometry. So let's just bevel it to segments in a small fraction. The pivot point is one cool thing to pick when it's still in the center of the, of the original mesh because we extracted from the original mesh. So if we press Shift right-click and go into mirror, we can mirror object and it's gonna give me the other side very, very quickly. Now, this does have a, like a spot right here, like a circle. So we know the technique already. Let's just add one right there. One right there. Let's do 70%, 70%, 80% right there. And there we go, right through both elements. Let's isolate a real quick. And we're going to grab all of these squares that we create it. We're going to go Edit Mesh, stricter, rice, bridge. Let's delete this guy right here. And then this guy, Let's give it its, its Pebbles. I'm just going to grab this guy's control E. I'm gonna do a little bit of thickness to create an edge loop. That should be a lot easier to just bubble with a small fraction and two segments. Of course we're going to add this case. Let's just add the black rubber. And we can definitely add one line right there to make sure that we don't get a lot of texture stretching. Mirror to object mode. And we're gonna get the exact same thing on both sides, which is what we want. Now, this one right here, since we're already habit like quite prepared, let's just, let's just harden the elements that we need. And it's a very simple. Like to, so it might not be a bad idea to again, just double everything and give it a really nice, a hard surface. You look right there. We can definitely add one or a couple of edge loops right there and maybe a couple right here. And this is generally going to help with the, with the overall look. Now, work smarter, not harder. Let's recycle. Let's go to this guy right here, Control D, and move it all the way over there. Of course we're going to delete this one. So we're only left with one of them. We're going to center the pivot point right there. And I can see two of them. So we're just going to like create the little flaps right here. So that'll be like the first one. Let's go to right view. Let's do three. So I have the second one right there. And then the third weren't right there. And then this of course, the best material is probably going to be the raw material are gonna get that very cool looking shape. And finally, we have this piece right here, which as we know, it's pretty much just a cube. So we actually have a clean face right here. Let's just grab it again. Let's actually grab that face and that art. Let's just grab this face for now. And I'm going to say Edit Mesh and duplicate again. Push this out. So it sits on top of that rubber met. There we go. Then of course we need to like match this thing. Actually, I'm going to delete that. I want to match this things a little bit better. So I'm going to grab this face is on the rubber plate. All of these guys right there. Maybe maybe not. This one's probably just about there. And just make sure that we're not grabbing anything that we don't need. I'm going to say Edit Mesh. And again, a duplicate. Push them a little bit up. I'm going to assign an existing material. Let's assign the armor material. This one, Let's center the pivot point and move it so that it matches with that one right there. Grab both of them. We're going to combine them, of course, both of them we're going to assign the material. Let's start combining some of these guys. So merge, merge, merge, merge and merge. Let's delete all of this points which we don't need. Those are fine. We can use those. Let's go back here. And that's gonna be the base. I'm going to Control E. Push this out. Alright? And then with the scale, let's do, let's try components scale. There we go. So we can create a sort of like brick. Bricks shorter detail kinda makes it look like the muscles that we would normally expect. I definitely want to grab all of these guys and we are going to like, perfectly flatten them. There we go. I personally, as you guys know, don't love this guy's right here. So I'm going to flatten those as well. I'm going to give them one small like extrusion down. So we have a flat sort of like border right there. And now let's delete the ones that we don't need, which are all of these ones. And this piece right here, I'm going to double it. So we get a really, really nice and clean effect. This area right here is the one that we're going to paint with this sort of like safety, safety thing. Now the pivot point unfortunately is not the center anymore. But if we turn on this thing right here, we should be able to snap. It should be able to snap this point right there at the middle. And now if we mirror this on the object mode, we should have it on both sides. And look at that very, very nice sheen on the whole like a lion thing that we can still see a little bit of the curvature from the, from the armor, which looks very cool. I'm actually the wedding if that's what we want. It looks a little weird in my opinion. So to be honest, I'm just going to grab everything here. All of the pieces. I'm going to combine them go to right view. And I'm just going to like get them in there a little bit more. Because it makes more sense, right? Like from the same perspective, it makes more sense that this thing is like really protecting the whole, the whole thing. We can recycle this cylinder right here, bring it on top, on top here. Play around with the thickness. However, there is a bolt that's going to go through both elements right there. So we can see a little bit of the armor underneath and look at that. It even goes through the shin bone very nicely. Sorry about that. Dark just went crazy. But yeah, this goes right through where we need it. We'll just grab both elements. Shift right-click. We're going to mirror this on the world axis and hit Apply. And with this we're pretty much done. As you can see, we have the machine and the shin details right here. Next one, we're going to jump onto the knee and after that legs and hips. So let me go get my dog on control. And the ****, I'll see you back on the next video. Bye bye. 49. Knee Armor: Hey guys, welcome back to the next part of the series. I was gonna say of the CD. Oh my God, it's getting a little bit late over here and I need to continue with this. So we have the knee right here, we're going to continue with the knee armor. And then the average is actually quite interesting because as you can see, we have this sort of like section lines which is like a, like a cylinder that's was very low poly and then the like, the very basic like front armor. So for this particular piece, I think it's a little bit easier if we start with the cylinder. So I'm going to create these cylinder. I'm going to press W and V and middle mouse Creek and the cylinder should jump all the way to year. It's actually like locking the axes. There we go. So we'll just move this thing here. We rotate this 90 degrees poly cylinder and we move this, and we need to count how many sides this has. 123 is probably like 12 or ten sites actually. Yeah, actually it turns out it looks really, really nice as you can see right there. This is pretty much the shape that we have right there. So you can see that the picture on the picture, my knee is not exactly where it's supposed to be. So this thing is going to be attached to the knee and it's gonna be going a little bit further out than the knee. So I'm going to go right there. I'm going to grab the cap or this one Control F 11 to grab the cap Control E to offset. And we're going to create a disorder like border the way one right there. I'm going to delete this. I'm going to delete all of this ones as well. And probably this one is well, I can only see like one and 2.3 phases. So we're pretty much only seeing as this three phases are right here. Now, this three-phase, or what I'm gonna do here is I'm actually going to move this thing, this whole object down so that we match the concept. And I'm going to use the concept as a guideline to know where things should be. For instance, this guy right here, if we go scale on the world axis, they should be right around there. Make them a little bit bigger. And then this ones, I actually have the nice, a nice distribution. Now one thing here that's important is we actually don't want all of these faces right now. I just wanted like a flat face, so just this angle right here. Let's go to quadro mode. And we're going to draw this section right here. Can of course grab these vertices. Now let's go to component mode and create the proper rotation for the component right there. Let's go now to world mode again, remember you press R and then you go there. There we go. So now we've got the object again, then we bring it back to where it's supposed to be, which is right there. And it's a rather, I would say, simple, simple thing to control, going to group all of the vertices here. And this thing is pretty much like a shield, right? And so this thing is shielding the whole like, uh, like mechanisms. So I'm gonna grab this guy is right here, push them out to give this guy a little bit more, more room. Maybe push this in a little bit. And as you can see, that's going to protect the inner rotation of my knee. I think I'm going to make it a little bit bigger. So even though this thing is gonna be like a soft and it's important that this thing has enough like room after that. Well, we're of course going to have is this case right here. I'm going to hit Control E, have this flat area. So we are going to press W and move this forward, flatten it. Not that much. Something like this, I would say. Okay. So like so like that's the knee like parts of the armor. Right. Then this thing seems to be going up a little bit. So I'm going to press Control E and bring this up a little bit. Then this guys right here are going to go towards the center. I'm not sure if we have, we don't have a central line right there. We have one right here. Now, let's do one central line real quick. And remember the central blindness is useful because we can snap with V and snap this so that we find that specific center line right there. So yeah, that's it. That's pretty much the shape of this thing. Now, I kinda want a bevel this thing. I don't want this to be like perfectly round, so I'm going to bevel it a little bit. And then we're of course going to position the point on the center as well like that. And when we mirror on the object mode, wait, oh right, let's freeze transformations and let, and then we mirror, mirror on object mode. There we go. We're going to have this. It seems like things are not perfectly aligned. That's fine. Simple thing which isn't just stitch this together with the merchant to center. And we're going to have this sort of shape. It's a weird shape to be honest, I don't love it. It's weird. And here in Mexico we have a quote that says that weird things are related to ugly things. So let's, let's make this thing a little bit thicker. On the outer side like this. That makes it look a little bit more like an armor. And I'm actually going to grab this guy and bring them in a little bit as well. I just think or even rotate them in. Like I don't want to create a lot of volume. So something like that, that makes it, makes it a little bit more sense. Even this vertices down here, I think we could benefit from having them go in a little bit less real to them as well. It just gives us more like a round shaped like following what we would expect from a, from this sort of like shapes right? Now, you can see that there's a circle right there, which means that this thing is attached somehow to the central piece. So we probably need to push this in a little bit more like this. There we go. That actually. Makes a little bit more sense as well. Yeah, I like that. I like that. So now let's give this a thickness and the press Control E. And go with thickness in. Let's hold that we don't break things probably not as much less than minus one. And then we can just scale things a little bit here. I'll leave push this. Yeah, it looks good. That looks good. Nice. So now that we have this, of course, we're going to reverse the lines right here. And we need to harden this. And do to do with this thing is looking, it kind of makes sense again to harden it with the verbal technique. So two bubbles on a small fraction, because we really want this very hard surface, the blocky, blocky look to the whole thing like this. So now that we have this, the only thing that we're missing is the hole that's gonna go across the, the main thing and it's gonna be attached this whole element. But I think that if we add the hole is going to really make things a little bit complicated for us. So let's give it a shot. This of course is gonna be armor. Let's give it a shot, but just overlapping. This guy right here. Let's, of course delete that guy. Bring this guy. Let's go right view. I'm going to snap it right there on the center. Of course, we're going to graph the vertex on this side, just push them to the other side. That will be the connection. And I think that's like that's more than enough to be honest. Like yes, we could model the actual hole, but it's just going to overlap this thing. It's not going to look like that intense. So yeah, that's pretty much it just grabbed this both of these guys and mirror them to the other side of the world. Let's play history freeze transformation. We're going to mirror world x negative. There we go. And that is it. So short video, but that's it. With that will pretty much solve the issue. The knee armor that we have right here, very, very blocky, makes sense with the rest of the element. And again, I think this is a good point to do a, an armor render. I think I'm actually going to go try and go back to like like armor zero CO2 together, another frame when the armor was just being built or I mean, at any point we can just hide it right then the end and see how it looks with a whole thing on top. So, yeah, let's, let's do a quick render here. Let's go into render setup. Let's do Arnold. Render. Should have saved, by the way, always safe. Very nice. Let's say File Save image is going to be lie on garden 11. And that's it, guys. We are just two pieces or three pieces away from finishing the armors for this guy, we just need to do the leg right here, which is a very fun piece, and then the hips. Then after that, just a couple of little things on the tail and we're gonna be good to go. So yeah, hang on tight and I'll see you back on the next video. 50. Tail Armor: Hi guys. In this one we're going to continue with the tail armor. This is the next part. And I'm actually really conflicted about detail because I love how this is skeletal tail looks and I understand where we're going for here, which is a sort of like cloth thing or like rubber thing that's going to protect the inner mechanisms. I feel like this looks so cool. So let's start with the tail first, like the armor, armor pieces. Let's see how that looks. And then if we feel like we can, we need to add that like a, like a host thing. I will add it. The reason why I don't love the host thing is because again, the mechanism looks really cool. Like we did a very good job in thinking how to link all of these pieces together. And we're just going to hide everything and that to me, I don't look. So let's go over here. Let's start with the quadrat tool. Very simple. We're just going to do 123456 and hit Enter. And as you can see, we need to, of course, clean this up a little bit. So would our cut tool, we go here and down here, enter, and we'll go here and up here Enter. And that gives us the main frame of this like armor piece. So I'm going to grab the piece control E, and we're going to extrude all the way out. So we covered both elements. I'm going to go really, really close to the black thing, which is right around there. Then we are going to delete, Of course, all of this inner pieces so that we're only left with a hole. Just this piece right here. Very simple, very, very simple blade Control, E, thickness up. And that's going to create the main, the main hall for the whole, whole element. And then we just like if we press number three, we can see how this is going. Of course, we're going to delete this inner pieces as well, because eventually we're going to merge this together side. And I think again, simple pieces. Let's just double this. Like so. And we're gonna get this very boxy looking, nice elements. Grab this guy mirror to the other side, and there we go. That's gonna be my first armored piece. Now, at the second arm pieces you can see goes inside this first armpits. I'm just going to Control D. Of course, let's center the pivot point. It's going to be either a little bit smaller or McDonald's a little bit bigger. And we're just going to modify it. Now this has a slightly different curvature, as you can see right here. It points up. So all of these guys kind of like point up, like this, changes quite a bit on the on the movement thing. There we go. Oh, can just recycle what we had there. And play around with this thing. Let's bring this thing up. Let's turn to the point being this thing up a little bit so we can bring this one up as well a little bit. And that should be enough. Now as you can see, we do need to make this a little bit wider so we're not actually like colliding with the armor. That means that this one also needs to be wider if it's going to be housing and these other piece right here. So I'm going to grab these two guys right here. I'm going to right-click and I'm going to assign existing material is gonna be the armor material. And this is going to allow me to see how the color breakups are looking. So far. I like them. I think this is a nice break. Afford a tail. Now you can see there's a small little thing right there. Like small little plate or detail. It looks very similar to this one right here. Of course this is a little bit too much. Maybe this one we could reuse. Or if not, we're probably gonna have to like maltose again. Now here you can see that again, this, this location, It's going a little bit more towards this side. Again, we're modifying a couple of elements from the original concept. If you want to perfectly match them. As long as we're not touching the seed like that, that's touching the elements. So that's why we're calling modifying them a little bit. Should be able to get something that looks quite, quite nice. So I think I really like this, like I really liked the fact that we have this thing right here and then we can build everything up from there. So for the tail back here, I think we can do something really cool because I'd like to sort of like negative shape that we have right here. And I actually really like this piece that we have right here, the general shape, right? So we need to attach a new sort of like armor, whatever this is right here. And this is what I'm gonna do. I'm gonna start with my Create Polygon Tool. And we're going to trace the shape of this thing right here. There we go. That's a super simple polygon to fix bright, because we can just go from here to here. And that's it gets very nice square. And what I'm gonna do is I want to create a negative shapes. I'm going to push this, let's center the pivot point. I'm going to push this to the side like here. Then Control E, push this out. You can see kinda like tapers in, right? So what I'm gonna do is I'm going to scale it in like this to create a sharper looking shape that's going to be on top or it's gonna be like attach somehow to the rest of the elements. So probably right around there. We can see that there's a hole in this piece right here, which is fine. There's one more thing I wanted to do. I actually want to graph this vertex right here. I want to see if I can push them in. At least this one. No, it's not really working. Maybe this one right here, I'm going to push it out because again, I want to create this sort of like interesting looking shape. And then these two guys right here, I'm going to push them in a little bit. That's going to create a different type of element. But the best way to do that actually it's to grab these two guys and just rotate them. Because otherwise we create something called like non planar faces where things are looking just a little bit weird. So I'm going to do this. It's gonna be tapered on the, on the upside and then like thinner on the inside. And you can see that on this part right here it seems to be connected right to the other side. So what I need to do here is I need to move this or mirror this underworld and negative axis. Then I need to assign one here, let's say like 80% and 80% on this side, delete, this face is right here, actually not delete them. I kinda want to, because that both looks like, like like an indentation and something else. So I'm actually going to do something else here. I'm going to offset. And then I'm going to extrude again, push them up and delete. And then we select this side and this side. And we're going to bridge and look at how cool this shape looks like. We're kinda like mirroring the same sort of effect that we have right here. But within in armor piece that's gonna be hugging. This whole element is going to be going through this with a nice bold right there. Now for the bolt, again, we can do the whole, I really like the simplicity of this shape right here. And I think if we just do the bevel trick and the embeddable does very nicely there. That's going to pretty much solve all of our issues. This of course it's gonna be the armor, armor material right there. The only thing we need is just the Roth, right? So lets just grab this rod right here again, or maybe even like this one right here. Control D. Delete all of those back faces right there. Go back to this one. We can center this on the grid. Just get it where it's supposed to be. Like no need to over-complicate it unless we're gonna do some sort of animation where we like this, assembled the whole thing, something like this. This is more than enough. As you can see, we go through the, through both elements, create a nice little hoop and that I really like this, like how this looks to me. It just makes more sense to you again, have the exposed sort of sort of like tail mechanism and just have this piece of support at the end could be used to defend itself or something. But it just, it just makes sense, right? So now if I had to do the tail because I do want to include that, like if we had to do the tail, I'm actually also going to ignore the little piece right there. It's just so simple, right? Like that little guy right there. Like, where would it go? I'm thinking Where were we were and why would I add something like that? And I can't seem to find that specific answer. They know if I don't do this, someone in the comments is gonna be like, Hey, you forgot to do this little piece. So let's very quickly do it. Let's just go. I'm just going to do quadrant again. Just a very simple square piece like that. Center point. Let's move it to the side, is going to be connecting both of these pieces. So Control E, Push it out. There we go. Then I am just going to bevel the whole thing. I'm going to add a couple of lines to create my circle, which is going to be this one right here. Both of these guys. And we're going to say Edit Mesh and circularized. There we go. Through this a slightly control E, offset and bridge. Let's bevel those small fraction 2 s. There we go. You're saying to black rubber material. And it's just a small detail That's going to be right here again, it's weird, right? Because it's kinda like hidden between both of them. And it's weird because it needs to be like at the very back like this actually To make sense. Yeah. So not sure. I'm not really sure. Like I again, I don't love those detail, but I'm just going to add it for completion sake. So let's mirror this to the other side. And that weak, it's just small little rubber detail there at the back. Now that we have that again, I'm going to show you real quick how I would probably do this or like cloth effect on the whole thing. So I'm gonna go to the tail. And you've probably seen this in like military equipment. Were they again, protect the sort of stuff. So I'm going to use my curve tool and I'm going to create a curve that follows closely the shape of the tail. Just try right there. And then we're going to use our sweet mesh tool, which we already know will create a nice cylinder. Increase the scale of the cylinder is something like an eight. It really, really thick like that. And the, in the, in the options here, I'm going to give this a couple of more sites, something like 12 sites. So we have a central line and that amount of polygons that we have right there is perfectly, perfectly fine. Now we need to grab the tail. And the tail was to live with the Phoenicia. Because if you remember, we actually rigged the tail, right? So we had all of this things like inside of each other. So I'm going to Shift P, all of them. I'm going to combine them into a single mesh. So now the whole tail is a single mesh, which again not ideal, but it can be done. Then this guy, I'm going to make this a live surface. And this guy right here, I'm going to use mesh and conform at what conformed will do is, as you can see, it will push the cloth to the different parts of the mesh. So they kinda like shrink wraps around the whole thing. See that right there? It's kinda like shrink wrapping and creating a really tight construction on top. The whole thing. Then what we can do is we can grab this guy right here and extrude it a little bit more. This is going to create a sort of like crumbled effect right there. Is going to give us the illusion of being a cloth that's on top of the whole element. I'm of course going to have to fix a couple of things right there. You can see the vertices right there, like colliding a little bit between each other. Probably easiest way to do that would be to just delete some of this edges. For instance, if we delete this edge right here, at pretty much solves the whole thing. Grab this edge right here and just move it down. And again, you guys have probably seen this or like military equipment. We have this sort of like it could be rubber. It could be like a bunch of different things. Just wrapping around the L. I'm going to press V, which is soft selection. Go to my right view. We can push this back. And that's gonna give me something, right? This is why I don t think this is a great idea because if we do it with a traditional cylinder is not going to taper this thing. It's going to still be quite thick and it's going to look really, really weird. This looks like an intestinal or like a little bit of ****. So I don't like it, but if I had to do it, this is probably how I would do it. Just created a cylinder and shrink rapid along the whole, the whole thing. Now let's see if we can go all the way back to before we destroyed the tail by on parenting and stuff. We yeah, it seems we did. Okay. Cool. So yeah. So this is pretty much what I will do for the tale of my friends. This is, this is the end of this one. And on the next one we're now going to jump onto the, onto the legs. We're gonna do the legs and then the hips and we're gonna be pretty much set, so hang on tight and I'll see you back on the next one. 51. Leg Armor: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the leg armor. And it's this big block ducks we see right here that this sort of shapes tend to be quiet. I wouldn't say challenging but quite confusing because of the perspective and because of the intricacies of the details. But remember that if at any point you are having issues trying to imagine how this things or make, you can just draw on top of them and be like, Okay, I know that the body has to flow this way, right? Remember, I think we actually did this piece a couple of hours back. And then we have this piece right here. And it flows right. So it's this big box attached with this small little box right here. And if we follow that through logic and we tried to create it with very basic elements, it should be fairly easy to, well to recreate it. So I want to start with a cube right here. I'm going to copy this or like a side view of the cube, which is this one right here. Let me bring my pure file over here so we can analyze the piece. And then we know that of course this piece is going to be on top of the skeleton. So it's kinda protecting the wheel or the d axis or the axial. This thing right here. Hello, but again, try to find an angle that's easy to remember such as 60. So they have, we need to align any other thing we know that 60 is the, is the degree of movement. I can see that this face, Let's go component mode. It's a stretch like this because it kind of goes back very similar to what we have on the underneath, right? It kind of like protects everything. And then this edge right here keeps going forward. Again a little bit more than everything else. So something like this. Now you can see a couple of deficient. So let's add those divisions are going to add one division of 20% and one division, I think 30% for that one. And you can see that this piece right here, actually, this line right here seems to be going in a little bit, just a little bit, something like this to create some visual interest rate there. This thing is a lipid thinner though. And it sits right. It's covering half of the sphere. So we're gonna, we're gonna push this up and we can make it a little bit thicker. Here we go. And that will be like the ED initial effect. Now of course we can center this so that it's right there on the center of the wheel. And then from this section right here you can see we have this cutout. So why not just add the shape right there? And then select this face is right here. Well, as you can see, there's a little bit of a dip right there. So probably just this two phases right here. Control E. You just bring this guy's out like that. Then on this area right here you can see it's kind of like flat going to the back. So I'm going to grab this piece right here. It component mode, push it up, probably with this one as well. Let's push this guy up a little bit. I'm trying to know actually, you know what? This guy is gonna be pushed down like this. There we go. That's going to create the shape, the work going for. I'm going to bring this in a little bit or actually bring this out a little bit like that. And then this side right here, it's being pushed out a little bit. And this vertex right here, we can push it out a little bit as well. So we can greet at this are like flat area right there. And then on this side it's kind of like a bevel again. So it wants to push this thing out. And then like this, right? Then this thing also going down like this. But now we need to combine it with this section over here. Easiest way would be to just delete this piece is right here. And then this vertex snap it right there, and this vertex just snap it right there. Merge and merge. And then just move this around a little bit, or maybe this one. Just move it back so that it matches with the sort of like sharp effect that we're getting over. He's just very, very box modeling, right? Very, very boxed mildly, our process that we're doing here degenerate the shapes. I do think this is a little bit too much, so I'm going to bring this in a little bit more. I know we have the handle thing right there, but I don't want this thing to be like moving all the way out. Is this representing the like the calf muscles, right? And then this guy right here and probably this one. We're going to extrude a little bit more to create this sort of like paint area that we're eventually going to have, right? They're tempted to go Object Mode. Having some issues. Okay, let's, let's go very quickly here and do a mirror object x negative. There we go. Let's clean this box modeling and little bits. For instance, all of these guys is r. I'm going to go component mode and just flatten them out. We go object mode again. We can just start giving you this D sharp effect that we want. We do have a little bit of a curvature here and that's something that we're going to have to ask ourselves, do we want to keep this curvature, which is not a bad curvature? Or do we want to flatten all of this out? Both of them I think could work. So if we go component mode and we flatten them out, then we go to object mode and maybe scale them out and pushed him back. Like that could give us something close to what we're looking for. Yeah, that's actually not that Beth, I think this is capturing the essence of the shape that we want to get. Now of course, here on the inside, having a little bit of an issue because we need to create the space for the, for the wheel. And even though we could do the thickness trick, I don't think it's the best idea to be honest, for this particular one, I'm going to grab this guys right here. Control E offset a little bit. Just so we can actually work, probably going to need one more phase right there, Control E, offset a little bit just to create the, the main the main area. Yeah, that's perfect. And then Control E again. And we're going to try to extrude n. Now this is one of those elements that's gonna be a little bit difficult to do. So I'm going to have to show you guys a different technique. So what we're going to have to do is we're actually going to have to delete faces on this inside part. And we're going to have to manually rebuild this elements. So actually let's, let's delete those guys right there. So what we want is we want to fill in or create a feeling. For this time. I'm going to grab these two edges, control E and just move this down like that. Push this in a little bit. We don t have to go all the way down. And then we can go back to Edge mode and bridge this to this side right here, which should match perfectly fine. Then we have one division right there. So we're going to add one side right there. And that one's gonna be one to 1.2. And we're going to bridge as well. Oh, rich. Rich. Now on this side you can see that we have this guy right here. We need to add the one line right there to properly create a D merging element right there. And finally, we just merge this one right here. We can mirror. So we can save a little bit of time there. Just make sure that we don't have any extra vertex. Here we go, seems to be working fine. And that's it. We have a very nice blocking section right here. Now you can see that we have an important detail right here in this area. So I'm going to add D division there. I'm going to offset the points which is going to be right there. Then this edge right here, it's gonna be a little bit smaller. This one's gonna be a little bit thicker. Control E, Offset, Control E, and push air. There we go. That's the sort of detail right there. We also have a section line right here that goes through, through both elements. I do think that's important. So I'm going to bevel, give this a fraction, control E and push this in like that. Of course, if we smooth this out, it's going to look horrible. But since again, everything has to be quite blocky. We want things to be quite blocky. This is where the bevel technique can really work. Because when we do that, that get all of the blocky lines that we have on the concept. And they're just right there sitting on top of the whole thing. I can definitely tell this case are a little bit weird. Bringing them in. I'm going to, I'm going to take some artistic liberties with this piece as well. Because all of this section seem to be a little bit too much to me. Here we go. That's it. Yeah. That's that's pretty much it. So now if we just assign a material, you can see we have this very blocky looking thing out, this thing on the connection that we have right there. I don't love it. I generally do not love it, so I don't care too much about the overlap because again, I think we can justify this is one of those parts that whatever it moves, it's not going to move in a weird way. But it looked, it just looks weird, right? So I'm gonna go and graph this vertex right here. All of these guys, I'm going to try to push them down, at least until we clear the that area right there. And then maybe we can grab all of these guys and go a little bit up. Again because it just looks really, really freaking weird. I don't love that. It looks dirty and I don't like when things look dirty. So let's go back a couple steps. Go back before the bevel because we're going to have to correct a couple of things. So before we do the bubble, Let's figure out what we're gonna do with this piece right here. Another thing I kinda wanna do is this edge is right here. They look a little bit weird. Like they don't match with the whole like five. There we go. That looks a little bit better. It's a very simple change there in silhouette. And I think that already makes it look interesting. And again, as I was mentioning this guys right here, one thing we could do is we could maybe bring them down and rotate them in and then bring them down like this. Rotate them out so that we're more into like a 90-degree angle that I think it looks a little bit better and it should pretty much give us more. There we go. See that gives us quite a bit of room. Back here. I still think that this point right here, like the whole corner, It's a little bit too high. So I'm going to lower it a little bit so we don't have any any issues on the top side. That looks a little bit better. And now to solve this section right here, to be honest, I'm really tempted to just like delete this guys again. Like all of this I think. Now we will have to delete all the way to this side, which is quite a bit of or just or just push this guys on the world axis to the front. Yeah, that to me it looks a little bit better like I don't know how this thing is being supported by the by the whole thing. But that to me, just looks a lot cleaner than what we had. Before. We do the bubble trick. We do need to solve this new hole that we created. So let's follow me patch of this faces. Actually, those faces we do need to delete. There we go. I actually don't care too much about that little overlap right there. We can still solve it by just pushing this case out a little bit more. Yeah. Pretty much. It gets rid of the whole thing. So now we need to, to close all of these gaps while keeping this negative volume. So let's delete half of this thing. And let's manually close this up. So that means that this guy needs to go, well actually we can just mirror or bridge from here to here. That creates a division on the center. And then where it says, I can just go 11.2. So from here to here, here to here, I don't want to insert the natural pure because it's gonna go all around the whole thing. So to be honest, it's it might be easier. It might be easier to just stop at somewhere around here. It's actually the breaking a little bit. So we're going to push the vertex down. So it's a little bit flatter. X again, if I inserted a national hero, he goes around and we get the same problem. So we need to get rid of this guy right here. And to be honest, a triangle is probably the best ideas. Just, just the bridge that right there. And this guy would just feel whole. It's gonna be a triangle there. It's on the inside. Really don't care. And which mirror? There we go. So now you can see we get this, of course we're going to use our bevel thing to segments in a small fraction to get very nice blocky armor look. Look at that beautiful, beautiful, beautiful. Let's add the armor piece. And yeah, that captures pretty much all of the like like intense effects that we have the pieces. Now if it's too much, if you're like, Hey, you know what, like, I do like it, but I think some of these pieces are a little bit too sharp. One thing we can do is we can just go to some of them and delete the bevel. So as you can see, that's going to soften the shape a little bit more. Yes, we're gonna get a couple of curvatures now instead of hard surface, see that this hard surface you feel or effect. But it can't get an interesting results as well. You're not gonna get England's don't worry about that. As you can see, everything's four points. You will get a little bit of stretching, but shouldn't be dead bath. And this also makes it look quite nice. We have all of the mechanisms safe on this side, on the backside. And and yeah, that's that's pretty much it for the for the leg armor piece. So let's just mirror this on the world. And we're going to have that over there. Of course, later on on the texturing, I'm definitely going to add some rubber parts and actually we're still missing this detail. So I'm going to show you how to do that detail in the next one. Okay, guys, because this one's already going a little bit too long. After dad were pretty much, it's gonna be left with the last piece, which is this sort of boxy protection that we have on the hips. Right here. There's a boxy thing that slots right there. And then this side views right here which are covering a little bit of the hips. So yeah, hang on tight and I'll see you back on the next one. Bye. 52. Leg Armor Detail: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the leg armor detail by detail, I mean, this very cool looking like handle that we have right there. So the word we're gonna do this is actually quite simple. First of all, I'm gonna go here to the bottom part. And based on the size of this thing is not really a big handle strong like half this piece right here. We're going to just, just a curve. So I'm going to start with the curb right here. I'm going to create this are like 90 degree bend right there. And then I'm going to Control Vertices and snap disgust together. Snap these guys together, and then just play a little bit with this guys over here. So this one, this one right here should be the one that's actually the outer ones. So this is down here. This one goes up here. So all of these guys, we're going to again snap them together. And all of this guys we can snap together and this is gonna give us a really clean a profile for our curve. We're going to sweep mesh around that thing. I'm going to bring the scale down on the profile, but I'm going to increase the precision. Can see that's gonna give us a really nice band right there. It is bending a little bit more than I want. A number three definitely solves it. But yeah, it's not ideal. Now one thing about the supermesh that's really cool is you can actually activate this optimized thing, which is going to remove some of the elements, increase the precision a little bit there. And we can also go to the control vertices and move them a little bit. So as you can see, by moving all of these guys a little bit up, for instance, we can create a band that looks a little bit more like logical, natural. So once we have this, I'm going to delete the history. So it's now separated from the, from the initial curve. I'm going to snap all of these vertices there and snap this verse is right there. And we're just going to mirror, of course, we're going to mirror on the, actually let's just mirror on whatever axis. And then I'm just going to say World, negative World negative Z. There we go. The history again. That's it. We got our very nicely handled right there. Now, before I move this to its place, I'm actually just going to duplicate it and get it to where it's supposed to be or as close to the position where it's supposed to be just to get an idea of whether or not I'm okay on the size of things, which it seems like I am maybe a little bit too big, so I'm going to have to make it a little bit smaller. As you can see, the scale is 0.75. And I also think we should make it a little bit thicker. So I'm gonna make this 0.65. Okay? I'm gonna go back to this guy right here and just scale this down to 0.65 to make it a little bit smaller. And if I wanted to make it thicker, well, we already know the drill, right? Control E. And we're going to make this thicker like this. And as you can see, we get an inner shape. I'm actually going to delete that inner shape by deleting this guy's first and then this guy that we would get a thicker element. Now, this elements, as you can see, goes into a little square. So we need to get that little square. I'm gonna show you a different trick here. I'm going to start with a cylinder. I'm going to go to eight sites, of course. Then I'm just going to extrude this guys out to create the edge loops, right? And then I'm going to extrude them once again, control E once more. There we go. Let me isolate distinct real quick. Top view. And what they can do is I can grab this guy, this guy and this guy scale this, and then this guy, this guy and this guy scale this, this guy, this guy and this guy scale this, this guy, this guy and this guy and scale this. And that's also going to give me a very nice square right there. Of course, we're going to select this vertex right here, Control F 11. And we can control E and push this in, right? That's gonna be the, the slot where we are going to be placing the whole thing. If we want to keep this a little tighter, we're just going to delete this thing right here. So this just sits on top of the element. Once we have this, of course, if we press number three, we're gonna get a really weird looking at element. So we need to add some support I just like here and here It's going to tighten things up a little bit more, of course one right there. And I think that's fine. Like a squarish, roundish thing should be fine. We get this word supposed to go. It's going to change the scale. On the y-axis, it's going to go right there. And then we mirror this on the world z-axis as well. Grab both elements. Let's combine this so that we only work with one of these guys. I'm going to Control D, duplicate it and bring it to this face right here, which is positioned at. And this is something that's very, very common when dealing with the mechanical stuff. You're gonna be keep bashing quite a bit. So we're gonna go right here. Remember the 60 degrees? This is where it comes in handy because I know that the proper position right here is 60 degrees. So that gives me one of the angles. And then the secondary angle gonna be probably roughly about there. Let's go to object mode. So we can, which is on the top side, keep rotating. Keep rotating. And that's gonna give us the effect that we want. Look at that. So I remember when I was working with, we were doing the concept. This piece is I loved them, I just love them. I love them so much that I think we could even like improvise a little bit. And then another one, like somewhere, like maybe on this part right here. Since it's very flat. We can add this little extra detail right here. We're going to have to find the angle for this particular piece. But as soon as we find it, like it's just one of those things that makes mix elements look a little bit more complex than that there actually are, right? So just grab those guys, mirror to the other side and there we go. Now, those ones, I'm actually going to give them the metal, the chrome effect. What's Krona was not Chrome. Let's do D M or gray material was just that one. Let's just let us give the gray material. That's fine. The reason why I want to give them a liver materials because they're supposed to be made that maybe a stronger metal. And that's it. With that, we're pretty much done with this piece, My friends with the leg piece. Now we're just missing the The box that goes in here on the top of the pelvis, which is that one right there. And this size boxes, which are very, very simple. You can see the geometry that we have, fairly, fairly simple. Maybe just a couple of guidelines there that might be a little bit tricky, but we'll deal with them. And after that, we're gonna be done with the whole character. So, yeah, well, actually not done. There's one final thing that we're going to have to do, which are of course the domain that the plates, all of the plates that we have right here, the circular be a little bit tricky as well, so yeah, hang on tight and I'll see you back on the next one. 53. Hip Armor: Hi guys. Welcome back to the next part of the series that we're going to continue with the hip armor. And it's very basic like this piece is right here. Super easy to do. Like, I don't even think you need to record this because if I let you guys do it, I'm sure you could find the solution fairly, fairly easily. So I'm going to start with a cube right here, as we've been doing quite frequently. And we're gonna get the length of the element right there. So this is roughly how, how big the elements should be. You're going to rotate this 90 degrees so that it's flat. We're going to of course, like modify it because you can see this thing is kind of like sitting on top of this angle right here. So we're going to start with doing this. Once we have this, we're going to get the proper length. So that's the proper like a, like a width or thickness. And then we're going to have this proper length all the way until here. And with my CO2, we're going to have this one right here. So what they can see here is very simple. We just grabbed this guys right here and bring them up to roughly about there. That seems to be about the size that we have. Now I can definitely tell and see that at this guy and this guy are beveled because of this bevel that I see right there. So let's bubble those like that. And then this piece right here, we of course need to fix it. It's gonna be a flat piece, so we're going to go right there. And then we're gonna go down and around. And to keep this thing as super clean as possible, we can of course go mirror object x negative being applied. It's going to keep things super, super Actually, it's not x negative. Let's afraid of transformations. And now we do x negative and that we go. So we got this right, like we got this very cool looking phase. We've got the bevel that we're looking for. And we have an extra little detail up here. So this on this face is right here. Quite long. It goes almost until the very end. So I'm gonna just going to Control E, offset this right here. Control E ofs it again. And that thing right there, we're going to push this in. That's going to give me this sort of detail that we're seeing right there. Now on the front side of things, you can see that we have this very interesting detail. So we're of course going to cut this with the, with the knife tool. We're going to need another line right here, which I'm actually going to scale down and move down until we get the proper like element. And then this two guys right here, we're going to push back. It's gonna give it that nice angle right there. So we have this. Now we need to add or we need to offset a couple of flows right here. And trying to see if we just move this and scale. I think that's the ideal one. I'm just going to grab this guy right here. I'm gonna go to component mode. We're going to push this. Actually we need a couple more edges. So I'm going to add another set of support edges right there. And then this case right here, I'm going to push them down. And that's gonna give me the cut line that I'm looking for. So now I should be able to select all of this. Let's go right view, not dose this, this, this. And then 1 234-567-8910. There we go. And that's gonna give me the coupling that I'm looking for. This is one of those pieces that I think could benefit the way more from the one of the initial things that we did, which is the detached option. So I'm just going to say Edit Mesh and we're going to detach. That's going to again change the way this works. Let's isolate this. Grab the whole edge right here. Like this. I'm going to see control E. And we're going to offset. Or actually in this case we're going to thickness in a little bit like that. There we go. And then we grab this face is right here. We double-click this guy and this guy. There we go. Control E. And we also thickness dense. We're missing that come through E. And we thickness this year. There we go. So when we do number three, and of course we heard an old the edges. We're going to have the nice like the nice sharp effect on that particular piece. And that's pretty much it. We have this block right here, but this is just a cube that's a sliding on something. So we can keep that one fairly, fairly easy there. Now, I'm a little bit concerned about this angle that we have over here. So let's fix it real quick. I'm just going to grab my knife tool again and just cut from one side to the other. And from one side to the other. There we go. That should fix pretty much everything and we can start adding our support. I just, uh, so let's start with the first one, which is gonna be right here on the back. Let's start with this one on the side. And then we're going to do one right here. And then we're gonna do one right here. We're gonna do one more. Here. We go. Of course, once you're in the front, a couple here on the corners. Let's do 12341234. It's going to sharpen the effects right there. Of course we need one right there to support the sharp effect. That's going to be that one right there, and another one right here. There we go. And over here, there we go. So as you can see, the bottom part is already like working quite nicely. And now we just need to keep adjusting the upper part. So we definitely need a warrant right here. We need another one, like right here. And that's working. One more here. Go. It's like one more. Like, Oh, we can't add one there because there's a triangle. I mean, we can try. That works. Take a look at the shape. Yeah, that's looking nice. So now we just need to do the same thing that we did like the like the three lines, like one there, one there, one there, one there. One there, one there, one there and one there. And that's gonna give me the effect that we're going for one more right here. A couple therefore, for texture stretching, same for this one right here. There we go. And then a couple here again for the same reason for texture stretching. Maybe one right there. There we go. And of course we're going to mirror this again to make sure that we have the exact same topology on both sides. It's a little bit dense on the backside right here. That's definitely one part that we could simplify, simplify somehow. But it looks nice. As you can see, we get this really interesting hip armor right there. Now one thing that I'm definitely seeing is that this hip Armour seems to be a little bit longer. So I'm just going to scale this up a little bit more. And now another thing is it seems too long, like maybe the perspective on the images is like playing matrix. But I imagine this thing. Let's center that point. I imagine this thing is going to be like right here, right on top of the hips. It's a little bit too much, so I'm gonna make it a little bit shorter. Maybe even like Gulag here and maybe a little bit wider right there so that we can somehow attach it to the top part of the hips. Like look at that actually. It kind of looks loo, really, really, really fricking big. It seems to be covering part of the of the clavicles as well, but I don't know, I don't love this. Well, let's assign the material and see how this looks. But one thing we can do is we can definitely assign the black rubber material to that one. So I'm not in love with this shape to be honest, it's too big for my taste. So I'm going to make it a little bit smaller. And I'm going to play a little bit with the rotation and the like. The placement. We know that this thing is not moving like this. This green thing is not going to be moving, so it's gonna be right there. And we have dislike night. Remember this kind of like step that we did. That to me feels like a natural place to place this thing. And that should still give me enough range of movement. Now we could move this up a little bit more. Almost like an horizontal approach like this. You can definitely have a little bit of overlap or maybe not even overlap. We could even link, just leave it like this attached to this particular piece. And that should give me enough. French woman said that if I want to move this whole leg up, this armor is not going to collapse with this as easily. You can of course, make it even, even like a little bit smaller. And again, playing with just shapes, I just want to move things around a little bit because it looks it looks a little bit weird for me. Okay. So something like this makes it a little bit more sense in my, in my, in my mind. We're going to mirror this now on the world axis to get the other side of the elements. And it's just again, it kind of looks like Let's go. World cannot, will not look lower right there. Now. I mean, if it's gonna be some sort of like protection, but something that to me makes it a little bit more sense. But then again, it doesn't make a lot of sense to have this horizontal. So we did have this shelf when we were modeling deed the top part. So it might be that this is D, the intended like idea, right? For this, for this main thing to be right there. I don't love it because it doesn't look as dynamic as this are like angle view right here, but when would you see it from the top? It's very flat as well. So it's one of those tricky, tricky situations. I mean, one thing we could do though, is we could add some like the former here. Let's, let's delete the history and we can add a deformed lattice. Let's add some divisions on the x-axis. And then if we grabbed this lattice points, for instance, we could modify and make this a little bit rounder. I think I like this idea a little bit more. Kind of like sharpen this and maybe even grabbed this guys and just push them forward a little bit. Definitely going to change the the original sign a little bit, but it's just think it makes a little bit more sensitive than the kind of things that I will definitely ask the artists or the lead or to the side. I was like, Hey, what do you, what's your idea for this piece? Because it doesn't make much sense to have it just like a float and it feels very flimsy. I think I think that's my issue. Like I feel like if something hits it from the bottom part, it's just going to bounce and it doesn't make too much sense to do that. We could of course like bring it back a little bit more, but then we run into other issues. Usually kind of like that solution a little bit better. It keeps the spirit of the piece a little bit cleaner. So even if we have a little bit of fun, I have overlap right there. I prefer this, this seems way, way more stable than what we had before. Might need to make this, again a little bit thinner. Push it closer so that we have enough range of movement on the outer side. So this to me, I think this is the best solution for this, for this particular piece, like being able to use it as a little bit of a shelf back here. And that way when we create this piece, the top of the pelvis part, we're gonna be able to just fit it on top of this and just created another sort of connection. You'll still get some cool shapes. We still get some cool elements and we can work, we can definitely work with this. So yeah, that's that's pretty much it for this one, guys. I'm going to stop the video right here. And the next one, we're going to jump a two. What's the word? We're going to jump to D. To the last part, which is this guy right here and the host is now the hoses. It makes a lot more sense now to plug them in right around there. But we can have one connection there and one connection down here. And then the curvature is going to be going through this direction. And the Probably, probably to like one point right there and one point right here. We'll see we'll see how we connect this. Just to mean like a hoses are going from there. But yeah, that's pretty much it for this one guys. I'm going to say real quick and I'll see you back on the next video. 54. Pelvis Armor: Hey guys, welcome back to the next part of the series. Today we're going to continue with the pelvis armor, which is the final piece that we have right here. By the way, I did change this one. I went from horizontal to again, like a oriented or this angle. And I just think it looks better. A, it might not make a lot of sense from this internal perspective view, but it just makes sense from a design point of view. It just protects the, what's the word, the spine a little bit more and it just looks a little bit better. So I'm just going to keep it like that. I know it doesn't make a lot of engineering sense, but it just looks better. So we're going to start with a Create Polygon Tool and we're going to create this armor piece right here. So we're gonna go like this, this middle point, and there we go. So that's gonna give us the main like a frame that we want to have. But of course we need to take a couple of things into account. First of all, we're going to get the proper width, which is gonna be right around there. Then I'm going to cut right. We need to fix the guns. So let's delete this face right here. Invert the Pauli's. And with our Cut tool or knife, I'm just going to create that right there at the new line, right in the middle. Probably a little bit higher, like right around there. And right around where it ends with the spine, which is right around here, I would say. Because we can definitely make this thing a little bit thicker, just a tiny bit thicker. Or it's the pivot point, just tiny bit thicker. And what we can do, of course, is delete this face right here. That way we just grab this guy and this guy, and we extrude and snap this to the center like this. And this, both of these vertices. First this once we immerse the center and then this ones we merged the center. And we get this very nice block, which is, you can see here we have a sort of like a bent going on and then the d, like a sexual line here on the back. So let's work with that. Well, we're gonna do, is, we're going to start with the knife brush. We're going to use it right here on the back. Let's go to object mode. Right here on the back. Around there I would say, right view. Of course, Let's get out of isolation mode. Oh, look at that right there. I'm gonna go component mode, or in this case, object mode. Now it's not working. Let's just push this manually. It's gonna be right around there. If we want to be super precise because of course like blunders guys and then just rotate them. That way. I know the deadline is perfectly, perfectly straight. And then move this up a little bit. And that's gonna be my, my section line right there. We're going to mirror this object to the other side. So object X is fine. We're going to get, and we're gonna do the section line real quick. So this guy right here, we're going to bevel it for a low babble right around there. And Control E, push to say, not that much, right around there we go. So I am going to add a very simple like edge loop right here, right here, right here, right here are actually what's gonna do that before or two to try to avoid the issue with that depends, but maybe we're not going to have that much of an issue. Grab these two guys right here, are three guys control E offset. So it's going to create the paneling that we have right there for some sort of bands, control E. And we push this in. There we go. So that gives me the shape. Of course we're going to mirror to have the shape on both sides and against It's the poly count is relatively like like soft right now. I'm just going to say a bevel, just going to bubble two segments. And the fraction is fine. So when we press number three, we get this very clean looking shape right there. Of course, this shape right here on the back can be black like rubber. And then on here, we do have those bands, but unfortunately the bends are actually not straight. So I'm going to leave it like this for now. And we're going to play with some patterns on the other texturing section for this thing at the basic armor material. Again, to prevent the stretching, I'm gonna go 12312345. It's going to alleviate the stretching effect. One right there. We have a lot of lines here in the center, so I'm just going to delete some of them. We don't need as many. And we can have 11 right there. Let's, of course mirror again. And that's it. Get a horrible extra vertex there. That the only one. We get a couple of actually, let's go back. I'm just manually going to add this with the knife tool. 40%, 40%. There we go. Where we keep things super clean. And that sets you can see this thing right? There is going to be on this part of the element and this part of the effect is going to be protecting the spine as well with this guy. Did, this does mean that we're not going to be able to bend this character back. Meaning that he is going to be leaping. There's a limited amount of things like this, might be able to rotate, but like that guy right there, this guy can only rotate it down two to go like or to lay low. If we want to alleviate that, of course we can go central pivot here. Just play a little bit with this guy right there. Now, I don't love this ugly overlap that we're getting on this part right here. So I'm going to isolate this guy's real quick. I'm going to show you like this is horrible, horrible, horrible. So I'm going to extrude this guy's out. I prefer this sort of overlap right there. That looks a little bit more. Well not ideal, but a little bit nicer than what we had before. So be mindful about that. From the top view. I don't see a lot of details. You can see it's very, very basic, but we can definitely add a similar sort of like blocky, blocky pattern, like they're there and maybe there. So a extrusion, a little offset and then an extrusion and push this in. And if we use our offset tool, you should be able to push us to the borders and get this interesting paneling look from the top view. Again, not, not bad. It looks okay. I'm going to go back real quick. I'm just gonna do this two guys right here. So Control E offset and then Control E, push this in. And we're going to offset this guy right there. So that gives us something again. Now we can even go, I'm going to isolate this real quick. Let's go and select this case right there. Shift select to get all the other edges. This is just to be a little bit extra clinical. Just going to assign the black rubber material. We're looking for a nice render, right. So that like black rubber right there. It gives us a nice nice touch. Yeah, that's that's pretty much it right there for that one. So now the only thing that we're missing are this host is right here. And the, what's the word? And that's pretty much it. You can see how this Gaussian, but again, like we know this is going to, unless we had an empty slot on the center, then that will be, that wouldn't make a lot of sense because it gives then we're seeing it flat right here. So even if that's the thing with ideas and counterpart, even, even the best artists will have a little bit of a difficult time sometimes, like figuring out every single, every single element. So this one right here, it's gonna go there. I'm going to use my control vertices here to clean the host a little bit. Give it a nicer, softer curve. We go. And that before we extrude it, I definitely want to move it around. As we mentioned, this one's going to be coming from probably up there. Like up here. It's gonna be one of the hoses. And then this insertion point is going to be all the way here. So that means that as we keep going back, there's gonna be a little bit of curvature going back. Like this are very straight and then curves back down. Let's go to the right view now. We're going to have actually that one. It's telling me that's coming from lower. So yeah, that's fine. We can leave it right there. And we can go right view again and with my curve again. And then do a second one. Then it's a little bit straighter. Let's move this to the side. So that's the one that's going to be coming from. The top part. I'm going to center the pivot point which we can manage this one easier so that one's gonna be coming from there. And on the insertion point, another thing we can do is we can turn on soft selection actually and make this radius really, really, really big. So it actually goes almost to the beginning of the, of the curve like that. Then this one, I'm going to have it like right there, maybe just a little bit higher. There we go. Now we've got both curves at the same time. We can use the sweep mesh at the same time and it's actually going to influence both of them. That way. We only have to get the proper distance once and we're going to have the proper thickness of the Of the illness like, right, they're probably going to have to make this a little bit smaller. And now that we have this, we definitely need to move things a little bit. I'm going to grab this group right here again, control vertices. This guys with this sort of like size. We're going to have to push them up. We're actually not interfering either up or down, like we can decide, but I definitely need more space. Either that or this guy right here. We can make them a little bit smaller, like both of those options work. But I think it might be a good idea too to bring the connections down. So grabbed it controlled vertex right there. That position at the point where it makes a little bit more sense, like they're a little bit of overlap and that's fine. That one or this one right here. Same, same deal. Like I'm going to grab this vertex points right here. Just push them a little bit closer to the, to the connection point. Over here. We also have a similar issue, not with that one, but with the other one, with this one right here. So control vertex. We've grabbed this guys and we're just going to push them in. So they're actually like entering this section of the of the body. And then this one is right here. Similar thing. I need to pull them up a little bit. We might be able to yeah, something like that. Now we do need a connection, so I'm going to grab both of these guys right here. Now that we know where they are going to be finishing, there are the road we can delete history. I am going to combine them to work this a little bit faster. Duplicate them. I'm just going to select the one of the duplicated elements. I'm going to select the, the connection phase. There we go, shift, select everything else to face mode, select everything else and delete. We're gonna be left with this sort of caps. Grab all of this inner capsule right here. Actually just grab the whole object to be honest. And Control E and thickness this guy's up. Okay? And then the outer edges work in that of course pebble them. That. And the interfaces, this one is very, very important. This interfaces go make sure that we're not selecting anything that we shouldn't. We're going to extrude them first and then delete them. They go a little bit inside of the element and then we extract them. Now, we might need to push them out. So I'm going to graph should made a mistake right there. This is, this is a way to That one's easy. We just push this in. We might need to rebuild this one right here. So control E and just extrude n. Even if there's a little bit of overlap there. I think that's fine. Then we're going to have to graph this one right here. And component models closest possible to component mode, we're just gonna have to read a little bit of overlap right there. To get that in. This one should be a little bit easier because we're really straight. So there we go. Then this one right here, same thing. Push them out, get them right there. Such a small detail, but if people see it, I just wanted things to, to make sense, right? So now that one is definitely going to be like a black rubber. And this ones are definitely gonna be like a metal. So let's do, let's do Chrome for those wants. Same for, remember this guy right here. Let's do Chrome for this one. Now we select this guy right here, shift right-click, and we mirror on the world. And we mirror on the world. And there we go. The armor, my friends is done. We have finished. I'm going to save this real quick. And let's celebrate with a very quick render here of our, of our system. So let's bring a render setup I've already saved, and let's do a quick render and see how, how bulky this character looks with all of the armor pieces. Now of course, we're going to shoot from the shotgun. And that is beautiful. It looks great. Like I loved the bulkiness, I loved the complexity of the shapes. Everything makes sense, everything falls into place. And yeah, I know some of these pieces are not like perfectly soft and that's fine. This is not the final render, and let's just save this as random number 12th. And that's pretty much it guys. So we're ready to jump onto a very important part of the process, which is the main domain was the final part in here, we're actually going to go a little bit magical because if we tried to make, to make sense of where the connections are gonna be, I think we're going to go crazy. So we're gonna see how we can deal with this. We're going to do the main real quick. And yeah, let's, let's see what we have on the next video. There's the main beat is gonna be the last video of this chapter of chapter seven, I believe. And after that, we're going to jump into Chapter eight, which is going to be UVs. So hang on tight and I'll see you back on the next one. 55. Mane Construction: Hey guys, welcome back to the next part of the series two. There we're going to continue with the main construction. And this, as I mentioned on the last video, is one of the final parts of the element. And it's one of the easiest ones as well. Like look at this, come on, Come on. Everyone can build this main played right here. We're just going to go right here. We're going to create the base of the domain, right? Like right around there. We're going to grab these vertices, push them up, scale them out. And then we're going to grab the upper face, Control E, push it up, scale it in. And that is it. Like once we do this, I mean, you're halfway there. We're just going to set this right here, make it a little bit thinner. Probably like around there. And you can see this is sort of sci-fi ish. It's supposed to be solar panel. Okay, So we're gonna build it as such. I'm gonna grab this guy right here, Control E offset to create the proper size. Therefore, the indentation. Here we go and then grab this piece is right here. Control E, push them in to create the word. The actual cells are going to be the cells we're going to do texture like there's no way we're going to model each individual cell. There'll be, there'll be suicide pretty much. So we're just going to do this thing and do two segments and a small fraction. As you can see, that's going to solve most of the stuff right here again, from a texture perspective, it might be a good idea to add a couple of divisions to alleviate the texture stretching that we might get. But this is it. This is the main plate right here. Now, the big issue is going to be, how the **** are we going to be constructing or building the plates around the neck? Well, first of all, I know that this thing's pivot point is going to be down here. The second thing I know is that I do want to have some sort of system that allows me to rotate this thing around. So remember how we had like this and let us write here or like, I think it was this one right here. I'm just going to duplicate it. Let me just make sure that it didn't duplicate this twice. Now, I'm just going to duplicate this on the right here. And this is going to be the attachment point or one of the attachment points for the whole thing. Let's rotate this 90 degrees. And with a scale, you can press Control and click this icon right here, so that we modify the size of this element without actually modifying the underlying proportions. And that way we can get this piece right here that wherever this business quite heavy, 2000 triangles for a single pieces. It's quite a bit. This is 2000 triangles really. Yeah, Well, that's, yeah, that's quite heavy. So imagine now for each of these panels, we're going to have a lot of polygons. This is where we might be able to simplify a little bit. So if you can, you can just delete a couple of the, of the support edges that we might have. And that's going to help us alleviate a little bit of the issues. However, again, we're going, we're going full cinematic for a full overkill here. So we don't care, we do care, but we're not gonna be too worried about that. So this guy and this guy, we're of course going to combine into a single object. Right now. This guy, I'm going to assign the armor material. And what I can do just to make this thing look a little bit nicer, is I can select this panel thing. I'm going to assign a new material, Arnold AI standard surface. And all the way here, we're going to have this new one we're going to call M solar panel. And I want to go metallic. And I want to go blue. A blue kind of like, I always like to sort of like teal color. There we go. So that's gonna be, it seems like we forgot a couple of phases. So just grab those faces and assign the silver pen color. There we go. So now that this thing is combined and we're of course going to move the pivot point down so that it matches with the rotation of the cylinder. And if we rotate, the whole thing is going to rotate. So we need to do is we need to duplicate this guy and start positioning it. Where did this thing is gonna be assigned? So I'm actually going to turn on this discrete rotate, which is going to allow me to rotate in, in angles so that it's a lot easier to find. And we're going to have one central piece right here. Scale it down just because you can see the first, it kind of looks like four layers of flight, like this or like planes. So this is going to be the first one. Habit. We're not going to make a lot of sense of this, meaning that I'm not going to worry too much about where their position. You can see this one. The first position seems to be really close to the head. So we're going to have it right there. That's gonna be the positions attached to whatever piece makes sense. So like the green piece right there, we might need to scale this in a little bit to just make sure that the overlaps are not that obvious. There we go. So that will be the first, that would be the first layer. And then we're going to do the second layer, the second element. And we're going to rotate this, as you can see, that was, well, actually let me delete that one. I'm going to freeze the transformations and this one so that the rotations are really clean. Let's go world rotation. There we go. So that when we rotate, we can find like EC angles. So that's gonna be like 45 degrees. We're going to go slightly back so they don't touch. And here's where I'm saying, like it's gonna be so convoluted and so intense that it doesn't really matter as much if we make a lot of sense of the insertion points and stuff. This one I think I'm gonna make a little bit smaller on the scale side of things. And then Control D rotate, It's going to be 90 degrees. Again, we need to find a close insertion point. We might even push it forward. That's fine. And then we're going to do another one. That's gonna be 135. This one that we're going to push it backwards. Again. We might not even see where these things are actually like sorry, attached to. But it doesn't really matter because it's such a, it's such a conceptual piece. It should be perfectly fine. There we go. Well, actually, I like that one. Let's do this one again, control D, rotate 90 degrees or 180 degrees. This one's gonna be like down here. There's one, for instance, I think we could attach it to the neck. Kind of makes sense. At least we complete the sort of like silhouette function that we're going for. So now this guy is, of course, we're going to mirror them. Let's go mirror options and we're going to mirror them on the x and negative world and hit Apply. And that's going to build our first layer of elements right? Now. Technically, technically, we should be able to just grab this guy's Control D, push them back, and then make them bigger. And that should give us a relatively nice effect. However, as you can see right there, the effect is not perfect because they're going to be covering each other. So I think the first two layers, I'm going to do manually. So in this second layer, the next layer of this elements, of course, are going to be bigger. But not only are they going to be bigger, they're gonna be rotated a little bit to the side. And they're gonna be right there, 15 degrees, as you can see, right around there, so that we can actually get a little bit more sunlight, right? Like that's the, That should be like the DID or the general idea. Now, when seen from the, from the top view, we do need to leave enough room for the other ones. It's probably going to be like right there. So that if we mirror this to the other sides, in this case it's going to be world positive. They do not touch perfect, so that works. That actually means that I can, I can move this thing a little bit more so just a tad with their apply and as long as they don't touch or fine, that that to me it looks good. We can have a third one. So we could do another one right there and then can increase the size. It's gonna be like the third layer right there. It's gonna be attached to the neck again. And believe me guys, I know this might not make a lot of sense, but that's what we're going to have to do this one. I'm going to really bring it back. Same for this one. So we can create the sort of like layering effect. When seen from the side. These things are also rotating a little bit, so I'm not sure if we should rotate this a little bit there as well, I think not. And this is one of the issues with this concept piece. The fact that we don't have a super obvious way on how this is working. But I kinda like this. I think, just like moving them back and forth like that. The front silhouettes probably gonna be the most important, right? So, so by positioning it like this, we should be getting a fairly good idea of how we want things to be. So the next layer, that's important in the next layer, after a thorough debate, one, we're going to go back and we're gonna go with a smaller layer. So it's gonna be probably around that. There we go. And then finally, we're going to have a final layer which definitely going to be smaller, almost touching the back and covering a lot of the things right here attached to this second part of the, of the element. You can see how this things become smaller and smaller. And that way we have a lot of solar panels like watching the, are catching the light. And now the only thing that we need to do is we need to start positioning the rest of the elements, of course. So for the rest of the elements, for instance, on this second piece right here, I'm going to duplicate another one, wrote it again, push it back, and then we need to find the position which is right there. But at the same time, I have to play around with the intersections, right? So here we might need to turn off discrete rotate. And I'm going to go to the object Rotation. Use the Z rotation in this case or the Y Rotation to try to find the proper position for this thing. Because as you can see, it's not gonna be as easy now, I have to play around with where these things are going to be to catch as much light as possible. That one there makes quite a bit of sense. So as you can see, they're not all perfectly level. Yes, we're gonna be able to see inside of the lion, which again, some of you might not love. We can add a new one right there. But then still wet starts breaking up a little bit. It's going to be like a really huge one that, I don't mind that one as much. It looks kinda interesting. From a silhouette standpoint. It looks, it looks quite fun. And then we're going to duplicate this one. Let's rotate with discrete rotate again. That one's gonna be a writer on their skill it in. Again, it would just have to move this around and find an attachment point that makes sense. So a little bit back here to the neck. Actually, I made a mistake there. When scaling. We do duplicate this. We're going to scale, we're going to secure uniformly so that the, the cylinder does not change. Again, we tried to find decision right there. We had way more time. We could design a whole contraption that connects all of these guys like properly and everything. That's definitely going to be complicated. One thing we can even do, to be honest, this just utilize the same elements like connect ourselves to another plate and play around with the fact that some of them are gonna be like that. As long as the overlaps are not super obvious, we should be fine. So there we go. Now we have 123 shift and we've mirrored to world. In the mirror to World negative. We're going to hit Apply. There we go. That looks quite nice. It looks quite busy, right? This one. So eventually when we have shadows and MED occlusion and everything, that's definitely going to be covered quite nicely with the rest of the elements. So that was the second row, which is this one right here, the third row, here's where we can repeat stuff. So for instance, for the third row, we can just grab the first elements, push them back. I'm going to actually combine all of them. Just rotate them a little bit and try to make them work. What we have. Again, as long as we didn't have like horrible elements we might be able to get it to work with. Now actually, it's not, it's not working quite, not quite as hard as I thought. So we're gonna have to do this individually. For instance, this guy right here, that one does translate quite nicely to the next section. This one right here. This one does not, right? So this one, I have to bring it down a little bit. Let's go to World mode. We've got to bring it down a little bit. And we're also going to have to bring it out. So I'm going to have to grab all of these faces. Focus on this site first. Push this out, rotate this a little bit. Let's get rid of discrete rotate, rotate. This just makes sure that the cylinders like kinda touching. Because then we have the arm and we got to be careful about the arm as well. Now that we have this we mirrored to fix it on the other side, we might even to be honest, like rotate it back a little bit and move it forward. So that helps cover some of these areas. Now we mirror again. There we go. And then we are left with very little room on this areas, right? So might as well just grab some of this big guys, rotate them a little bit and just play around with the empty silhouettes that we might have, that we might still have. Like for instance, that will make sense right there. Right? Because it covers all of this area. It does leave an interesting gap right there, but just not much we can do, to be honest. I really don't want to add another one right here. And if we do a definitely want this to make it a little bit smaller. Because now we're getting into, into a overlap territory where things might overlap. Like if I move the arm up, it's going to overlap a little bit with the main right here. So that's going to stop that we want to be careful about and to think about. Because if eventually we want to rig this thing, that's gonna be a, a, a possibility. Now let's just mirror this guys. And I think that's pretty much it guys. Like. It looks a little bit weird from the back due to the placement, but from the front it has nice, nice read right there. Let's I'm gonna hide this guy for a second. Actually. I'm just going to move it out of the way because we need it. And let's bring the render setup and see how this looks when rendering. Let's turn off the image planes. And the moment of truth. Here we go. Get the render down here. Let's close this and say Arnold render. And let's see what we get. Will it look good? Oh, that looks really sexy. That's nice. That's really, really cool. I do think we can make the whole thing a little bit bigger. Because it seems a little bit small silhouette wise compared to the concept piece. But that looks really nice. There's a couple of empty spots right here that I would definitely like to modify so we can get something a little bit nicer, but let's do a quick test on the, Let's close this right here. Let's do a very quick test on this thing. So as you can see, all of these guys are the elements. I'm just going to combine them real quick. Center to the point. Actually, we got this one as well. Let's go back. Let's everything except for the first one. There we go. So we're going to combine and center the point. And let's just play around with the size of this thing. Make it bigger. I know it doesn't make sense from the insertion point of view. I just want to make sure that it looks a little bit better. I'm going to save a snapshot here. I'm not going to save this image, but I'm going to save a snapshot. Yeah, that's a lot better. I think that's a little bit too much though. So we're going to have to go like right around there. That makes, that's 1.1. So it's not that big of a deal. Now it looks a little bit small. So let's go one point, that tool, Let's go 1.2. There we go. That's a little bit better. I'm gonna go perspective because I just want to see it from the front view. I think go perspective shape. Let's take a quick render. It looks quite nice like that I can imagine like resting on a rock and just getting all of this sun energy to do its duty. So yeah, that's it, guys. I will do a little bit of off-camera tweaking on this part right here on the what's the word on the, on the rotations and some of the positions. But this is what we would need to do. Again, this is something that you definitely need to talk to with your rigor and with your art director, and especially with the concept artist to make sure that if there's any questions you might have on the concept that you can solve it properly. But yeah, like as you can see, this gives us a really, really, really cool silhouettes. I'm going to stop this. Let's save this one. Is going to rely on guardian 13. And I mean, come on from the very first blocking all the way to this point, I think we've made a huge, huge, huge improvement. So now this looks quite nice. This looks like a clean render, a clear product, but now we're going to jump onto the next stage, which is gonna be the texturing process. And the texturing process is really going to take this to the next level, is going to make it look like a very realistic robots. And we're gonna be able to add some very cool details, for instance, here on the panels as well. So they actually looks like it's this sort of texture or like a special, like a photo voltaic cells and stuff. So make sure to get to this point, guys, this is gonna be the end of chapter seven. The next chapter we're going to start with a clean-up. We're going to go over the whole thing and we're going to start cleaning up the pieces, getting everything ready. And after that, we're just going to jump into moving and texturing. So hang on tight and I'll see you back on the next one. 56. Clean Up: Hey guys, welcome back to the next part of our series today we're going to continue with the cleanup before we jump into UVs, and this is what we have right now. So first of all, I'm going to turn off the skeleton. And as you can see where a lot of things that we use like curves and stuff that we don't really need right now. So I'm going to select every single piece of the armor and we're going to delete history. We are going to freeze transformations which are going to send things where they're supposed to be. But we're not going to, what's the word? We're now going to be centering the pivots because some of the fields that we have are actually working quite nicely. And then we sent her them, then we're going to have a little bit of an issue. So now I'm going to go and say Select all by type curves because I do remember that we use several curves and it's important we delete them because we don't need them anymore. I also have a lot of cameras right there. So I'm going to say Select. And then All by type cameras. We're going to select all of the cameras, including our shot camps somewhere where it sits. Should be right around there. But if we just delete things, there we go. As you can see, we cannot delete certain things like the like the the render setup. There we go. So we did delete. Actually let me go back here. Where's the camera? Show? You they deleted one point. Oh, there we go. Okay. Okay. So for whatever reason this thing is right here, I'm just going to bring the shotgun setup to the render setup. There we go. Or even like outside of the render setup, there we go. So now again, we can hide the skeleton. We go. And I can say about the bus select all by type cameras. Of course we de-select that one and we delete so that we have let me delete all of the other cameras. There we go. We select all by type curves again, and we delete all of the curves. We can start like just like renaming stuff. So for instance, this is the lion main panels. And here's where our little handy renaming tool can come into play. Because we can start grouping stuff, right? So the way we can think about the general grouping of elements is probably by, by focusing on the sections of the body, right? So for instance, all of these parts right here, all of those guys, I'm going to Control G. And that's gonna be the head armor. So this group right here, it seems like we have one group, right hip water disguise the neck, so we actually already have the head armor there. So let's on parents. So we already have all of this head armor pieces right here. And for simplicity sake, we're gonna run our R script, whereas this one right here, we're going to just rename everything too heavy armor piece and just renaming number. Here. There we go. 12345 all the way to 14. We can start doing here as well, is we can start seeing which pieces are always going to be together, right? So for instance, this piece right here, this piece right here, this piece right here, they might always move as a single element. So if we need to, we can combine. However, I don't want to combine just yet because for the UV process, it might be a little bit faster to do it in a slightly different way. We don't have the skeleton which is pretty clean. It's not perfectly clean, but it's pretty clean. We have some groups right here. Just to leave those groups, you can even go to file. And the optimized scene size which should delete all of the empty groups. There we go. If we have groups that were not leave it like this one right here, that means that there's something. So that guy, Let's grab all of these pieces, for instance, Control G. And then this group we're going to cold front leg group. There we go. And all of these guys, we're going to rename to front leg armor. And we rename, There we go. Then we can start doing is we can start hiding things. That way. We can see how many other things were left or left. So let's hide the head, for instance, the panelists are pretty much going to be I think we can have them on the head to be honest. I'm just going to middle mouse drag and drop them into the head armor. There we go. Now, all of these pieces right here, actually another way, think of this, maybe we can have everything on a single front leg. So let's just select this again and rename. There we go. Then all of the species right here Shift G to ungroup and then Control G. And this are going to be chest armor. Suggest armor. Or all of these pieces right here we go. And of course this is gonna be just armor. Group. Scrub. This guy right here, hideout one. And then I think based on the volume, I think all of these pieces can be its own group, so Control G. And this is gonna be back leg armor. There we go. Of course is going to be a group. Just get this here, H, which tells me that we have a floating panel over here. I'm going to leave it for now because we might need it. So I'm going to call this original panel. There we go. These are empty groups. Let's just delete those. We have some stuff right here, empty group but Selenium, Let's delete it, Let's leave it. And technically, if we bring everything back here, which will have the whole thing. So that's the armor which looks really dope. Then we have the skeleton on the inside, which also looks really, really cool. So, yeah, that's, that's pretty much it. Now you might see something interesting here, guys, I actually divide it. This guy's into different segments. So we have the skeleton, we have the head armor, we have the front leg, and then we have the back leg. So we're going to have something called yield, which is the way we're gonna be creating our UVs for the whole thing so that we have a lot of resolution for our final renders. This is, of course again, going to be a little bit performance heavy, but it's kinda look amazing at the end. You already saw the video, of course are the intro video. So to do that, one of the ways that we can organize things is exactly like I'm doing right here. So I have the head armor, the front leg, the chest armor, and the back leg. And we're gonna do something similar for the skeletal. We're also going to divide it into four pieces. So we're probably going to have eight You them islands at the variant, one for the skeleton and one for the other things. Now, this guy right here, Let's press Shift P. In other words supposed to be. Let's get into the head armor. And I'm just going to copy the name here and this is gonna be our Murphy. So with this guys, we have pretty much everything ready. We actually don't need the image planes anymore. If we want to clean this in a little bit more, we can just delete them. Will be fine. I'm going to say File increments and safe so that we keep the original one. And n are seen as you can see right here is it's a lot cleaner. We can still do a renders and everything, But we are ready to jump onto the next stage, which is going to be the UB process. So I'm going to show you, I've shown this before and you probably already know the basic or my basic process for UVs, but we're gonna be doing this well for each individual piece. The cool thing about this character is the fact that you're going to let a lot about UVs because we have so many different pieces that by the end of this you're probably going to be a master at UVs and each piece has its own challenge. And that's one of the things that they love about UVs, that if you know how to do them or if you learn how to do them. Every time you do them, you're gonna get great results which are textures. Okay? So, yeah, that's it for this one guys. I'll see you back on the next video. 57. Using Uv Checker: Hey guys, welcome back to the next part of our series. Today we're going to continue with the UE process. And I want to show you a very, very cool tool which is this, uh, UV check or you can find this at UB checker da Vinci dot XYZ. And this was released not too long ago or not so long after I'm recording this. It's a great tool. It's a great tool because we can generate our own UB checker map with specific colors, is specific, like patterns, everything. Now, why are these maps important? This is one of those steps that a lot of people just ignore or don't use as much. But you can actually get a lot of very cool information from using a UV checker map on your UV process. And the reason why these are so good is because you can see both at the direction of the islands, the resolution of the islands, and also the stretching of your textures, which we've talked about before. It's really, really important when we are inside of Maya. Let's say I just grabbed this piece. I'm going to actually gonna, I'm gonna have to assign a new color to every single place. So I'm just going to select everything here, right-click, assign new material. I'm going to assign a new Arnold material, or actually, let's do a Maya material. Let's do an Arnold material. That's fine. Let's do an AI standard surface. And there's going to be called M UV checker. There we go. I think I wrote that wrong. So I'm gonna grab this piece right here. And let's say we do just an automatic UV, right? So we'll just grab this guy and we say UV, automatic UVs and we're like, whoa, Abraham has said that the automatic UVs are fine sometimes. They are fine sometimes, but not in this particular case, because if you see this, this is not great. It's not really great. We can turn off this little checker do we have here inside of Maya? And it's not a bad checker, as you can see right here. We do have the letters, we do have the elements, but it's a little bit difficult because there's a lot of empty space, so we don't see everything that we might want to see. The only thing that's not great, Let me turn this thing off. There we go. So I'm just clicking this so that we can see the black and white thing. The only thing that's not great is the one we press number three, this is where we're gonna be seeing in the UVs, like a stretch. But since this UV is not actually an image, as you can see, we're not really seeing the UV stretching happening. So it could trick us into believing that we don't have any UV stretching. And that's why it's wrong. So this tool right here, the cool thing is again, you can do your own. I recommend either grabbing one of the basic ones or selecting one of these guys right here. I personally really like this one that has like round corners. It looks really nice. And you can change the colors as well. This one has this sort of like Rainbow road color. We can go with this normal scroll we can do with Valhalla. I actually really like Valhalla and down here we have the custom colors. So if you want, for instance, we can go into like some green shoes right here. Right? Just keeping most of the stuff. They're just modifying the details a little bit. So we get something that's a little bit like green and brown. It's not that I don't love it, That's not bad. Let's say we're going to use this one. Okay, so now we can decide that whatever solution we want to export our stuff. And they recommend that you export this at roughly the resolution that you're gonna be working with in either a substance or on the final renders. And since we want to go really, really high, we're going to be width for k. So of course, if you want to donate, you can donate. Let me open this real quick. I'm going to Control X on my file, source files here. And we're going to have this on our source images. You can of course, use this one. It's going to be here available for you or you can download your own. So now as you guys know, all of these guys right here, all of the species have the same material, are gonna go to Color, got to sign a file and working the inside of the UV checker that we have right here costume, you'll be checker by value. Once we do that, what's going to happen is we're going to see display, especially if we press number six, the UVs. And as you can see, this are horrible. Some of them are really stretched, some of them are completely broken. And eventually we'll wanna do is we want to create a UV that looks good for every single piece. Okay? So I'm gonna go to this piece right here and just show you why this is so important. So remember that we can see the stretching now as you can see right here. This tells me that, yes, there's a little bit of stretching, but it's not that bad. Okay, so this UV right here is actually working relatively. Oh, sorry, sorry, sorry about that. I got caught meets nice. So this UV right here is going to work like this. This could potentially work on our subject, but the problem is that we have some cuts where we don't really want them. The direction of the UVs are not actually going in the proper direction. And in general, it doesn't look the way it should. So the process that we're gonna be doing to generate the actual UVs that we want is as follows. First of all, if this is too distracting for the UB process, you can of course, go back to the standard material. We work on, the UVs here and then we see the display or the final result. And we're going to follow three very simple steps. We're going to create new UVs. We're going to unfold those UVs. We're, we're gonna cut first where we want the cut-off, our UVs, and then we're going to unfold, okay? So we also want to save ourselves time and we're going to just delete the one of these sites, do it on one side and then mirror it to the other side. I'm going to start with this one right here. I'm going to start with my first step, which is going to be UV. And we're gonna do a camera based projection. This will take a picture of our UV, as you can see right here. And it's going to show the whole thing very, very nicely. I'm going to, you can minimize this or move it to another side. I'm actually going to see if we can. Let's just keep it right here. The thing is, it tends to occupy quite a bit of space. But there we go. I am going to turn this option on, which is going to show me which UVs are facing forward and which are facing backwards. So this red is pretty much Maya telling me, Hey you, UVs are flipped or wrong. But we can fix this of course. So now that we have this, I'm gonna go to UV and we're going to say 3D cut and sew UV tool. And you can see everything is a single pink Ireland in this case, which means that right now we have no cuts. However, if I start cutting, for instance, here on this corners right here, and I caught all around the element. We're gonna get two different colors telling me, hey, okay, cool. So this is a different island, and this is gonna be a different islands. So this is pretty much what we want. Now, one of the rules that we're going to talk about is we want to make sure that we hide. This seems in the best possible places so that we don't see them on the texturing process. Nowadays, hiding the seams is not as important because we have a lot of tricks to paint over them and the software is nowadays they know how to blend those seems very nicely and get a nice result. However, it's always a good idea to try to hide them. Now, if I were to unfold this, I'm just gonna select the UV shells over here, but it doesn't say Modify and are tools. Just modify, modify it and unfold. We're going to get this. So the back part looks really nice. And if we go into our color mode, you can see or you're going to see, let me turn off this thing. You're gonna see that this looks great. Look at that super nice. Of course, the only thing we might need to do is grab this shell and rotate it around. So that's, It's facing the proper size. But look at that like if we were to project the texture over this thing, that texture would look absolutely perfect. On this. It doesn't look that bad. It looks quite nice as well. Even the F4 right there, the distortion that we're getting is not that big, so things are working. Okay. We do have a little bit of wobbling this year, not the end of the world, that's perfectly fine, but where it gets a little bit tricky is under corners like right around here. Because if we take a look at that uv is you're going to see that the corners actually don't have a lot of space to blend nicely. So this guy right here is not blending perfectly and we start getting this curvature effect. How can we solve that? Well, let's turn this off. And usually for a square objects like this, we're going to have sharp corners. And we have one sharp corner, for instance, right here, this guy right there. So it is a good idea to use our uv 3D cut and sew YouTube to cut that corner. As you can see, it's going to stop right there because it doesn't know where to go, what are left or right. And that's a perfect place to add a small little cut to our elements to help alleviate the tension that we might get from our uv maps. Now, it's not always necessary, but in this case, I do think it's going to work now, take a look at this island and when I press Control U again, which is the shortcut. Now we're gonna get that cut. And by having that card now, the texture is going to be a little bit more relaxed. Yes, we're gonna get a cut so the texture is no longer going to be following along. But you can see this piece right here. It looks a lot more relaxed. And the in general, it's going to give us a really nice effect. Now, how can we alleviate this cost, right there is, is there a way to do it? Well, you can see when we press number three, it definitely smooth out a little bit so we lose a little bit of funkiness. But unless we want to cut more islands, it's pretty much unavoidable. But yeah, as you can see this piece right here, this is perfectly working the way we want. I'm gonna do one more thing. I'm going to press Control L and Control L as the shortcut does. We'll go to modify and we'll apply this thing called a layout function. The layout function we'll make sure to fit a both elements into or any islands that you have right here into the easier to one space in such a way that both sides are perfectly equal. This is very important. We don't want one part of this things to be super high-quality like this, and then the other one be very low poly or the other way around. We don't want one of these pieces to be really low poly like this. And then the other one be a little bit different. Now, I'm definitely seeing that the black color is not helping me at all. So I'm gonna go back here. I'm just going to grab Rainbow road, download this at for K. I'm also going to include this one on our, on our source images folder. I'm going to replace the file. And when you replace the file here inside of Maya, the only thing you need to do is go here and say Reload. And as you can see, we're gonna get the exact same thing. This should allow us to see things a little bit better. So yeah, like as you can see for this particular one, yes, we have a cut right here. We can hide it very easily, but everything else flows very nicely. Like Look how nice the texture is projected along the side of this element right there. And that process that I just did there, that's the process that we're going to have to repeat everywhere. Every single piece of this animal right here of this lion has to go through that process of creating a UVs, doing the proper cuts and projecting at the very end, we're of course going to. Organize things in such a way that they share the same texture resolution. Right now, I'm not going to care too much about that. So let's say, for instance, this piece right here, you can see this piece actually doesn't have a horrible UE is looking quite nice, but it's not perfect. So let's delete half of it. It might be a good idea to go to the front view and just delete half of everything. We'll do that once we get into each individual piece. On this one right here, we can follow a very similar pattern. First of all, we go UV. We do a camera based mapping. One thing we can do to make this a little bit faster, Let's add some shortcuts. So it's gonna be my UV mapping, that's gonna be my UV editor. And this is gonna be the 3D cut and sew tool. So we just camera based projection right there. You can see right here. Going into, here we go. For some reason. Let's leave that one. Try this again. Uv camera with okay, cool. So UV calories projection. Again, just making sure it works. For some reason it doesn't work. It's really weird anyway. So we do that and then we jump into 3D cut and sew UV tool. And in this case, for instance, the best god is again, along the edge right here. We can even use like see this edge, a little support edge that we have. That's also fine. We're gonna do it on this side. And of course, on this side you get a couple of different islands. Let's go with no materials so we can see the islands. There we go. And in this case at the thickness that we have, it's actually not that big. So we could avoid cutting the corners. But I know from experience that it really helps, especially like on this one right here, like on this inner corner right there. Cutting those corners on a cube is really, really, really useful. Careful there. Okay, I thought they had gotten all the way through like this one for instance, we really don't need to cut that corner, is it's perfectly fine for the circle. We really don't need to cut the circle. But this one's right here. Again, we can benefit. One thing that you are going to hear from studios and the uncertain workflows is that you shouldn't add more cuts than you need because each card that you add is extra information that the model is inheriting their true, That's true for games. You want to be very careful about how many costs you do to an object. You don't want to go crazy about it. However, for movies, I've seen things that are cutting so many ways. You wouldn't believe it. There we go. So Control L to make sure everything fits on a single place. And there we go. Once we go back to our material, you can see that that piece right there has a perfect UV setup. Now it's a little bit twisted. You can see here and it's a little bit crooked. Like we can see how the elements are not like flowing perfectly fine because it's trying to flow in this way. Is that the end of the world like is this like like Cadbury, they're like really affecting us? And if the answer is yes, this is one of those moments where it might not be a bad idea to grab that edge right there and say uv, Cut UV edges. Of course the same on this over here to the edges. And then if we unfold again, that's gonna give us a straighter look. What the **** is actually giving us a really weird look. Okay, so if this happens, oh, because we forgot to cut right there. Look at that, see those little three points right there. And those little two points right there. Let's do, let's open our UV toolkit here. We're going to cut. Whenever you see things are not working the way you expect that parabola means that you made a mistake on the cutting aspects of control you. There we go, That's a lot straighter and that when we see the uv, uv is going to be really, really straight. Yes, we have a cut right there. Am I worried about it? Not really because I know how to fix that inside of inside of Blender blender, Substance Painter, what the **** am I talking about? So that's it. Now of course, this one we're going to mirror to the other side, the other side of the world. Right now they're sharing UVs. Eventually we're going to lay them out as well. The resolution is going to become smaller because we're sharing more space, but things are going to look a little bit better. One thing we're definitely going to have to do, for instance, here I can tell that some of them are flipped. It look at those flipped elements. We can select all of those red UVs. And it's very important that we say modify, flip. So they're blue as well. Control L again. And that way we should be seeing the proper like letters and stuff. So that's FC row, GCO, HCI. Of course, we're going to align them later on. But yeah, that's that's pretty much it. So I know right now we see the whole line. It looks like really, really What's the word really intimidating red because of all of the different pieces. So the way we're gonna do this is we're going to start small. We're going to do group work or group part by part. We're going to start first with the legs and then we're going to jump onto the top parts and stuff like that. And as we mentioned before, we only have to do it on one side. We do it on one side and then we just mirror it to the other side and we are going to be good. One thing again that we do want to make sure it happens, and we're going to talk about this later on at the end of this chapter, is we want to make sure that all of the pieces share the same resolution. We don't want some pieces to be really high resolution, and then some pieces to be really low resolution. Everything should be really, really, really clean. So that's it for this one guys. I'll see you back on the next video. 58. Leg Armor Uvs: Hey guys, welcome back to the next part of the series student, we're going to start with the UB process. Let's start with the leg armor right here. So as you guys know, we have everything set up right here. We're still going to do a little bit more clean up before we jump into textures. But we can just start like UV stuff. So I'm just going to start, let's go with the first one. Let's go right here. We delete half of this. We're gonna go to this piece right here, and we're going to frame it roughly around there. We're going to say UV and planar mapping, or sorry, camera based projection, just to get the very basic projection right here. And this is one of those. We're gonna have a lot of pieces that are very similar to this one. This is one of those pieces that we can divide into two parts, like the front and the back. Now I'm going to show you here one trick that we're gonna be using quite a bit. And that is to use one of the support edges, preferably the one on the back to cut through half of the elements right there, like that. Just like that. And with that done, we can pretty much go and unfold this thing. And we're gonna get something that looks quite nice. Look at that. So it gets a nice distribution right here. However, the one thing that you might not like, and I actually don't like either, is the fact that even though it does look good, the shape of this thing, little bit weird right? Now. Remember we mentioned this and we don't want to have more cuts than what we need. But every now and then, it's a good idea to just like cut a couple of extra edges to have things be a little bit flatter and a little bit less intense. Again, there's no problem if we use this UV instead of substance painter or this UV right here. The reason why we're not gonna have any issues is because dextrose, which is going to just going to map themselves pretty nicely. However, imagine we wanted to create a pattern like a checkerboard pattern like the UV checker. The problem is that this one is gonna be just fine because it's very straight. So we can have texts and write this text along this line on the underside. This one's gonna be very difficult to match this curvature. So this is one of those occasions, will be one of those elements are items where I would definitely, definitely suggest that we go around the whole thing, of course, on both sides right here. And do a UV and unfold, or sorry, a cut UV edges. By doing that, actually let me, I normally don't do this. But I'm going to, I'm gonna get the UV editor right here. We're going to have to cite a double B array here. Now we are also going to be using the toolkit, so we're going to have it right here on the go or not there. Can I get a little window thing? Now? We're just going to have it over here. So that way we can work on both elements a little bit easier. So now if we do a Control U and unfold this and Control L to lay this out, as you can see, things are gonna be a lot straighter. Yes, we're gonna have a cut which could potentially show on the UV lines later on. But it's, it's gonna be fine. Let's go with this one now. This is even easier. This is just a box, so we're just gonna do again a planar or a camera based mapping actually to save a little bit of time. Or we can do, we can actually grab everything here. All of those pieces. And let's just already do AUB camera based prediction. That way we skip one of the steps. She can see that might look good, but of course we know it's stretching horrible. But this is going to save us one step right there because we don't need to do the same thing every single time. Now we have this one. Now this one again, it's one of those things that syllabus tricky because it has, it has thickness. So yes, we can, again go with our 3D cut and sew tool right here on the back, we're going to have the front view and the back view. But when we do this, we need to see whether this works or not. So you can see this one. It kind of works, but we get a lot of distortion here on the front, especially for this thing right here. And the reason we're getting this is because this code right here is making a really, really difficult. So I'm just going to select that color right there, which is, you can see it's going to go on both sides. Uv, let me get this called uvea, just there. We might use it quite a bit and then control you again. And there we go. So you can see this is gonna give us a cleaner approach, it cleaner distribution of the whole thing. Now I can also see here that we have some guns for whatever reason we shouldn't have. So I'm going to delete those lines right there. This is a good moment to clean things up. In case we see this sort of stuff, I can see another anger. And right here, let's just use our cut tool. There we go. That's it. As you can see, that's also going to make the whole texture look a little bit better. Angles are debating of our existence because as you saw there, they really distort the way things look, look at that. This is a smooth version and look how nice the texture stretches. So that's it. That piece is done. So let's go to the next one. This one right here. This one's a little bit interesting as well because we have a whole host tend to be really tricky. People tend to mess this up quite a bit when I'm doing this with my students. And the reason why people have issues with this, because they forget that they also need to cut one line going across those holes. Otherwise, things are not going to work. Okay, so we cut that line right there and that we're going to call it the half line right there. So now if we unfold, well, first of all, let's lead the other one. There we go. Control you. As you can see, we get again islands there. Okay. Ish. But they are having a little bit of an issue with the with the stretching of the whole thing. This would be one of those, again, elements or just like things that would probably cutting to multiple parts. So for instance, I can go around this whole thing. And that means that I'm going to have the side view and front view, the source. We're going to give me a cleaner effect. And again, there are ways I'm going to show you those ways when we get into texturing to hide all of this seems so if you have seams, you can deal with the seams instead of pretty much all of the software's nowadays. Now it seems a little bit more important in character creation. Is he all of the different islands now control you and look at this. So now this really looks like a, like a nice organized effect. Let's do Control L. And we'll look at how clean the grid looks, right? That's what we're going for. That's the kind of distribution that we want. So as I was mentioning, seams are hiding seems it's a little bit more important when we're dealing with characters for this kind of stuff, for mechanical stuff. Thanks to things like metal edge where things like dirt and stuff like that, that we really don't need to worry too much about. Similar thing right here. We're gonna go through the cut. Let's go right through there on the inside of the little buttons as well. Anytime you have a negative shape, we need to cut so we get both islands. Now this one, I have a little bit more optimistic because they're actually like really straight. So as you can see, we get a little bit of a nicer distribution. Yes, there's a little bit of stretching. This are stretchy going here on the corners, but everything else is quite, quite nice. I'm not particularly worried about this. We could, of course, again, cut the corners here, like the lines. I don't think it's really necessary if I want it to be a little bit more precise, I'll probably cut this corners right here. Those are probably going to help a little bit. Let's just call this UV edges and you can see how things are here. Control, you would get a straight or Effect Control L again. And there we go. So that's gonna be my finger right there again. When we press number three, look at how nice again, stretching has worked. Yes, there's a little bit of curvature here. If we want to really eliminate this, we would need to separate both sides. We can try adding a texture thing right there. That one helps, as you can see right there, it makes things a little bit straighter. Not changing things as much. So to keep things simple, I'm just going to remove it. There we go. Now let's go to this little guy right here. Cylinders. Cylinders are really important. I think I've mentioned them before. Most of the pieces that we've done so far have been very easy. So cylinders are used a sort of like a mantra which is a cap, cap and the cross. And that should give you a super clean cylindrical layout. Look at that. Perfect. That's what we want. Any cylindrical shape we're going to be following a specific pattern. Let's go with this one for instance. Just going to delete right there. Go through the gut. So CAP, cap. And usually it's the bottom one because again, that's the hidden one and unfold. You can delay out. And there we go. Very important that things are squared. That's why we froze the transformations for everything before we started this, because otherwise we will have a slightly different issue. Now, this is where we're Thanks again, can get a little bit tricky because as you remember, this piece right here, SAP's that's made out of multiple different parts. And usually when doing UVs, it's a lot easier if you work with things as separate pieces. Let, let me bring this over here. There we go. So what I'm gonna do here is I'm actually going to say a mesh and separate. That way we have separate pieces. And again, it's just gonna be a little bit easier because we can just isolate this one and that worry about the specific one. So we go here. That's the cut right there. And it's a very flat thing. So even if a and m fold right here should be more than enough control l. You can see that's working perfectly fine. Same for this one right here. Hopefully you guys are already seeing the importance of proper modeling. Like UV should not be painful if you are suffering when doing UVs, that probably means that you didn't do the right thing when you were modeling. And that's what you're having a hard time doing this sort of things. Because if you have clean topology, clean edges, clean edge flow and everything, then as you can see, doing this shouldn't be that painful. Now, careful here with definitely need to go to the Insert rings right there. There we go. The cut has been done on both of them. We're gonna do on fall yet I'm gonna show you one thing in just a second. Let's go with this piece right here. This one's a little bit more complicated, and since most of this wall is going to be hidden, I'm really tempted to go across the corner like this. Actually, before we do that, let's go across the front and back. And then we'd go across the corner there, corner here. And on the inside. Because whenever you add one of this section lines, once one of this UV lines, you are gonna get like stopping points. So things are going to stop. This one I do want to let them fall just to see how it looks. Control you. Control l. Not a fan of the, this thing right here. Like how it's strength to go on a weird direction. So I am again tempted to just cut one more time right there. There are some tools that can be used to straightening things a little bit more. But to be honest with the process that I'm gonna be showing you, I think they're going to do a little bit more harm than good. This one on the back. Not really care too much about this. It's hidden cylinder. We already did that one and we have this little like three pounds right here. Now here's the trick. This three pounds are pretty much the exact same thing, right? So we don't want to work hard, work smart, so I'm going to do one of them. And once they have one of them going to select that one, select the next one. I'm gonna go to Mesh Transfer attributes. And we're going to transfer pretty much everything. But we're gonna be sampling in the topology, which is the way they're built. So if I hit Apply, as you can see, I've successfully transfer the UVs from one to the other. And therefore, like we just have all of them right now. Yes, there are sharing things. I'm actually going to go windows or mesh. Let's add that tool, the transfer attributes to my shelf. And now of course here we're going to have to lay them out properly, control you and Control L. Let's combine them, Control L. And now they each have their own stuff. It looks very wonky, but again, when we press number three, you should get a slightly better result. Right now here I think the texture stretching is really hurting us. So I'm going to add the 1.2 right there, 1.2, 11.2. The topology is now no longer the same. But hopefully this should help us with the structures of the texture. Like it should look a little bit better. I don't love that like wonky, wonky change on the texture there. It could be because we need to do a couple of extra cuts right here, like this corners. Especially like probably like the bottom corners. Let's try all of these Side Corners as well. And this sort of thing happens mostly with square shapes like this one. Let's see if that's a little bit of a better job. There. Doesn't really change that much to be honest. So it's mainly the change in perspective. But that's fine. That's a small detail so we can deal with that. Yeah, so that's, that's this because now we can grab the whole piece, recombine it again, and do another control. You control L to get everything in the same position. We're gonna do this for everything later on. But as you can see, we get a really, really nice distribution of the materials right here. This one will have a very quick cylinder here. Let's go to this on the right there. Delete this one right here. Then you can just graph the edges, grab the edges, cut, and then with the 3D codons. So you'll be told it's down there. Control. You need to keep your mouse on top of the elements so it knows to use a control you, otherwise it doesn't work. Now, this piece right here is a little bit more interesting because as you can see, if we try to unfold this by just going to the side. Like what we've done right here. It can work, but it's gonna give us a really, really ugly looking thing was of course, delete the other side. So it's not perfect. It's pretty **** good. Yeah, that's pretty good. Mare. Sheesh. I was expecting this to be a lot like dirtier but no, like this. Just looks perfect, guys. Like it's great. Like you can imagine this thing if we look stabilized a little bit more and keep it really close here. And we're gonna do this later on by the way, we're going to organize our shell so they look a little bit better. You can see that clean distribution of the elements, that's just beautiful. Barely any distortion, a little bit of distortion here, but it's so, so small, really don't, don't see any issues with it. Now, this piece, It's again, a little bit more complex, especially. Thickness, right? Like you can see that it's not the same thing as the last one that we did because this one has a slightly different type of thickness. So if I try to go with my 3D cut and go Right here, Yes, I'm going to get an island and that island will probably separate nicely them already guessing that I'm gonna have to separate these inner piece right here. There we go. So this is a little bit flatter. That's flat. And this is like a second thickness that we need I'm sorry, that we need to take care of. So to do this, I'm actually going to go to this line right here, which goes across the lines. I'm going to separate the wings, right? Like this Wings right here. They're gonna be separated from the rest of the VM and you can see the color changing. And that's a good point or a good position to use or have a seam line. Mainly because again, we dirt and grime and stuff like that. We can very easily hide that particular element. And then this one right here will also have its own sort of like taking this thing going right around here, which is pretty much going to follow. It's pretty much going to follow its its length right here. It goes. We have one island right there, one island back here. I have to do the same thing over on this side. Right there. There we go. Now this one again, to alleviate a little bit of the tension because I know this is a really, really big piece. I'm also going to separate at this lower part right here. I'm going to go around this whole block, a block or box like this. There we go. And again, this, this guy right here, like might as well, just like finish the, the line right there. Finished the line right there. And probably this one right here. So we're going to have that inner one and then this like long pink one again, super long islands are not super recommended. So let's just cut this as well. It has a lot of cuts. Can kind of expect it. The secondary line right there that actually don't like, let me go back a couple. There we go. That'll be careful on this. There we go. That one right there. There we go. Enough here that while cool because I didn't want to have like extra, extra lines. Careful there. Okay. And it's a game of patients for this particular areas, guys. As I've mentioned before, after we're done with this UVs, you guys are gonna be masters. You're gonna have a lot of experience doing complex pieces which tend to be quite tricky, especially for people that are just learning how to, how to model. Here, let's be very careful to hit the exact same line. There we go. Now let's give it a shot. So we're going to say Control U. Oh, no, that's horrible. But don't worry, this is actually relatively good. Because as you can see, we're getting this message. It's not very often that you get this message which is a a, an actual like backup. So let's just send the report real quick. Any error, any error that we can send could eventually help the developers to find the solution. I think you've already sent. There we go. And when this happens, when you actually like get an error like those and he tries to save a backup, you might be able to get the backup, which is what I think it's going to happen right here. There we go. So we get this little alert. And it was like, hey, we recovered something. You might want to check this one out. Let's see. Yeah. So as you can see, we got something. First thing you do here. When this happens, you're going to press Control or he's going to go File Save Scene As you're going to save a backup for new scene. So this was 005. Let's go 006. There we go. So now we have the backup ready. Let's keep going here on my, on my cut tools. And I think I already had the console, so let's open our UV editor. Let's get this out. I'll just skip it like here. Let's try Control U. Okay, so if it's crashing right here, this is important as well. If it's crushing right here, it means that there's something wrong with the data topology. And it usually happens with either super. What's the word like super, like dense measures like this one like really, really intense meshes. Or again, because we haven't an issue. So I don't want to stop the video, guys. I know we're going a little bit over the usual time, but I do think this is very, very important. So let's, let's, let's figure it out. I'm going to say Control 0 to open and we're going to open our armor right here. First, let's see if we have an angle. So easiest way to check if we have an angle is to go into the mesh element right here and say, remember that we were using the cleanup option. We'd select matching polygon and hit Apply. And there we go. We got two angles right here. And it's probably one of those stupid and guns, which is just the extra vertex right there. Look at that. I'm going to press number three, which is heat again, you apply. Okay. We've got another one over here. Yeah, like just a very, very stupid like extra element right there. Hit play again and there we go. No, no longer, we no longer have any angles. Let's say real quick again. Go into UV, UV editor. I'm going to keep this in low, low, low poly mesh. So number one, and let's try controller. There you go. So once we do that, as you can see, we've successfully clean up the angles and we no longer have the issues. So let's see the distribution of this things. And it's not bad. As you can see, the main areas which are all of this, are perfectly fine. And things look good at this top part though, like this, if we go UV, UV shell, this UV shell right here, it's a little bit wonky as you can see. So I'm not super worried about that because we have what's the word? We have the another type of like like cut. Wait a second. That's not the one. Let's go to UV, UV editor. I'm trying to like this one. This one looks a little bit weird. Let me let me see where this one is. Okay. It's this like back sexual right here. Yeah. So this could benefit from just an extra cut along this corners right here. We go. So by doing that and doing another control you and Control L, we're going to have things that look a little bit better. Just slightly by Leiber. It's a really thin phase right here. Came from, from a UE perspective. That one doesn't make sense. I'm going to show you here a trick. There we go. We say a UV or codons here and we're going to cut. Now, this is long faces that we have right here, like this edge and this edge, I'm going to say so, just gonna be sewn to where it belongs. It's down there. Perfect. Now v unfold again, which will have something that looks a lot cleaner. So yeah, that's it. That's the that will be the organization for this big piece right here. Since we're already here, Let's just finish at this guys right here. Give me, give me two more minutes so that we finished this little masterclass on the UVs. And we can, we can move on to the pelvis. So this guy's, for instance, we actually don't need to unfold like this things because they actually don't have any faces right here. And they're going to unfold nicely. And the pipes actually, we only need one line that goes through the back like this. And that should give us a nice effect. Most of the times when we use the, what's the word the mesh, it actually gives them a very nice like unfold option. But there you go. Like this. You can see this is just like the little flat areas right there. And the rest of the effects. That's it guys. I'm going to stop the video right here. As you can see, this whole leg is finished. I'm actually not going to mirror it just yet because it's gonna be easier to organize everything before we mirror. And after I won't labor. We might not even do a mirror at the end. Like if we want to keep things a little bit optimized, we could use or reuse the same textures on one side to the other. But we'll see, we'll see that when we get into the texturing face. For now, I'm going to stop this one, guys, I need the next one we're gonna do with the hips and the little tail things. So hang on tight and I'll see you back on the next video. Bye bye. 59. Hip Armor Uvs: Hey guys, welcome back to the next part of the series. Today we're going to continue with the hip armor, which is this bone right here. So let's jump straight into it. We're going to just delete all of these guys right here, delete this guy right here. And this actually again gives us a little bit of an advantage because at this piece right here, which has already been cut as part of the geometry. We don't need to worry too much about the, what's the word cards because we already have a big cut that goes through all of those things. So I'm just gonna go in this corner right here and cut this down a little bit. And that's going to unfold a very, very nicely, very much like a, like a box. So that right there, That's pretty much all we need. If we want to add a little bit extra help, that corner might be a good idea. And maybe like that corner right there, maybe maybe even going. Now I don't want to go see that. That goes all the way to the other side. So just that corner right there. Now of course we have the other parts of the mesh, which has all of this big box right here. Let's go into object mode, and there we go. Now, this one, we need to utilize the fact that we have that thing right there. So I'm gonna go all the way across that corner. So we have the bottom part. And then we follow that line. Pretty much gives us the lower section. And since it's a very boxy thing, it might not be a bad idea to just go across like that on the back part. And if my calculation is right, we might just need this little corner right there. In this little corner right there together, a clean unfold. Want to be extra, extra like a precise, we could use this line right here. Go across a both sides, cut this one as well. That's going to again, probably give us a slightly better unfold. So let's take a look here. Make this a little bit smaller. And now it's not letting me docket anymore. Oh, it's because of this. There we go. Let's get this over here. Control you. Okay, there we go. Now, this one did not crash. We had this on the last part, so I'm gonna cancel this. This one did not crash, but it is giving me the warning. It's like, hey, you gotta issues. You got to fix things here because otherwise, this is not going to work. And this is why I always tell that these are like a final boss on your modeling process because you can do something that looks really cool, but when you try to UV it, you're gonna get this sort of issues and you need to figure out how to solve them. So let's grab this guy and first of all, let's go to the check the check attributes. So mesh cleanup, Let's do this work here, cleanup. So if we do that and I hit a cleanup, we're gonna we're gonna be getting some some lines like that one right there. Thinks the only one that says, let's say an angle. And it's again probably an angle because they're really like ugly vertex right there. Let's do it again. So select the object, clean up. If you get a selection, then that means that you have an issue somewhere. There we go. There's another one right there. Delete that one. Again. Vertex. Really small, but that one right there. Oh, it's not letting me delete that one. Okay. So it's not letting me delete that one. That's a little bit of an issue because that means that there might be a couple more issues than originally expected. It's oh, it's right there. See that line right there. That's an edge actually. So I'm just going to try and delete that edge. If you can't do that, don't worry. Grabbed your faces and delete the faces. You might see the phase or the edge right there. Little League. Ugly here. Sometimes it's even like a face. There we go. Now we can reap rich this. Technically, we check, we shouldn't have any issues there. That's another cleanup. And you can see that's clean now, perfect. Now we go here to the front where there seems to be slowly similar issue. And that also looks like a like a bath like face. So I'm just going to grab those faces and delete them. Let's try re bridging. I'm going to press F to try to focus on just that one guy right there. This one right here. And this usually happens when using this technique that I show you. Because sometimes the edges gets so close together that they can bridge together. That's what I'm checking here. Looks good. Okay. So let's check the cleanup. Still got to clean up right there. There we go. Perfect. So now we click, there's no more cleanup. So that means that we're fine. Let's say real quick. And then we try to unfold. Now. The unfolds should work. Sometimes unfold. We'll allow you to use the tool, even if you don't have the revenge of the topology is not perfect. Because sometimes angles will be like properly solved for whatever reason. But yeah, like this one, It's like that's where we need it. This one again, let's very quickly do a check-up here. I'm I'm now scared about guns, so yeah, that's fine. This one is perfectly fine. And as you can see, this is just a box like this is a very, very simple box for objects like this, we'd have very simple box. You can actually try using the automatic UV map, which is gonna give you this. In this case, it's not perfect because it's giving us way, way more faces than what we actually want. But I've seen some productions where they use techniques like this. And it's, it's fine. It's not ideal, but it's fine. It's going to work. Now you can see there's a little bit of extra stretching right there. That's the kind of stuff that we definitely want to avoid. So I'm going to assign one right there when actually right there. So when we press number three, we don't get as much texture stretching. Now if we want to clean things up, for instance, I I do like some of the cuts but not not not all of them to be honest. So I'm just going to say a UV and do another camera based prediction to reset this thing. If you don't want to do double the work, we can try and turn an object x symmetry on. And if this works, as you can see, we're going to get both sides, which is quite, quite handy. I'm going to cut this length here on the front. Definitely going to cut this line here underneath the whole thing. There we go. This other corner. It's also going to be important. This one right here, this one right here. There we go. So technically, if my calculations are right control you. Almost, we miss just one line right here. You can see that this is way, way too intense on the box. So it might be a good idea to select like this edge right here and the caudate as well. Let's try again, control you. And you can see like this big box right here, it's making a little bit of a mess, right? So again, it might be a good idea to to cut it. So we get two extra islands. There we go. That way this is going to look a lot straighter like this. Look at that. Really, really clean. Well, except for this part right here. I can now see the error, which is that line right there. Let's cut. And down here, this line right here, Let's cut. Now things are gonna be way, way we flatter. She can see it right there. That looks quite nice. And we'll get a super clean distribution. This piece is this are easy, back to some, some easy stuff, right? So let's go with this one right here. We're going to use a very similar process, which is the inside right there. And for this one, I do think it might not be a bad idea to cut the corners here. Again, just to guarantee a really smooth transition of the whole elements. Yes, we're going to have some extra cuts. Not too worried about those, to be honest. There we go. It seems like we missed a couple of actions right here. And a really, really small mine are right there. Let's cut. That's also going to help with the unfolding process. And there we go. A little bit, we're getting a little bit of texture stretching. This one is worrying me a little bit more thing. It's we can deal with it for now. Let's go with this one. Similar process. We're going to go through the gut. We're going to cut alongside the borders. There we go. And then we're gonna do a gut alongside this border, this war there. This border. And I think that's it. Control you. Control L. Yeah. That works. Perfect. With this little piece right here. This is one of the, I wouldn't say like bad things or are tricky things, but there are more elements you add to your stuff. Well, the more preparation you're going to have to do on your on your JOB pieces. Held there. It's trying object x symmetry. Let's not do that. Actually. Let me just turn-off switch. There we go. It's a simple one, so I'll just do it on both sides to be honest. I know we've been deleting some of the other half's. This one's a simple one. There we go. I think the final part that we need is this cylinder right here and this guy right here. Cylinder actually already has a nice cuts. I'm just going to Control L. That's it. When you create this cylinder, if the only thing that you do to a cylinder is your bevel the borders. You can very quickly do this unfold process like it's no big deal. Now, this one right here is the final piece. I am going to try and churn object x here. We definitely need to separate it from this. And this becomes kind of like a cylinder, like this thing on the center. So that's the cap. We also already have the cap on this side. That's cap, cap. And we go across I'm getting a weird By right there. This is not working. Let's turn it off. It'd be because it's not perfectly symmetrical or something. We could do a mirror. And now it's going to be perfectly symmetrical, but we need to clean that line. So that line, for instance, we're just going to show it back together. So now we have the cylinder going across and now we have this two guys over here. Just go right there. Right there. Right there. I'll have stopped on line over here. There we go. It's gonna give me, here's how we can even simplify that. So where we have the UVs on this side, we just mirror again. And then this edge, we just saw it back together again. Technically we unfold. We're going to get the back-to-back that from the front. The cylinder right there on the Min. And that's it with this my friends, as you can see, we've successfully like Don, all of the things. Now I'm just gonna show you one very quick thing here. I'm going to grab everything. And technically one thing we can do is we can just grab all of the elements right here and say Control L. And this should lay all of the elements into a single, like in a single island right now. And that we are sharing this for K map between all of these different pieces. And this is mainly to see how things are looking. However, we're going to talk about you, them's a little bit later. And we're eventually going to be doing is we're actually going to be distributing all of this thing along several islands. So for instance, I can say three islands right here and hate layout. This is going to give me more UV space. Again, I'll explain what this thing is. If this is the first time you see it, don't worry, I'll explain later. But this will give me, of course, a little bit more resolution. And the important thing that I want to see here is I want to make sure that every single piece has pretty much the same size. It might be slightly different. For instance, I can see that this edge E4 is a little bit bigger than other parts of the element like this, each shoe. But as long as they're close together, that means that we're doing things properly here with our UB process. So that's it for this one guys. I'm going to stop the video right here and I'll see you back in the next one. We will continue now, I think with the chest armor. 60. Chest Armor Uvs: Hey guys, welcome back to the next part of the series. Today we're going to continue with the chest armour off our character here. And let's just bring it in. So as you can see, a lot of different pieces but nothing that we can handle, like we've been creating all of these different elements and so far we've got good results. So first of all, as you can see, the holes is right here and the attachments of the holes, since they were extruded from the original hoses, they are working perfectly fine. Like we don't really need to change anything on the UVs for those ones. So we're just going to keep moving to the next one. So let's start with this piece right here, which again it's made up of multiple pieces. Now, you can actually do the UVs for multiple pieces at the same time. Again, that the process that we're gonna be doing is a very basic camera based projection to clean the elements. And as long as you know where to find the cuts and stuff, it should be fairly easy. Now you might remember that this piece right here, what's actually hollow on the back. So technically we could unfold it. However, with long pieces like this, you might have a little bit of a weird stretch on the borders. So I do recommend going and going to the border right there. This thing, the ring. I do recommend adding one caught the swat. Pretty much like a cylinder. Like we follow the same sort of like cylinder principle. Then this piece right here, for instance. It's very flat, right? So we have the front and the back, but we'd have a weird bend on the corner. And we know those bands can cause some issues. So we're going to cut. Let's go here. We're going to cut right here. So it's gonna be the front and the back. And I'm probably going to be cutting the corners as well. So that corner right there and it might not be a bad idea to unfold that one, but let's see how it does first. And then we see that we need that extra cut, will add it. We might want to add this code right here. I should know it goes across it. So yeah, let's just keep it like that for now. Let's go out. And finally, we have this piece right here. And we're also going to do a very simple process, just the back UV. Maybe, again, maybe just to alleviate a little bit here, we might cut the insight there. Like the cap on the inside. But other than that, I think I think we're fine with this one. Let's give it a shot. Now, remember this is a full piece, so we need to see the full piece over here. And we're going to control you. Control l. I know we're doing right now. Don't worry. And let's take a look at the stretching. Like if it's stretching is not too bad. So I do see this are like weird the factory there, but if the stretching is not too bad, I'm actually going to just leave it like that. Which I think I think we're fine until we have that much of an issue there. So yeah, that's, that piece is ready. This one, as you can see, already has good UV's pretty much. So it's just this local guys, even those little guys already have relatively good pieces. Let's just probably unfolded Control L. And it looks a little bit better. Again, it says it's a small piece. If we really want to like fix this one. Let's just take a look because it's an MTP. So one thing we might do with this one is just so like this corners. I'm just going to say so. Then when we unfold again, we'll get cleaner, cleaner shifts, a little bit of distortion going down though. Don't particularly like. So for this particular ones, I might just cut like this. Like the top part. Let's cut then like the late with their CO2 here, we can cut the inner corners. And this should be more like bands, again like cylinder, but the very, very square cylinder, again, don't worry about the EU them. So as long as they're unfolded, we're in a good spot right now. And so that pieces right now. One thing we can do here, it's I leave it up to you if you want to. Of course, we can hide things, but you can start like literally hiding things. So as long as or as soon as you finish certain elements, like hiding them so that you feel like you're moving forward and that you are. What's the word I just just advancing and stuff might be a good idea. So let's grab all of these pieces right here. That seems like a workout too, mirrors some of this. Let's grab all of this piece right here. I'm going to say UV. And we're going to do a very basic camera based mapping. So now all of these guys have pieces and we'll just keep going. For this piece right here, which is again, just a box. We can follow along with a very similar thing to what we did on the hips, right? So again, in this case now I'm going to start deleting things that we're gonna go through the gun. So you'd be two, we're gonna cut probably on this border right here to alleviate some of the pressure that we might find on the inside. And it might not be a bad idea to like square this UVs right here. Again, for simplicity sake. I no extra costs have mentioned before can be impactful on the on the polygon or not polygon and performance should be fairly easy to deal with. Let's grab the border right here. It's going to separate the back part. This one on the back. I'm actually not going to separate. Well, I'm gonna just gonna go across like that. And let's see how it unfolds. If it unfolds nicely, then we're good. If not, we'll already know it's not going to work. I'm just going to separate that one right there. And again, we can just like HE specific corner right here. This piece actually could have benefit from an automatic from the automatic mapping. Because automatic mapping for very squarish shaped like this one's actually not that bad. You get something that's very close to what you're looking for and you didn't spend as much time on it. There we go. Now, this panels here. Oh, tough decision, but I do think it's worth it to just cut them to be honest. So we're going to have this front panel right here all the way to the bottom part. Might be a good idea to also cut this panel right here. It's just going to give us a, a nicer result. I know extra cuts are scary because it feels like we're not going to have a clean distribution of things. But it's just, it's just way better if we do it. So as you can see, we've got this looking quite nice. Now a lot of distortion, which is great. Everything is already square root. The proportions is wrong. Don't worry about that. We'll figure it out later. There we go. This one is interesting. There's when it's really interesting piece, why? Because it's really complex, right? Like I don't want to click Like so many times for the whole thing. So I'm going to show you a technique and we're gonna go right view. And what I'm gonna do, I normally don't use this tool, but in this case is really useful, the Lasso tool. And what I'm gonna do is I'm going to select all of the phases on one side and then deselect them. As you can see, we have all of this like faces selected. And I'm going to go to a relatively plain like element here and we're going to see UV. And I'm gonna do a planar mapping, camera based projection, heat apply that as you can see, gives me the cut of those phases. Then I'm gonna go back to the right view. I'm going to again go into lasso tool. And then I'm going to select the back faces. The same thing, the UV planar mapping. I have two sets of elements right there. As you can see now, the only thing that we need is to cut this intersections. So yeah, we still need to do a little bit of manual selection. But it's not as much as what we had before, right? So we simplified the amount of points that we need to just let, just do a UV, cut, UV edges. And when we unfold, which have two main like that works. Oh, we got a non-meaningful geometry really. Where I'm actually curious where we have a non-meaningful geometry. That's weird. Let's do our cleanup. We don't have nominated for geometry. I'm just going to say fixed and see if we can fix it. Hi Anna, seem to be doing something there. This guy right here. The guilty one. Really weird actually the word getting that error. There we go. See that is the insight. So everything else was looking fine. So let's go back. Before it fixed the whole thing. What they can do here. So I'm just going to grab all of the vertices. And I'm going to say edit mesh, mesh, mesh, merge. Once you see your one should give me a clean effect. You can see the UVs are not helping. You know what it is. It's a double face. There we go. I'm just going to double-click. There's actually a way to fix this. Should be fixed by a, how many faces we have right there. Here's what I'm gonna do. I'm gonna select UV shell. You will show up and I'll move this Jewish law over here. There has to be, We can try just selecting this guy. Here we go. You can see it right there. That the guilty, Those were the guilty faces right there. So at one point probably we didn't like simplified properly. And that's why we got this extra faces here. I told you guys the UV, UV, UV section of this thing, of doing this thing. It's very nosy like you're, you're, you're gonna know where you mess up. If you don't do, if you model something and you modeled it wrong. This is when you're gonna notice. You can see those faces are just like dancing a little bit. Okay, Let's do the shot now. So you control you. There we go. Now we have this guy right here. They're really weird, like really weird distribution on the center of this faces. Those to me seem like double faces. I'm just going to delete them. For this ones right here. Let's just delete those faces. The outer edge, which of course needs a little bit of work. I mean, it's not the end of the world, right, but definitely until we will work, Let's rebuild this section right here with the bridge. Now let's go through the code and Sue cut, cut, cut. And yeah, let's just cut this outer edge a little bit in a couple of sections. Help alleviate the whole issue. And that should give, so that should give us a slightly better layout. It's a here like if this is too long, but let's just do a couple of cuts their uv. It's such a simple thing, like a simple object that I think it's fine, like it's clean. A couple of weird sections there. Things to discuss right here. I actually grabbed them over this bar right here. That's fine. It's just gonna be a black plastic. We're actually not going to be smoothing this out. It's gonna be, it's gonna be kept like that, like a really hard surface, the effect. So yeah, as long as we have a clean the distribution on that side, it should be good. Let's hide this, hide this, and keep going. Now we have all of those guys. We've already talked about this. This one's fairly easy. So just on the bottom there. Control you Until you will do control you. Why do you why don't you want to unfold? You have a proper cut, right? Yeah. It's really weird. Let's see Sometimes, okay, yeah, let's freeze transformation to the history, stuff like that. Important to do that because when we don't, things might not work as expected. Okay, So my eyes definitely not liking something here. Really weird. Strike directly with the tool over here. Let's try layout. Okay, layout is working. There you go. Okay, I know what's happening here. Again, we've got a double geometry. What is silly me? Forgot that we have these guys over here. Look at that. So yeah, let's I'm going to just leave like this guy right here. Grab all of them, go into face mode so we can select the faces on all of them. Because one important thing here is against his worth sharing topology. Once we do one, this guy right here, it'll be Error Control L. There we go. That looks like what we're going for. The first 1 s one. And we say at the end or sorry, mesh transfer attributes, we just press G. G repeats the last actions as you guys know, and we get this. Now we might need to unfold things because as you can see, the proportions are a little bit off. Let's delete history and everything. The history and everything. Race transformation. Okay, I have to control you, control L if something did not transfer properly here, Let's try this again. From one to the other. Mesh transfer attributes. Transfer attributes. And we're going to use typology. There we go. Apology topology and the Polish. Better. They're all sharing the same space control you control L. Don't worry about the scale just yet. We'll figure it out one later. As long as all other things are being unfolded properly, then we are good. So let's look at these guys and just press H, this guy. Let's do one more. I'm going to pause the video after this one so that we can separate things and have a cleaner chapter section. We're going to go in there, in there, definitely in there across for that cylinder. And that this box, I do want to cut the corners. We're gonna go to the corners of the box. Now that we have that, of course, this face right here, we delete. And we're just going to be left with this guy, which we'll do Control L. That's perfect. Great distribution. Nice. We do a little bit of texture stretching there. I don't want that to be honest. So I'm going to add one line right there. We actually miss that one point. So when we press number three, the texture does not move all the way here. So that seems gonna be hidden over the closer to that edge right there. So that's it guys. I'm going to save this real quick. I'm going to stop the video and I'll see you back on the next one. We will continue with the rest of the chest arbor. 61. Chest Plates Uvs: Hi guys. Welcome back. Oh my God, my voice just broke their welcome back to the next part of the series today we're going to continue with the chest plates right here. And what the **** is going on with my voice today? And let's just jump into the, into the elements right here. So as you can see, we have some transformations, not something that we love to have some just going to freeze the transformations and everything. There we go. And we're going to start deleting some of these elements. So we delete that guy right there. And that this one simple, right? We've done this once before. We're just gonna go, we should already have a base elements. So 3D card, Let's cut right there and right here. And let's cut the corners because we know that the corners can help with a little bit of elements. If you by accident cuts something that you don't want, you can just hit Control on your keyboard and re-sample those elements much. And that's going to, that's going to solve it. So there we go. Control U and then Control L. We're having the issue with control you. Like meiosis was not liking us. Unfolding the elements. Let's go here with this one. Actually let me, let me isolate this one real quick. There we go. And again, this one is relatively simple. I actually thought we already had this one. Didn't we know? A similar one. So yeah, 3D guns. So we're gonna go right here on the, on the back line, which is going to separate at the big plate right there. And then we have this corners, which again, it's an option. I do think in this case, it's useful because it's going to give us a more relaxed caught, even though we're going to have a seam line there that could apparently V, a little bit complicated. Now look at this one. If you guys remember, this is one of those like black things that we want to separate from the rest of the elements, right? So we're going to go right here to the actual cut, which is this one right there. And that is the actual separation that we're gonna get from the whole thing where this little triangular element was. The reason why I want this is UB islands can a lot of the times be used to quickly select a specific part. So I can very quickly select this part right here when we are inside of Substance Painter to just fill it in with a black rubber material so that one's ready, downs ready. Let's keep going with this one now. Again, super easy one. Just go through the cut. Let's go down to backline, down the round line right there. And it might be a good idea to go here. You especially because this thing is a little bit slanted, it's not like perfectly straight. Whenever we have curvature on an object, especially if we're gonna be like subdividing it. It can create a couple of different issues in our topology that could impact the unfolding process. There we go. That looks really good. Remember the right now the skills might not be perfectly fine. We're gonna be fixing that. After we're done with pretty much everything else. Let's go with this piece right here real quick. And this will, as you can see, what we have thickness. So that tells me that we can go through the thickness line right there. That's going to separate the thickness nicely. And again, just to help support the unfolding of elements, we can cut those corners right there. I think that's pretty much it. And then this one's like on the other side, like this one right here. And this one right here. That look just doing that should give us, let me actually, again like gravity. You enter and snap it right there. Let's keep this guy over here. I wish I could, just like I can. Oh cool, Perfect. Here we go. So now we go over here, UB control you. And there we go. As you can see, we have this very nice unfolded elements. Not a lot of distortion, and that piece is working. It's working fine. Let's go with this box right here. Now, this box, we can actually utilize the central line that we have right here. Well, we actually already have the central line. So technically the only thing we need to do are the corners, like this corner right there. This corner right here. Okay. This already is telling me that we're gonna have some issues. Let's go this corner right there and this corner right there, we're gonna have some, this happens with this technique that I showed you before. Here's what I'm gonna do. I'm just going to delete the, the line on the one side. Let's just delete one block because we know this is gonna be symmetrical right now here, let's fix this vertex. Push it in a little bit more like this. There we go. Let's make sure that this shell on false nicely like that. Look at that beautiful unfold. Now what we're gonna do is we're of course going to mirror this on the world positive axis, but I'm not going to merge. I am going to combine with with, with original, but we're not going to merge borders and hit Apply. This should give us, as you can see, the two islands without actually combining them. So that will fix any issues that we might have had. I can still see this very weird-looking vertex right there. So let's grab this and hide it right there. That's it. So if we take a look at the textures that I was working very nicely, this guy's just unfold. Know, like don't, don't overthink it. Just unfolded and that said, yes, there's a little bit of distortion on the top and bottom sides, but it's such a small piece and it's hidden by the other piece that we really don't care too much about it. Now this is where things become a little bit problematic. We'll get the pipes as well. I thought they had the UVs for this ones. No problem. Let's go really quickly, right? There are actually four. For whatever reason, you can't use 3D cut with multiple objects selected. So we get a select them separately. But you can use unfold with multiple control. You control L. There we go. So those guys are ready. And then this one is the final one that's missing. And we're gonna go again with our 3D cut. And so we're gonna go all around now, this one's a little bit more complex as well because of the way it's constructed. Let's see if we can do object X. Just to save us a little bit of time, it seems like we can. So we very carefully go here now some of you might be like, why are we not picking this upper line when we've done that in other pieces? Because this is a little bit more complex and they really want to hide the scene so that we don't see it anywhere, but the very border off the object, okay? However, you want to be super precise then all of the other pieces that I've been grabbing, the other elements you might need to do at a slightly different. There we go. So as you can see that pretty much a device like the bottom part, from the top part, we know that this block right here could also be problematic for unfolding. So let's cut it out. And let's cut out this corner on that specific block. There we go. So that unfolds very similar to how everything else to unfold it. This corner right here definitely needs to be colored. And then like this corner right here, this corner right here, the important corners, pretty much. Now from experiences a question I get asked a lot like, how do you know how to find certain things? It has to do with experience. Like the more times you do this UV process, the easier it gets from experience. I know that if I cut this island like this, like separate the two independent elements, it's going to be just a little bit easier overall. So let's see how this looks. I'm going to say Control U. There we go. Like that island. That looks good. This Islands right here, they do a relatively good, not perfect. They definitely look a little bit better than I was expecting. So, so that's a, that's a good thing. This is perfect and this is perfect as well. Now, how can we improve this guys right here, because it's not bad, but it's also not great either. So I think we can separate the back part right there. You can see that the topology is quite weird. So by separating that, that part right there, we should be able to clean it up a little bit and maybe even this front part. So again, I'm not too worried about the I'm not too worried about the seam lines because I know we can get them to work a very nicely. As you can see, this shape right here on the UV island looks way better than what we had before. So yeah, that's it. With that done we're pretty much done with the chest armor. So let's bring everything in. Everything has been properly UV. Same of course, for the back armor. So all of the species have now been properly laid out. I'm going to say real quick. I'm going to delete the history again and everything so we don't have any extra resources being used right here. And what we can do is, again, we can lay these things out in the UTM tiles to get a general idea of how everything's gonna be organized. So I'm going to select everything here. One thing that we must remember is that we are missing certain mirror options for the other side. We will deal with those at the very, very end. But for now I can just grab all of these guys go into UV shell and say modify layout. And here's an important couple of things that we're gonna do. The packing of resolution to 56 is fine. For this one. The texture map is going to be for k. We do want to have at least eight shell padding, which is eight pixels between each shell, because we don't want any contamination going from one shell to another. And under tile pattern I'm going to add four pixels. So it should be separated from the border of the tile at least by four pixels. I'll let's distribute this in four elements at this shelf rubric age peer relations. Finally, we're going to preserve to the region, so I'm going to hit apply. It seems like we have some manifold geometry. That's really weird. Let's just say fix, hopefully it doesn't destroy anything. And if we take a look at the UTMs, look at this beautiful. Not only have, I have, I've successfully like packed everything into a single element. We should have pretty much the exact same distribution of sizes on every single piece. So as you can see, no peace has more resolution than any other piece. Like the numbers, the lines, the grades like everything is looking very little symmetrical so far. This is what we want to achieve. We want to create something or what was it? I think it was this piece right here. Remember that we had some weird stuff and whatever. So lets just grab everything again. Let me freeze transformations again. Let's try one more thing here. Control L. Control L again. There we go. So scaling things a little bit weirdly. Let's try this again, Control L. Let's just do modify layout. There we go. Now again, every single piece has the proper resolution, the proper distribution, and our UV search is working exactly as we would expect. So chest armor done, back leg armor done. I'm going to hide those real quick and we're now going to jump onto the front leg armor. And that we also need to do, of course, the head armor, but that one's going to take a little bit more. So next video we'll do this front leg armor should be a relatively fast one. Not a lot of complex stuff to be honest. And after that we'll jump into the head. And finally, the skeletons, skeletons definitely got to take a little bit longer because it has more and more parts. We're probably gonna divide it again in 3.3 pieces to make this thing like mover or events a little bit faster. But yeah, that's, that's it for this one guys. Make sure to get to this point. Make sure to keep your UVs very clean, very organized. And I'll see you back on the next one. 62. Front Armor Uvs: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the front leg armors that we have right here. So let's start, let's start off first by freezing the transformations. Let's lead at this thing right here. And some of them like for instance, the cables, they already have their UVs. The only thing we need to do or we could do is like unfold them a little bit to give them a slightly better. What's the word distribution? But those are pretty much ready. Now, this one's right here are interesting because if you guys remember, we actually have the exact same leg on the bag. We just changed the scale. So in theory, we should be able, especially if we delete this half thing right here. There we go. We should be able to select the one on the back, the one on the front and say Mesh, and transfer the attributes. If it doesn't work, in this case, it does seem to be working. In that work. There we go. So in case it doesn't work, it might be because we modified the topology by adding an extra edge loop or something. But in this case, it seems to be working, so that's great. We serve ourselves quite a bit of time there with selecting and stuff. Let's select the other one right here. Same thing, mesh and we transfer attributes. And then we check this guy right here. Which UV shell? This one did not work. Is it different or it was different, right? I think this one was indeed different. Yeah. So you remember that the topology for this one was slightly different. So let's go with this one. That's of course grab all of these pieces right here and we're gonna do a planar mapping. So UV camera based projection. There we go. So for this one, already solve. Okay, that's perfect. So let's just hide this one. This one, and let's go with this one right here. So similar process and 3D cut and sew. We're gonna go, this is where I'd go on the inner line, not on the exact point, just on the inner line right there. And if we want to just give this thing a little bit more like a cleaner cut, we can go to the, the points right there, the corners of the object, of the original object. And there we go. Just control you, control L. That works great. And that piece is ready. Let's go with this one. Face, mouth, bleed that one. Actually let me, let me very quickly go and delete the face modes of all of these guys. We could combine everything and then select the faces and then separate the pieces. But to be honest, just a couple of minutes here and just a couple of seconds here. So let's go with this one right here. Again, got thickness. So relatively easy cut. We go back here and this one does have a strong corner, but we might be able, There we go. That's actually quite nice as you can see right there. Normal distortion, a little bit of distortion there on the front, not the end of the world. So I'm going to keep it. Let's go with this piece right here. Super easy, like Come on guys. Again, I don't even need to to tell you exactly how to do it. This or this is what I meant when I was saying about the practice. Like we've done so many of these like blocky shapes that this extra one right here, the only thing that we need to be careful about is cutting the hole right there. So that when we unfold both of them, we get a nice distribution. And that's like, that's everything we need. This one's right here. Pretty much the exact same thing, which is go with our cut tool. Write down the back, right down to back. It does have a little extra piece there on the front, but again, not too worried about that. Let's do a quick layout and take a look at how it looks. That's great. It works perfectly fine. So that one, that one's done, that one's done. This guys. Again, like seriously, do we really need to do this? And the answer is yes, we need to do that. This one is, since your interests blocks actually an automatic mapping, it's just perfectly fine. Look at that. Like automatic mapping, we get perfect cuts everywhere. We do get a couple more cuts than what we really need the right. Like it's cutting more, more times than we need. But it's such a small piece that again, it's not a big deal, so let's hide that one and that one. And let's move on to the next one. This guy is right here. Flat pieces, flat pieces are awesome because we just cut right here. Now this one does have a couple of corners. So I am going to cut those corners to help alleviate the tension that we might get. You remember, we actually had something similar on another piece and we actually cut across. Let's see how this one unfolds. And see if we need to do the same process. How do we not like this before? Remember doing this once, maybe as the example, right? And then since we deleted the UVs, we've lost itself. Let's just very quickly do this guys right there. There we go. And over here control you. Control L. Yeah, so we get that like weird distortion and I don't love it, especially because I do think we're going to have some sort of like special texture on those areas. So let's see UV cut to V edges. And that should give us a slightly different distribution. Yeah, I remember this piece. We had the same issue last time, right? So uv, uv edges right there. Over here to the edges. And now that we've done that, the reason why they are being laid out in four tiles is because we had the layout options set to use your thumbs. And that's why we're getting this sort of result. But yeah, now this fish right here, again, slightly tricky piece. Not horrible, but slightly tricky. It does seem to have a couple of handguns maybe. Let's do a quick check. Knowing guns, That's great. So let's go through the cut and we're going to cut it back here. So that's the front section. In the back section, we definitely, when I cut this corner right here. And we definitely want to cut this corner right here. And of course the ones on the inside as well. Let's be very careful here. There we go. This is also one of the reasons why working with proper scale. All the way back when we started modeling this guys, I said that small, this improper skill, because if this was super small, it will be very difficult to zoom in and select the specific edges that we need. But yeah, that's it. So we take a look at the front arm or legs and we turn everything back on. All of the pieces have been properly done. And look at this. All of the species that we're seeing right here are now ready, like we have the UVs that we need. They are properly laid out and we can now jump onto the next one, which is gonna be the head armor. This was a short videos I've mentioned. The head is actually going to be quite simple as well. I know the main right now seems very, very what's the word a challenging, right? That's a lot of pieces like are we gonna do all of them? And the answer is no, we're actually going to be going then try to transfer the attributes. Hopefully we're gonna be able to do it. If not at probably the easiest option for this one is to delete all of the plates. Again. Go back to the first one that do the UVs for one of them and then repopulate or rearrange all of the elements. I think that's probably what I'm gonna do. And actually siem soar already here, let's just do it. Why not? So here's what I'm gonna do. I'm gonna grab this piece right here with its little like cylindrical shape. And then I'm going to shift select everything else. Because we know just like replacing things where they're supposed to be is relatively easy. With this guy. We're gonna do UV. Let's do a camera based mapping. And this one is going to be a little bit different. That's super, super different, but just a little bit different. First of all, the pivot point, it would be a good idea to center it and then move it to the field point down here. That's what I'm gonna do after we're done with the UEs. So on the UV side of things, I definitely, definitely, definitely want to get the intersection, that intersection or this intersection right here. It's gonna be it's own island. And that's super important because that inner island that we're going to cut here is going to have a specific texture, is going to have the sort of like solar panel thinking like hexagon thing that we're gonna, we're gonna get now the remaining of this piece. Or it might be a good idea again to God on the backside of the element, which you can see, it should go pretty much the whole side. We go, we're going to have the back part and then this front part right here. I'm actually going to cut them here at the center. And that the border is why? Because if we leave them like they wear, What's going to happen there is we're actually gonna get a really light. We're gonna get empty spaces on the inside. It works really well if we wanted to include the initial islands, but in this case, it's better to do it like this. And I'm going to show you why in just a second now I'm going to live with concern about okay. I thought we had like a like a double extra time zones, so we do control you. You're going to see that we get this shapes and this is what we want. The place where we're gonna have like the cells. This is gonna be the back part and then all of these borders. Why? Because again, when we pack things, they're gonna be packed a little bit better thanks to this horizontal shapes. We're also going to get a Kotlin radar, but it actually makes sense to have a cut line right there because that's probably how we would assemble this elements. Just one more thing here, of course, for the, for the cylinder, we're going to cut the cap, the, a cap right there. And then one line across. Wanted to just do a Control. You were gonna get a nice distribution and that's it. So now what we need to do, of course, is we need to duplicate this guy and create all of the different elements. Now here's an interesting thing. We actually don't wanna do this. Now, we're gonna do this after we're finished texturing. And you might be wondering why is that? Well, I don't want to have each individual like a plate. Like I don't want to give each individual plate its own UV space because we do that. What's going to happen is we're gonna get a lot of what we're going to need a lot of space because the surface area that these guys are covering is going to be quite big. In order to optimize a little bit, we're actually going to be sharing the uv space. So what we see here is the exact same thing we're going to see on all of the other ones. And due to the fact that we are going to be like moving them and modifying them like they're gonna be on a different orientation and stuff. The scratches are the things that we add. They might not be as noticeable. I'm going to show you one more trick here. Well, I'm gonna do to, again give a little bit more variation is I can do three of them. So I'm gonna do 12.3 and then I'm gonna do three more. I'm going to make them slightly bigger because they're gonna represent the bigger like place. Okay, so we're gonna have three variations for placed three big ones and small ones. And later on, after we're done texturing, we are going to be positioning them again, back into the line. Again. This is to save a little bit of space and to save a little bit of texture. Because otherwise imagine having like, what was it like 24 or something that we have. We will need like for you than for five-year them just for this guys do to the how much surface area they have compared to everything else. So this is pretty much what we're building, a kit of this like main thing. And we're going to be duplicating this pieces from the kit, modifying them, scaling them, rotating them to give the variation that we're looking against a little bit of a way to optimize, to optimize six. Now, before we jump into production, which I've mentioned this before, it's gonna be the next chapter. I'm going to show you how to optimize this into materials, because we want to have control over the different materials and each material will have its own unique space. But first we need to finish the UVs. So I'm going to stop the video right here, guys. And in the next one, we'll do the armor of the armor right here, all the UVs for the armor. So yeah, hang on tight and I'll see you back on the next video. 63. Head Armor Uvs: Hey guys, welcome back to the next part of the series. We're going to continue with the final part of the armor, which is the head. We've talked about this once. If you skip the head, don't go back and check why and why and how I did the armor plates right here because we're gonna be using this in the next part. And we covered that on the last video. Sometimes we covered a little bit of information that I can't really get on the title. So you might need to go back and check if that happens. So yeah, we'll just grab all of these guys. Let's freeze the transformations and we're going to of course go to UV and do a planar mapping or camera embrace prediction. Any of those will work. That gives us the base to start with. This case right here. The main panels I'm going to control. Let's grab all of them. There we go. Control G. Just call this panels and just hide them for now. Let's hide the chest, Let's hide the back armor. So we're only focusing on this part right here. And let's begin. So most of this parts on the header are relatively or not relative to the really, really, really easy. So for instance, this one right here, we're gonna go to the back line. And that's pretty much it. Of course. We're going to be deleting half of the other side. And we do control. You should get this. Oh wait, we have a lot of pieces here because we combine things. Remember, let's delete all of those guys. There we go. Let's go to the next piece, which is this one right here. Same process, 3D cut. We cut right there. This one has a whole, so we need to cut the hole. Otherwise, we're not going to get the island. That islands working perfectly fine. Here we go. Let's go with this one's now, let's isolate them real quick. And these are just cubes, to be honest. So again, for cubes and things that are really square, just an automatic mapping is going to be fine. Like, yes, it does a lot of cuts like we get a cut pretty much on every edge. But such simple piece, we really don't need to worry too much about it. Let's do control you control L and take a look at the distribution of the elements. This one seems to be a little bit wobbly on the texture. You can see this like a thin gray there. And I think it's because it could be either because we're missing one edge that helps with the Amun-Ra here. Or it could definitely be just due to the way that this thing is cut. So you can see here the problem is, on this side, have a lot of like tooth's, right? And each to this trying to, to unfold in a specific way and we're not letting it do it as properly as well. We might want to avoid that. We might need to go here. And just like this, first two edges on the teeth right there. Where's the corners? Pretty much like if we're doing corners on the teeth, even though we don't have many corners. There we go. There we go. There we go. We do UV and we cut the UV edges. Let's see how that looks now, control you. Control you. As you can see, we get a couple of extra cuts and that should alleviate. There we go. It really, it really does see how nice this looks. Now. We still have some, some contractions. They're on all of this secretary there. If we want to alleviate that, we could do it as well. But I think it's coming from all up here. So I'm just going to do this extra ones that we missed. Maybe this one right here as well. It's, it's, it's an important corner. Let's do again UV cut, Control U. And that should straightening things up a little bit more. And it should alleviate a little bit of the worldliness not doing it the best job he does, like smooth quite a bit when we do number three. But yeah, it's one of those pieces. And other thing we could do is we could definitely split that the front part of it. I really don't think it's necessary, so I'm gonna keep it like this. And again, once we get into texturing, I'll show you how to how to utilize a substance painter to get that sorted out. So we got a couple of places right here. Let's do this two and the cylinder going to isolate them. So cylinder should be quite, quite easy way. We've done this before, but actually this one is a little bit different because this is not a cylinder, this is a pipe. So for the pipe, it works exactly the same as the cylinder. The only difference is that will do it on both sides. So we do it here and here. Very important you do it on both sides because it's pretty much like two cylinders in one. So that's how we, that's how we solve it. That's on there is now done. This plate right here is another one of these teeth things. So careful with this one. Let's do one line across. And let's see. Oh, of course, we'd have to control you. That's a little bit wobbly as well. You can see, you can see it's trying, it's trying to solve it, but it's not really giving us the best result. And I'm not really sure. I know why this is happening. It's not straightening this as nicely as possible. So we're getting this or distortion due to the intensity of the curvatures that we get on those particular elements. One thing we could do is we can select this one and we can actually do a planar mapping on the x axis. As you can see, that's going to give us a really clean effect. But we're going to have this unfolded like weird unfolded thing right there. We can try unfolding again. We're gonna get a very similar like distortion effect. So I'm gonna keep this distortion right here. And again, I want to show you how we can fix this in the substance painter. And it might not even be that much of a deal. Sometimes I see my students who struggle with this a lot and it's one of the things that I like to talk about this production and instruction. It's not the same thing when I teach you how to do the things I always tell you. You have to do this. These are the rules that you need to follow. And if you don't follow these rules, your object is going to be horrible and stuff like that. But in reality, when you're actually working on the studio, like sometimes time constraints, money constraints, like a lot of different constraints, are not going to let you do things in the best possible way that you are used to. So you're going to have to do things that are like sub-optimal or not as good because you just don't have time to do them perfectly. And I see that every day, as you guys know, I have a studio over here. And sometimes my artists will come to me was like, Hey, I'm having issues with this guy right here. The first question I asked is, are we going to see it like, is that something that we're gonna be seeing? Some words are more important. And more often than not, the answer is no, it's, it's gonna be hidden know or this on the back of the character, on the back of the asset or on the back of the property. And it's like, don't worry, then don't worry. Just keep doing it because we only care about the shot, right? Like all afford your portfolio. You shouldn't use this thing that I'm saying because on your portfolio, people that are hiring are gonna be really, really, really critical about, about the level of commitment and perfection that you can get on your stuff. So for your portfolio, you should always do things as clean and as nice as possible. However, again, sometimes in production, you won't have the time, and it's fine. As long as the object looks great, It's fun. That's why I'm leaving some of these areas a little bit sub-optimal so that we can figure out if we can use them like that instead of substance and fix that with the textures. Or if we're going to have to be way, way more precise. Here, this is looking quite nice. I'm just going to graph. This is like extra edges right here. There. There. There you go towards UV toolkit and say cut. There we go. Unfold. That's it. And remember, we did this before as well with another similar piece. We just grabbed those two edges and we say uv, uv edges. And when we unfold again, can I cleaned it up? There we go. Proportions right now are not great, but the grid is looking nice on that piece and that's, that's good. So now I do remember that this thing and this thing, we're pretty much the same one. We just modify a couple of positions and stuff. So we should be able to transfer the attributes as long as it's set to topology that we go and we save ourselves a lot of time right there. So these two guys are ready antenna. Let's go for the intended because this one's a little bit tricky. This one is a complex or a compound object where we actually combined, if you remember, a cylinder, any cube. So probably the easiest thing for this kind of things is to separate them again and be like, okay, so if this was the cube, let's separate the queue from the cylinder. This being e cylinder. We're going to follow the cylinder rules, which is gonna be cap, cap. And we already have a cross section right there. So this should unfold relatively nicely. However, again, based on experience, I know that this part right here, I have a little bit of an issue, so I'm just going to separate it to alleviate that attention. And we're gonna go to the corners of this object right here and split it out. So that's the base, right? They're gonna go pretty much through all the borders. This is a very square shape, so we're going to benefit a little bit more from this sort of pattern object. We do control you and there we go. That's a nice layer right there. Hide it. Next piece. What's this? Oh, let's see. Okay, That's a nice pieces is like the connection point, right? Like we're, we're, we're gonna be rotating from gadgets 3D cut. And let's just cut one right here. This is the cap. Cap, can be one Kab, one cap and then this bottom part, Let's just cut it into like that. That's it. Again, when we do layout, usually, usually the unfolded will make things wrong, but when you lay out, you should get a closer proportion. Unless we have some sort of transformation information or something. This one simple cube we do, I would recommend cutting the corners of this one, to be honest, this is a little bit more rounded. I loved the 3D cut tool. It's just, it's just so amazing. And this is another thing that I tell my students, like you guys, if you're watching this, you're probably watching this in 2023 or are close to the time of the year. And the tools that you guys have access to now are way, way, way, way, way above what we had when I was a student and when I started, I started my 3D journey in 2011. So it's, it's been 12 years since I since I've been doing this at the time of this recording. Back then, doing UVs was so painful like so, so, so painful unfold 3D did existed, but there was another software that you had to buy and download to have access to it. So it was, it was really, really difficult. You have to use like cylindrical mappings and planar mappings. You will have to select the faces. It was, it was believing case, it was horrible. Like no one, at least on my school when they taught us a UV is like no one wanted to use UVs. We all use like just like procedural materials, like the very basic materials that didn't have any, any sort of like texture mapping because doing it. And we didn't have Substance Painter either. So if we wanted to texture things we had to we had to do it manually in Photoshop and calibrate all the maps and everything in Photoshop. It was just it was just not a good time to be a 3D artists back then. And I theorize. My hypothesis is that in the next couple of years, the 3D technology is going to be moving at gigantic steps. We've seen it. I've seen throughout this ten years like how far we've come and the things I think like UVs and the topology and elements like that, they're gonna be a thing of the past, however. And this is one of the, some of my students have been scared about new technologies coming. It's like no, don't worry about that because again, ten years ago, if I had taught, I've talked to a texture artist and be like No, I don't need UVs because there's gonna be an automatic like unfold tool that I'm gonna be able to utilize. There'll be like Yeah, but you need to know like things and like there's always people that are gonna be against technology evolving because you feel like all of the things that you've learned are now obsolete. And even though that fear is a very human, well, we need to see instead, at least this is my opinion, is we need to see how we can utilize these new technologies to have more free time, do more interesting things. So for instance, right now, we've been doing this for what like 2020 will probably like 15 or 16 h. Like if we could skip this, like three or 4 h of UB of UV mapping and UV processing. And use those to do more modeling and more sculpting and more advanced stuff. Because we know that the UVs are going to be automatically taken care of, then that will, that will make our models even better, right? So that's how technology works. Like if you used technology to your advantage, you aren't gonna be able to create more amazing stuff. We need to use technology as a tool and not see it really as an, as an enemy. Let's go finally to the head. This is probably the most complicated piece of the whole thing. And again, this is where one of the main things that we need to think about is like how can we simplify this? Like how can we subdivide this into a couple of different pieces so that the, so it's not as complex. So I'm gonna go object x first and let's see if that works. So that we can save ourselves. Yeah, there we go. You can save yourself quite a bit of time by doing this. I'm going to separate this back part right here. I'm going to press number three. Separate this back part of the head. Here we go. And now that we have this back part separated, we can of course go through the corners right here. Here's where number three is really helpful because we can we can visualize the lines nicely. There we go. So the inside, we're of course going to need some of these corners. Especially like this one, this one. Like that whole back section that looks, that looks fine. That should unfold nicely. And then of course, like this central line right here, this line going all the way to the front. Or it can I go down here? I was talking to a friend of mine. He's a concept artist. He has a harder time right now, at least at the time of this recording, there's been a lot of talk about like generated images and how you can use like meat journey and stuff like that to degenerate. And he's like Dude, that amount of work, like there's no way I can compete again, those things. Okay. We've got an issue here. That's a that's a bad thing right there. It seems like we, like extrude that. We selected the phase that we shouldn't have and we extrude that. So let's fix that before we move forward, I'm just going to press Control Shift mirror. We're going to mirror on World x negative. We are going to merge borders and vertices and hit Apply. That should give us the proper solution. However, we're going to have this line right here. We're going to say UV and we're going to show the UV edges. There we go. That should keep everything else the same, but we should be solving that issue. We were talking and he was like, What am I supposed to do now? And I told him, Well, I don't know the future of course, but I will suggest that you start seeing what kind of things can't the computer do, like, what are the limitations of those sort of tools? And that's the market, right? Like that's the things that you should start like a improving add or, or just like working a little bit more on because that's the kind of stuff that people are not gonna be able to recreate using AI tools. And the same thing's going to happen to us through the artists eventually went when things like read topology and things are solved, them, we don't, we no longer need to do everything manually. We're going to have to ask ourselves, okay, what are the things then that I need to improve that maybe it's modeling, maybe it's a sculpting, maybe is the sign like being able to design things that look even better or like, like more interesting looking and things like that. That's the stuff that we're gonna be. Uh, well, yeah, that's, that's the kinda stuff that we're going to have to worry about later on. So we are getting quite a bit of stretching here. That's, That's concerning as you can see right there, that line right there that said that's a no-no. So we definitely need to ensure the natural right around there. And that should help us, as you can see with the texture session, we still have a little bit of a pinch right here. You can see it how when we smooth it, it's a little bit of unavoidable on that particular point because of the way we constructed this. But again, it's minor and we can hide it with textures later on. So that's it. I think with that, we've pretty much finished everything here. So let's bring in all of the armor pieces. And let's save real quick. I'm going to grab everything here. That's a UV shells. And let's modify, lay this out, let's keep them five users, okay? I'm going to hit Apply. So if this is happening, then that means that something's not properly frozen. Let's do off on symmetry. There we go. Let's try again UV shells, tools or sorry, modify. And we're going to lay out that week, as you can see now. And we can, I think we can do one more that week. So as you can see now, every single piece of the armor without its mirror, of course, but every single piece of the armor has the proper construction. Some of them like this one right here is looking a little bit weird. That's really weird because we do have some nice cuts right here. I'm gonna go UV, UV shell. Yeah, that UV shell a weight. Now it doesn't look good. It's like distorted. It's really weird. Let's let history freeze transformation. And let's throw in another layer. There we go and then unfold. That should be very, you know, why, why that was because it was copying the old one. The old one, we did change the shape a little bit. So let's do another control you just to be sure there's probably going to take a little bit longer and then Control L. There we go. So now every single piece on the armor has a good resolution. And we, I think we briefly talk about textual resolutions. If we haven't talked like fully about them, I'll explain them a little bit more, but they can select this piece, for instance, select the UVs. And if I go to the UV toolkit, that's an option here in the transform pads where I can check what the textile, the resolution of this thing is. And if I say get, we have omega. We have, as you can see, a textual resolution of 28 pixels per unit, which is great. This is really, really, really good rates. There's really high. Of course, that's because we have for you then there are five items. That's a really good number and it's a really good number because I know that we're missing a lot of pieces, a lot of armor pieces that we need to do. Pretty much we're going to divide this by two when we do the other part of the elements. So textual resolution is one of the ways in which we're going to calculate how much resolution or how much texture is we want to assign to each specific part. Okay, so that's it, guys. I'm going to stop the video right here. And then the next one, we're going to jump onto the armor. We're gonna do the sort of the arm or the skeleton. We're gonna be doing the UVs for the skeleton. And then just guessing thing we're going to start the other way around. We're going to start with the head and then we're gonna go all the way down. So hang on tight and I'll see you back on the next one. Bye bye. 64. Head Skeleton Uvs: Hi guys, welcome back to the next part of the series. Do that. We're going to continue with the head, the head of the character, this guy right here. As you can see, we already have some nice divisions on this guy right here. We, at least we were a little bit more careful when we're doing this things. Again, we're going to clean everything up as soon as we get into the texturing preparation. So I'm not going to select the neck here. Let me get rid of all of this connections. It seems like we are selecting something, that one right there. Okay, cool. Well, first of all, we can just grab every single piece right here, freeze transformation, delete history. As you can see, the tail changes a little bit. I think it just moved up a little bit because we combine this thing. So I'm just gonna move it down. We can of course, rotate this. Let's go right view. And just position it a little bit closer to where it was. We're going to be separating the tail by the way. I just wanted to again clean everything up. And then we're gonna do a UV and we're gonna do a camera base like projection. There we go. As you can see, we get this. It's not ideal. Yeah, it's not ideal. This is not the best one, but it's gonna give us something to start working with it. Let's start with this piece right here, where we're gonna go to this element right here. And as you can see, it's made up of a couple of cylinders and then this box right here. But if you remember this, we're actually very square looking elements. So should be fairly easy to do. One thing that we can definitely do here again, to seem a little bit of time, is just delete half of it. Okay? So we're gonna start with this one right here. Go to our element right here. And you can see that we actually have like a nice indentation there. That's a good point to add a division. Otherwise we're going to have a little bit of a trouble or problems with a lot of distortion. Let's do our different code right there. In here. Let's do one more right there and right here. So we're adding a couple of extra caps to that cylinder. And again, that's because it's generally going to be a little bit more useful that way. We're not going to go to this line right there, which is going to give us both sides. And we definitely want to capture the corner points here because it's a, it's a relatively complex shape. And we already know from experience from the, from the other pieces that we've done so far. That adding or taking those into account, it's gonna give us a slightly better result. And finally, this box right here. Technically we just need to do one cut across the whole thing like this. Let's go down here. There we go. Now, we're going to mirror this on the World x negative, same things that we've done every single time. And this edge that we have right here, we're going to say UV. Let me actually add the soul UB edges because we're gonna be using that quite a bit. Now, we do a quick check control, you control L. And that's, it seems like we have this part right here which is not looking great. Which means that we forgot to cut somewhere in this slide right here. Let's go to the other side. Finished the connection there. Let's also add our code UVs. There we go. We're probably going to have to do, oh no, it's just one. Interesting. Now on this one also divide this into two sections. So we're going to split this. Everything else seems to be working fine. Now we have the word here. I knew I knew we had another island somewhere. Yeah. Again, just follow along this island like that and we cut and we're probably going to have no, that's it. Okay, cool. So again, just control you and that should give us a cleaner unfold. I'm actually going to go to my Modify and layout options and I'm going to lay this in a single, use them for now, just so that we can appreciate things a little bit better than wouldn't have to be like looking for them on other spots. There we go. You can see that one looks great. Let's go for the header right here. Very boxy, again, very boxy like stuff. It might not be a bad idea to do. Again, kind of like a box. So I'm gonna go to my 3D cut and sew tool. We're going to cut along that line and that line. Then whenever you have a sharp line like the like the mouth right here, that's usually a good place to cut as well. So let's cut back here. And I think that should be it. Like we do a unfold now. Oh my God, that's horrible. That's fine. At least we got a save file right there. So let's close this real quick and let's open Maya again. I'll pause real quick. There we go. So remember, anytime we get a crash, the first thing we need to do is we need to save, Save Scene As, Let's save this as armor eight. So you can see I have a lot of backup files here. Precisely to prepare for that sort of eventualities, let's check for an guns and we do have an angle. There we go. So that's probably what caused the main issue. Then press number three. And that's a really weird angle that we got right there. Oh, okay. Okay. So let's see. Okay. So it seems like we have a double face or something. See that. That's really weird. The shading that we're getting there, It's really, really weird. Let's go back to vertex mode. I'm going to press number three again. I'm going to try to analyze. There we go. See that guy right there, Crazy little vertex just floating around in that direction. Let's see if that fixes. It will still have one more. Okay. So again, let's press number three and let's go into vertex mode. Pressing number three is usually going to give us an idea of where things could be. It looks like non manifold geometry. Now also remember that we had initially just delete things. Like sometimes it's just easier to, to delete, like faces or working in a wrong way. Let's go back here. Okay. We've got another issue right there. I'm not sure why that's counting us. Why do we have those holes right there? I don't even remember a heading them to be honest. It's really weird. Okay, let me, I'm gonna destroy those edges. And then let's turn on symmetry object x. And I'm going to use my knife tool to go from that border there. Delete that vertex. And we just reached this again. Okay, let's see if we still get the angle. Up here is the last one that we have. Really weird angle and see that. So let's delete that face. You can see there's an invisible edge right there. We need to delete that one as well. You might need to delete a couple more things here, like that guy right there. Okay, That's a little bit better. Now I'm going to delete these faces. As you can see to complete this guys, we need to insert an edge loop like right around there. That should our bridge these two guys together. There we go. I think it's because of the stitching that we were doing, but I'm I'm just curious. It looks very weird. And here what I'm gonna do is I'm going to go from here to here. And then from here to here. Or just like feel whole, I will have a triangle like up there. Let's delete history, freeze transformation, checking the cleanup. Okay, No more, no more issues. So that's that's good. Let's go back here. Let's clean deadline. Rebuild that one. When that line, there we go. So over here, just complete the line on both sides. And then again, that should give me the card that I'm looking for. Let's say real quick. It's open or UV editor. And give this a shot control you still has. I'm just, I'm just going to say fix. Let's see if we can fix it and if it fixes it, then we should be fine. Let's do a quick Control L, which will have the other setup. Now, let's fix a little bit of this guy. So right there, we're going to show, so if you're in cotton, so let's just show that one we're going to show as well. Control you control L control and that, yeah, that should like this right there should give us a nice distribution of the polygons. Get a little bit of a stretch right? There. Shouldn't be that much of a problem. We'll try to fix it. I'm a little bit concerned about the display issues that we're getting here. That's a really, really weird. But we have things like things are clean, so that means that we are doing things right. So let's just hide that for now. Let's just add that one for now as well. This piece right here, I'm actually going to delete that one. Why? Because it's gonna be underneath the armor. If you guys remember, we have the armor on top so we really don't need that extra piece. Let's go with the camera. I think he's right here. So they're cylinders. So very, it should be fairly simple. We're going to do cap capillary there on the center cap. Cap. And I am going to do an extra cap right here. The reason why I want to do that is to get less deformation. And then we go across and across UV, UV shells for this guys with the control you. There we go. It's a nice clean, a nice clean unfold for both elements. That one. This guys have thickness, so we do need to do a cut, but these are actually even like wasting simpler. We just need to do a cotton the back. That's it. That's all we need. Let me bring my UVs back here. I'm going to bring my UV editor. There we go. Let me see if I can get my UV toolkit. There we go. We can actually get it there. Perfect. So let me show you one quick trick right here. Right now this workspace that we have a way of actually like modified it a little bit, right? Like this is not the default. This is not the default workspace because of the UV layout right here. We can actually go up here to General and we can save current workspace S. And I'm going to call this UV and T heat. Okay? So now if we lose this, we can just jump there. If we go back to modeling standard, you can see how things change. But if we go to UVs and T, which will have our UV window UV toolkit over here. And it's just a cleaner way to organize her stuff. Let's now do this little pipes right here. Again, fairly simple. Just got on the underside. Should be more than it. And then these little guys right here, There's cylinders. We do CAP Kab across, cap, cap across, and then this one same thing, cap, cap across, cap, cap across. Select everything here and control you. Control L. There we go. So 0 point, actually, we forgot to do an inner code right there. So it's just, let's add our code UVC, UVA. And we're going to click here to save all shelves. So now this thing crashes. Were fine. So that guy right there, that guy right there, actually that guy now the case files this inner guy that we need to cut where it looks like a little crunch or maybe we do the cut. That's a little bit better. Okay, My want to cut this one as well. There we go. So yeah, that's, that's it. Let's go now to this piece right here. Simple one. We cut one side here, the other side right there. Across control you. It's a shortcut. Remember that guys done, that goes down, it gets down to this done. Spheres. Spheres are fun. There's a couple of ways to cut the sphere. So I'm going to show you one that I particularly like. It does get a couple of more simple. They usually get to eat better deformation. So you can cut them like cylinders. You can cut the pulse like this, and then across. But what I don't like about this particular deformation is that you get like this super weird looking island. It's very difficult to work with that specific island. So I don't particularly love it. I prefer to be honest. Let's go back here to just cut them in half. So just right here. That will you get pokey ball. Like things are in this case we forgot. Let me erase what we did there. And we're literally just going to cut across. And what we get this sort of distribution, yes, we do have a little bit of distortion towards the center, but it's not as bad and we get a cleaner effect right here. So yeah, that's, that's how we'll probably do that one. Now, this thing seems to be parented to this thing right here. Let's isolate that real quick. This is a very chunky block, but it is a cylinder. It has a hole going through the middle. So we definitely need to cut the inside and one line across right there. And then since we have a central line, we could try this central line. Let me show you. Then we can cut the corners right here. There we go. That will work at how the back part and the front part like that. And then here, I think we can also cut the front part to be honest like this. Then we can remove that line right there, so we have a cleaner effect. What are the other students? This is a cylinder. We can grab just one line and cut that one. And it should unfold very straight like that. Look at that. Really clean, right? So we, even though it's a cube, we treated a little bit more like a, like a cylinder and it'll work just fine. Now, technically this guy and this guy are the same topology. They might not be the same in scale, but they should be the same in typology. So we should be able to transfer the attributes as long as we have the setup to topology, see transplant. There we go, Look at that. So we save a little bit of work in there as well. Let's grab this piece right here. And this again, it's kind of like a cylindrical thing, right? So ideal. Ideal situation for this one would be to cut this whole thing. It will also make it easier to, to assign a different material to that specific part if we need to. Sometimes it won't let you do this as you can see right there when you can't find an edge loop, it's gonna be a little bit difficult. So you're going to have to start. And then once we have that, it will follow. We will connect the dots if you wish. There we go. That's a cylinder and let's cut across. And then this piece right here. We're going to do something similar on this side. Let's cut that right there. Go with our CO2 here, here, here, here, here we go. And then this piece right here, we can just use one of the corners like this one right there. And that's pretty much the cylinder, so it should unfold again nicely. If you want. You can also cut the caps here. Just going to simplify it a little bit, some of the things like that. Then we'll just missing this line right there. Once we have something, we can just keep it going. There we go. Control you. And let's just take a look so that one looks fine. That one looks fine. Caps look fine. This does not that means we probably missed a cut somewhere. Where did this? There we go. This one definitely needs another cut. And that's a capital gain. So that's that these are two of the capsule as well. Careful here. You can see we're having a little bit of an issue with forgot this one. So let's separate control. You have one right there? Somewhere around there. Very small, very small etch let me find it. There we go. It's this one and this one. Let's cut them. There we go. Then we just got one more edge right there. Control you. This one is freaking out a little bit. We maybe color the more than we should. So I'm going to grab these two guys and just weld them together back together. And this guy says, well, this guy, this guy welded together, control you. That's a lot better. For this one. I kind of don't like things being in like split like this. So I'm just going to grab that edge and sew it back together. And then when we unfold, it should be a lot flatter. Control l. I know we have like the weird effect right now, but look at that, not Beth. Little bit of distortion there. Again, we can do another extra code, but it's a simple piece. So it's fine. Oh, careful there. From here to here. Let's just say you stuff, Mesh Transfer Attributes. Now this should have the exact same number. Now, this thing is holding onto something really weird. Can you see that? Oh, I know what that could be. Yes, of course. There we go. This guy is right here, Shift P. Here we go. It was somehow connected to the, to the, to that sphere right there. Maybe we took it from there when it was Parenthood or something. But there we go. With that, we're pretty much done with the head. So I'm going to stop the video right here, gives the guys and I'm going to I'm going to keep going with the leg right here. So hang on tight and I'll see you back on the next one. 65. Arm Skeleton Uvs: Hi guys, welcome back to the next part of the series. And now we're going to continue with the arm as cotton, which is this guy right here. Well, we have arms and legs. Let's see how fast we move in. Then if we move fast enough, we'll probably do both of them had the same time. So let's start with this one, which is great because we know it's going to be repeating. Now this one is very boxing again, so it might be a good idea to separate the bottom part from the top part. I'm just gonna go down the line right there. And we definitely need some cut lines, especially on like this intersection right here. This is gonna give us the best kind of unfold. Up here. I'm going to look for the little stars. You can see are right there. Right there, right there. And right there, there we go. And over here, we've got this one. This one. And this one. I think those should be enough. Let's go to the other side, which is that one. That one. And that one. Let's unfold into what we've got to control. You. Look at that. So again, the reason why we are cutting a couple of more lines that you might expect is to alleviate the curvature that we would get. Because if we keep this curve, then as you guys know, we're gonna get slightly weird distortion. And all of those lines starting a hard edges and heritage are great places to hide seam lines because of the metal edge weight and things that we can add to those specific points. Of course, let's lead the other side. Let's go to the back part here. Let's leave the one of them. And since we're already working on this one, let's just do a mesh transfer attributes. It should be the same one as you can see right there. Cool. So we can hide that one. We can hide that one. We've got a lot of boxes over here because all of these boxes and cylinders and stuff, I'm gonna, I'm gonna go for more complex stuff before we do those boxes. Let's start or we're actually this one was already done. Let's do this box real quick. Now this box is fun. It's an interesting piece because if you guys remember, we did the section line trick, right? So if we go into our cut tool, you're automatically going to see a white line going down the middle, which is great. Now the only thing we need to do is relax that line a little bit with the extra cuts that we're gonna be adding, which is pretty much going to be this length right here. So we're actually, let's, let's do it. They don't fold first and see what we get. You can see this is like a little bit too much. Light gets stretched a little bit too much. And we're going to see texturing textures just like going everywhere. So we definitely need to add some section lines. So let's separate the elements in this sort of like boxy, boxy way. Separate right there. It's going to give me a clean one right there and probably just the bottom or the back part. That should be it. So again, look how easy it is when we have proper topology. Now we unfold, Look at that beautiful straight, super straight like things are looking way, way better and that piece is ready. This one is one cylinder. So it's just a cap. Cap and across. We're gonna get that. Perfect ready next one. By the time you've finished this guys, you guys are gonna be masters at UVs. You're gonna be able to do or get to be seen like 10 s. So let's, of course, I believe half of them for now. Cut line. We're gonna cut right there, right there, right there, and right there. There we go. That's it. Don't overthink it. Just do it. Just do it and gather yourself. That looks as nice as possible. Same for this one, like this one that are a little bit thicker, right? And the only thing that's going to change with thicker elements is that we might need to cut some of the corners. So we start with this one. There we go. And this one, this one. This one. This one. This 11 more there, one more there. One more there. I remember when I started doing a UVs again, like ten years ago. It would take me like a full day to do UVs for a character and a character that was less complex than this. So again, the more you do it, the more practice you get, the faster you're going to get. But you usually do take some time. I'm already here. I'm just gonna go for this one. I know we have or we're gonna have a different video for the for the chest that says we're already here, might as well, right. So let's just keep going here. 1234. There we go. All of those lines. Or you can keep them as they are. I'm actually going to just cut straight across or actually no, I don't like that story straight across because it's going to make things. A little bit weird. I'm actually going to go to this line right here. So we're going to have the upper part of the element. Now we do have, as you can see here, some sexual lines. So it's important that we cut like the top part and the bottom part. This is pretty much the cylinder, so we need to respect that. Let's cut the bottom part here as well, right there. And that should be flooded enough. Like if we do a quick unfold. Well, almost, almost, almost. Wow, actually. Not delete this whole thing. Okay, so let's go back here. What happened here? Let me go back a couple of very good. We have a nice line here. Let's delete the history. That says, I don't know why it freaked out because this is a nice cut. Control U there we go. Yeah, Something happened there. There we go. So flat, flat, flat, flat, flat. Yeah. There we go. A lot of flat pieces, yes. A couple of streamlines, a lot of fluff pieces. It's going to be covered by the plates, so no need to worry. Actually, this line right here, that line that we have right there, we can actually sew it back together. Just like unfolded. It's gonna give us a slightly better on full pattern as you can see right there. So yeah, that's the chest done as you can see, that's a big piece. I'll keep that for the chest videos. Let's go back here. And another way I like to do this stuff is just go for the big pieces first because those are the ones that you're going to know this the most. And from a psychological point of view or whatever, when you start seeing things become smaller and smaller, it or at least to me, it feels like I'm I'm making more progress even though it's pretty much the exact same thing. I always want to when I said I was a kid, they had this sort of like a thought. There was a store near near me. It was like three or four blocks away. But if you took one street towards it, you would be going through a very long like a house or a very long wall, like a fence. And it felt like forever walking through that alongside that first because it was a single fence. However, if you walk down the street, you would go pass like several houses. And for whatever reason, I'm sure there has to be some sort of like psychological explanation. It just felt faster maybe because you kind of broke down the task into smaller chunks. I'm sure if there's a psychologist or watching this video, they're like, yeah, yeah, that's exactly what happens. Or something similar. But they just felt a lot easier to do it that way. So I find the same property works right here for UVs view, if you break this down into multiple parts, it becomes a lot easier to just like power through it rather than like imagine if we had to combine the whole thing into a single, a single mesh and then just do everything at the same time. It would be a nightmare, right? Especially like on this part right here. Like look at how many little bits and bolts we have right here can be, can be quite daunting. But again, if you just take one at a time and be like, okay, I I know we're doing here. I know the sort of process I need to follow this cylinder. This is a box. This is organic and you just go from there. A lot, lot easier and a lot more, more manageable. So let's, for instance, grab these two guys, which I know are the same. Start with this upper one. Double-click, Double-click. Long, unfold object mode from one to the other, Mesh Transfer Attributes. There we go. Two birds, 1 st, right? Then we have all of these boxes which actually share a very similar topology, but since they have different proportions, the way they might unfold might be slightly different. So in this case, base and corners is probably our best bet. I do however, remember that this upper one is very similar. So let's just Mesh Transfer Attributes. Work should afford that work. Okay, if that happens, it's probably didn't work. Yeah, it worked. Kind I know it doesn't it doesn't work. This one works a lot better. Let's try that again. Mesh Transfer Attributes. Now. Okay, let's just do it again. So I'm just gonna do a UV camera base or UV camera base. There we go. Having a little bit of an issue here. I think mine is already freaking out. So let's hide that one. Let's go down here, grab this case right here. One thing that you could do, for instance, this guy right here, let's just combine them all into a single one. They're all cylinders, right? So you might find it a lot faster to just have everything in a single object to be able to cut very quickly across all of the axis. Going to go here, here, here. Here. We go. Those are, oh my god, I made a mistake here. Okay, so let's see if we can get away with this by doing Italy history here. Rubbing where we were with no. Okay. Okay. Oh, my bad. I actually I did it right. I was the camera was rotated so that one's fine. Let's, I'm gonna delete. Let's see if we have independent like this guys right here. If there are any single thing, I'm just going to delete it. Then for instance, this case right here, we need to go into face mode and delete the fixers like that. Big boxes again, simple, just inside. Insert. I'm actually like since this are just very simple pieces, they're gonna be covered everything, just something like that. Even if we get a little bit of stretching on the borders, again, it should be fine. It's gonna be be minimal. You can see right there the stretching is very, very minimal. The most important part of this staggering, that one right there and it is working as expected. Let's go here. Same deal. From this one to this one, Mesh Transfer Attributes. There we go. I'm actually going to combine them. Control you. Therefore here we have crazy face right there. Let's just delete it. There we go. Probably some sort of like remnants from, from other pieces. This one right here. Same deal. And when I get to this point, I try to move a little bit faster as you can see. And I don't even like unfold yet. I just quickly move through the, through the different pieces that we need to unfold. Like this guy right here, this guy right here, that one right there. Because I know that as soon as I get into them fold and unfold function, I can just grab everything and then folded. Well, we do need to do is delete the faces on this side because they do not either data or mirror them, right? But right now, I'd be a little bit easier to just delete them. We go. Now, we can grab a couple of the pieces that we've been doing control you. And we should have a nice and nice and full for dose. So that one's already demonstrated. Demonstrating. This one right here is one of the ones that we were having some issues with actually that it looks it looks nice. Control L. Kinda nice. Not perfect. Let's fold. Yeah, I mean, it works a little bit weird, but it works. So let's just hide that one. Little guys right here. Let's isolate them. Delete. They have thickness. So as you guys know, things change a little bit for this type of items. We're going to do the inside, both of them. And then the outside we're going to go for the corners as well. I don't care about the insight for this ones. And the reason why I don't care about them is because we're never going to see them right there inside the leg. So even if there is a little bit of distortion right there, it's fine. The important parts are out here. So that one's done. Well here. Definitely going to clean a lot of stuff right there. Now this a little bit more complexity, slightly more complexities because as you remember, It's actually made out of 1234 different islands, five-six, like it's a little bit more interesting now, it's actually like the UV doesn't look that bad with the camera based projection. But unfortunately, this is not going to work. So this is one of those things that we might be able to get away with, the automatic one. Like dad right there. Looks okay. To be honest. Like it's it works. We can definitely add a couple. I'm going to go to the right view. I'm going to add a couple of cuts for the texture stretching. So with a knife Russia just gonna go 12.3. It's going to alleviate the texture stretching. And yes, we do get a lot of different bits. As you can see right there. It's simplifies things quite a bit. It's probably not the cleanest way to do it. We could definitely simplify this a little bit more or optimize this a little bit more. What's also another bad thing? And especially since it's gonna be again covered by a lot of different things. It's fine. That one's actually ready, just need to unfolded. We go just hide it. This little spheres right here. We can just cut. Down the middle dose. Let's go Object Mode. Control. You go high dose. Let's go to this one. This one's a little bit trickier because it's a cylinder that has two holes like the, the length and then there's like little thing right there. So we're gonna go, of course cut UVs, object mode. Go, cut the V's. We're going to cut right there. Actually, let's go on the inside, right there. On the inside right there. Then of course we're going to have one line going across on both sides. Then very important. The little window thing is go Control U. And there we go. That's the, that's the outer edge. And then this is just a cylinder. It's actually the most basic cylinder of all times. We didn't even like you gave it the Babel or anything, that's fine. It's cut cut across. Control U on all of them. There we go. Let's hide that one. And almost there, almost there. I know that the videos now are going a little bit longer than what we normally do, but I just want to make sure that we get everything covered so that one simple one. Let's go here. I don't remember if this was a single piece. Yeah, it's a cylinder. See that it's already cut right there and over here. So that tells me that the only thing we need to do is like one card across back here. We even did the section line thing on the inside. And then this sphere right here. It does have a couple of extra lines. Select that one right there. I'm going to do this like a cylinder. It's going to be pulled pole and across. Both of those guys control you. Let's fix it. Let's see if we can fix it. Let me see real quick. We're getting a little bit of an error on this guy right here. Oh, that's because my bath. All of those. There we go. A quick Control L to lay this out and see if we get separated. A couple of, of the islands don't love this. Where are they? Some insight faces right there. It's fine. Little bit of an issue but shouldn't be that much of a deal. It's because actually let me delete these faces. This faces and all of this like Ireland thinking, just delete it. Here's a trick. Select everything shifts, select. There we go. That way we clean those, lay, those guys. And let's just grab this guy's control E. In. Let's go right view. I'm going to press, I'm going to move this up or just going to rotate the scale this in a little bit like this. And then I'm going to like this guys. I'm going to bring them down. This guys, I'm going to bring them up to recreate what we had before right there. And now to clean that stuff up, of course we're going to have to do another uv. So let's do UV camera base. Okay, my eyes already freaking out as you can see here with the displacement stuff. There we go. Uv camera based. Then we're going to cut on their side, on the side of that capillary there, that Cadbury there and across. Let's do fold. That's a lot better. So UVs, as you can see, perfect way or perfect moment to fix stuff that might be wrong. Two more pieces, I'm just going to do this guy and this guy and then this thing. So I'm going to do with the chest. So the sphere, as you can see, has a thickness to it. We've talked about this before. Easiest thing is just cut on one of the sides in that set. And then this ring right here, it's a cylinder, Pretty much the section line. It was done. Or careful with those little guys right there. I'm just going to triangulate them. So mesh triangulate to make sure that we don't have any, any weird thing going on. And I'm going to go Object Mode. Let's delete this side over here. Cut, we're going to cut across one of the bubbles. And then we're gonna do cap, cap. And over here this kinda like a sphere, so we're just going to cut the border of the sphere. And this should unfold nicely. There we go. So for this one, control, you. Perfect. That's it. I'll just hide those guys. And as you can see, we're very close, very close guys. Just a little bit more work right here. Shouldn't be that bad. We're gonna be ready to jump into texturing, just a couple of extra material things that we're gonna be like preparing and we're going to be good. So I'm going to stop the video right here, guys, make sure to save make sure to get to this point, and we'll see you back on the next one. Bye bye. 66. Chest Skeleton Uvs: Hey guys, welcome back to the next part of the series. Today we're going to continue with the chest skeleton. Uv switches, all of this part right here, and we have a lot of repeating parts, a lot of simple parcel. Let's start with this one. Again. Simple enough, it's a cylinder, so we cut the cap, we cut the other cap, and we cut a cross. And then we go to this piece right here, which is just the two blocks, just to very nice little geometrical blocks. So I'm not even going to delete them. I'm just going to go over here. Well, actually, no, I think of it. I am going to delete it. Why? Because I just want to save a little bit of time with the with the multiple tool or the uv Cut tool right here on the corners. So I will just cut the corners on all the sides. And that's gonna give us a nice one for again, I'm not going to unfold right now because I know that it's going to work. We've seen it work so many times before, so might as well, over here, Let's delete this guy. Let's delete this guy. And here's where we can start. Again, saving a little bit of geometry and topology, we can delete the phases on the back like that. Remember Control F 11 will give us a clean cut of the UV or the faces that are selected. And then we'll just cut like that. And like that. Now one thing I don't think I've mentioned is that every time you do it, every time you unfold something, you are going to get distortion. Distortion is unavoidable on a what's the word? The sturgeon is on avoidable on any geometry that we, that we click Generate UVs from getting some weird results over there, but it seems to be working. And the reason why we get distortion is because we're jumping from a 3D shape to a 2D shape. And every time we do that, we are gonna get destruction. Like it's just the nature of losing one dimension. So no matter what you talk to anyone like that, there cannot be a Perfect UB where you have absolutely no distortion and everything is perfectly like laid out and stuff. There's always gonna be a little bit of distortion and a little bit of funkiness. That good news is that thanks to all of the new softwares that we have nowadays, all of that distortion can be easily corrected with the different tools that we have. So we have this shape right here. This one's a little bit more complicated. Again, let's delete half of it. We're gonna go with 3D cutting. You'd, you'd be two. And we'll first thing I notice is this is cylinder, so let's just call it the cylinder out. It's a very simple, this huge box over here. I'm also going to cut it out. Now this is gonna be a little bit more important because we're actually going to be seeing a little bit more. So I'm going to cut the corners on the inside. They don't falls a little bit better. There we go. And then all of this shape right here, I'm probably, I'm actually tempted to just do a symmetry line and do it like on the, on deadline. But I think it's gonna be easier if we just go here and then follow this line right here. So we're going to have the outer edge and then the inner edge. And of course, we do need to add some cuts to this outer edge right here to help it. With DOM fall. There. Probably there as well. Let's see Control U. Let's see how this looks. So this piece looks really good. This one looks a little bit weird as you can see right there. It's a little bit difficult to read. All of the other ones look good. So what is the best option here? If we have a piece that looks a little bit weird to read, well, let's re so that line together. So unfold. Actually, let me go back there. So I think this is one of those pieces that it might be a good idea too, to recombine or re, like to separate this, this top part right here. Something like this. And there we go. So that when we extract this top part, and I love this other like pink part should unfold a little bit better. Yeah, that looks as you can see that it looks a little bit better. We have some nice guts, nice distribution. And it just works. School there. This one is just a box with corners. Let's go with our cartoon here. It's got the back part of the of the box. And the corners. There we go. Perfect. And then we're gonna go here. Control you. There we go. So nice clean shapes to different sections. That's great. Let's hide that one. Let's go with this armor piece. This one is very simple. I think we can just get away with a, with a cut along the back part because it's relatively flat, so it should unfold. Relatively flat as well. There we go. It's great. We got this guy right here and this guy right here. Let's just combine them. History. Delete those guys right there. Let's go here. Half and half. We're gonna J control you. And there we go. We hide that one. And then we have this shape right here. Now if you remember this shape has England's and actually want to use this as an example because I mentioned when we're modeling this, you can actually use penguins like they're, they're relatively fine, as long as they're flat, as long as you have a flat angle like this one, sometimes I'm fold doesn't even care about them. So let me delete that one. Let me show you if I try to unfold, as you can see, it unfolds like it has a big angle right here, but it unfolds. Why? Because if this angle is a very simple and gone to solve, and that's where we can get a nice, like what resolution if you wish. So yeah, that one, that one's there. Of course. I'm going to transfer the elements to the other side. And to do that, we need to delete all of these guys right here. Topology should be very similar, like we didn't change the amount of phases or anything. So in theory, I should be able to transfer the attributes that one didn't work. Let's see if it works back here. Yes, it worked perfect. That saves us quite a bit of time because as you can see now, all of these guys haven't properly UV. It might not be a bad idea to just combine them though their history. Let's do control you control L to just unfold them. And now all of them have their own little UV. We can hide them. Then we have this pipe right here. It's just too big cylinder. This one is one of those elements that it is a good idea to split into a couple of parts. Otherwise, we're going to have huge islands on the UV map. And that can make it a little bit complicated to unfold properly. So as you can see, I've divided into two parts right there. There we go. We're just going to hide that one. Pipes, super simple pipes. Remember we mentioned not all of the pieces we're going to be subdividing. Some of them are going to remain like completely solid with that one and that one. Control you. There we go. And we transfer. It, doesn't it doesn't like that. Okay. That's fine. Let's not transfer. Let's just like manually do it. There we go. That said we got all of that part. Now, for this one is right here, this PCC. We also have an angle like this big face right here. We've mentioned, shouldn't be that much of a problem. I'll show you why. Let's go right there. One thing we can do, a nice trick, you can grab just that face and go UV and do a camera based prediction just on that face and that will you cut it out. See that, like I just call it out from the rest of the element. Now if you unfold, we're gonna get this. So again, either it works, we'll get the whole thing. One thing that we might need to do is we might need to add a support edge on that line right there. Well, no, actually no, because we're not going to be we're not going to be smoothing this guy. We don't have support edges really. So that one's just going to be like that. So this one right here, where's my, where's my isolate select? Right there? That one. And now these guys right here, they're all boxes, right? Very, very basic boxes. So this is one of those cases where again, we got to be a little bit faster, right? Like efficient. So we're going to delete half of this guys. We could use automatic mapping. But it's going to generate a lot of different lines. And I don't want to have as many lines. So I'm just gonna go to this line right here and I'm going to ignore the corners that we normally cut. Why? Because this you should just bends this extra small detail. It might not even have like specific details. It might just be like a, like a very basic material or something. You show control. Control you, there we go. Let's hide that one. And we're just missing a couple of pieces here. Now. This one right here. I do believe we had the neck, didn't we? Neck. This is the problem with having done this sort of like a wrong with having done this. I'm gonna do something here. I'm going to say Select all by type geometry. And we're going to turn the visibility on. That way. I'm going to have everything. So this box right here should be the same one as this one right here. Let's see if we can transfer the attributes. Yes, perfect. And now from this one, we just transferred to this one right here. This one is actually a little bit different. Some modifications, so we're not gonna be able to do that. Let's go back to well, I mean, I'm sure we've done everything on this side, so now this is confusing me a little bit. So let's hide that. Let's hide the chest. There we go. So this one right here. This one right here. There we go. Control U. Let's hide, hide, hide, hide, hide it. Let's just hide all these things. There we go. That one's ready. That one needs to be fixed. So I'm just gonna do for this guy is just at this three more pieces. So this one right here. It's an interesting one because it has a lot of cuts cylinders. So one there, one there, one there, one there. Before that. Let's do the other side across this pretty much like a box. So it might be a good idea to follow this edge right there. This edge right there. Let's go down here and down here. Control you. There we go. It's a clean, clean distribution. Let's hide that one. And then this one, we actually had it from the other one as well, right? Remember that there was a really tricky one and I'm just going to simplify this one. Again, no need to over-complicate. So lets just grab it in a natural that's clean, like that one right there, that one right there, that one right there. And now we're just like this guy. Let's cross cut across. This pretty much is under that. Should do it. Which is neat to touch that. There we go. There we go. There we go. There we go. Control you. And that's a slightly dirtier, but at the same time, like faster UV for this guy right here, go from Dan to another one and we're going to say Mesh and transfer attributes. There we go. That's it. We've pretty much finished with the whole chest and front area. And now we only need to go to this remaining part, which is the hips. The whole of the components that we have here for the skeleton of the, of the, of the character, all of the species right here and the tail. But hopefully you can already picture that the tail is going to be relatively fast because we have a lot of very similar elements. They're just like the same block, especially starting here, it's pretty much the same block. So as long as we do one of them and we duplicate it or not duplicate, we just transfer it. We're gonna be able to copy that very, very fast. So that's it for this video, guys. I'll see you back on the next one. Bye bye. 67. Back Leg Skeleton Uvs: Hey guys, welcome back to the next part of the series. Today we're going to continue with the lecture, which is the, well, the hips and the legs. The last part of the whole thing right here. So this guy has we saw already, we already have like clingo visa so that one, we just hide this simple box. Again. I wish there was like a command to delete things that we originally mirrored. It's one of the things that I'm like, Yeah, that will be like an interesting plugging to do. I'm sure there has to be. I mean, again, we could separate things and just what's the word? Just delete them. But I feel like that's going to take a little bit longer to learn, reorganize things and clean things up. So I'm just gonna do it manually here. I actually will that work. Having second thoughts of that, maybe it can work. Let's let's give it a shot. So I'm gonna grab all of the things where theater mirror, I'm going to say Mesh and separate. That way. We can very easily just delete all of these guys. And yeah, we're gonna have like bad names and everything, but we're going to clean everything up once again at the very end. So maybe that just like speed up, speed up a couple of our process here and gone right there. Do we care? Now? We don't care. It's just a very simple piece. Leave it like that. This one right here. So under cut, cut across. What are we actually using the tool that we want? Rid cut, cut, cut, and across. There we go. This one right here. Same drill cut. Or actually in this one, we can cut on the inside edge. It's going to make it a little bit easier and very important if we have thickness, we do need to cut on the inside as well. So all of those pieces are ready. Let's go with this one. Thickness. So we go on the inside like that. Actually, I believe this one might be my work. Nice. Now, let's see. There we go. We've got our celebrate here, so we'll just control you. Perfect. It's done. Let's go with this guys. This is pretty much like a cylinder as you can see right here. So we're going to cut, cut and I'm going to go in the inside like right around there. And to simplify things, I'm actually going to cut the back part as well. Because he has a lot of like a intricacies like going in and out and stuff like that. So we're just going to do Control U. There we go. Oh, I missed In and Out burgers. If you guys are visiting of the United States or you're from the United States, please go get an in and out burger on my on my name on me. So we cut the windows right here. And we cut right there. We go across, can use this line right here to hide the same line, of course, on the inside and on the outside. Control you. There we go. That one's ready. This one right here. Simple edge loop. So inside, outside across, inside, outside across. Again, doesn't even need to be the exact same edge. Perfect. This one. Now, this one's a little bit different because we have the cylinder, like coming out of the back. So we're going to cut the cylinder as its own little piece right there. Of course we're gonna give it a cut on the back right there. And then this is just a ring. So cut across, across line right there. And probably again use the cylinder like insertion point to have the other edge right there. Maybe even caught that one right there. Control you. There we go. Clean. High that cylinder. Simple. One caught two cuts back. You got there we go. That one. Oh, this was I love this part. I'm just so happy with how this turned out. So let's do some slightly cleaner UVs for this one. I'm just gonna go corner. Corner there, corner there, corner there. Corner there. Let's go all the way to the back. Smoke is pretty much going to be like a box. So we're just going to be following the corners here. Right there. There we go. So that's like the front view. Then I really want most of this to be kept. So I'm just going to try to cut this corner lines right here on both sides. Let's go down here and right here. And hopefully this will unfold nicely. Look at that. Great, not perfect, but quite nice. Like I really like this. I think we could definitely like a fourth cutting those little guys right there. Let's cut those. Rewards are coming from the top or at the top part. Okay, Yeah, so we'll just keep the top part is like separated. But everything else looks really nice, really, really nice like this guy right there. That means that we could create a decoupled. It goes from here to the sides and it's going to look amazing. So I mean, I'm sad that we're not going to see this much because it's going to be covered by a lot of other stuff, but that's part of the process. Let's go here. Minus will combine these guys. And we cut, cut. Let's hide the cut like in there. In there. Actually in this case, we're actually going to be better if we make the cut out here. Because we want to keep that flat part a little bit like what flatter its control you. There we go. That one. Let's go to this one. Same drill. So we got right there, right there and across. Let's hit. Most of these pieces are just gonna be like pure metal, maybe a couple of scratches and stuff, but we're not going to be paying as much attention because they're quite hidden. This is a cylinder, Pretty much. So. We of course cut a little hole here. And then this piece right here, it's very flat, so minus will just grab one of the bubbles. Maybe you'd like just one battle. And there we go. Look at that. We get this like a, like a cylindrical piece. This one right here has thickness. So it's again a cylinder. Let's cut one of the inner sites right there. And then one cut on the top or the bottom. I want the top. There we go. Perfect. Next, this one can seem like sort of situation. We might want to keep the bigger caps, like right around there. And then this circular piece is going to be its own little thing. There we go. So you can see we get cleaner, cleaner, that cylinder E colt cylindrical cuts. Sometimes we're going to have to do that. Sometimes we're going to go to the closest or innermost, like cap. It depends. It depends on the item. This is one of the things about 3D. I get this question quite a bit and a lot of different places. It's like, how do you know when to do certain things or when not to do certain things? It's a lot about the experience. The more objects you do, the more you understand how they will unfold, how will the form and stuff like that. But also you need to understand that. And I mentioned this in a previous video. Not everything has to be perfect. Sometimes we worry, I think people worry a little bit too much about everything being completely, completely perfect. And you can get away with like, good enough geometry. I was, I was watching, for instance, a couple of weeks ago, a TV show with my daughter. She's she's really small right now. Are you really young rather? She's like she's about to be two years old. And she watches a lot of like Disney stuff. And this isn't a produces a lot of like animator the things like with Mickey and Minnie and all these characters, right? And I was looking at the geometry, I was looking at the textures of the 3D shows and stuff. And it's not great, like you see that. And it was like dude, like a very entry-level artists can do this sort of stuff and generate really cool results. So why is it that they can do it? And that's because of time constraints. And again, money constraints are really important, like this guys need to produce, shows pretty much like 11 full episode a week, right? So you don't have time to model and sculpt and do everything as perfectly as you might want. So don't overthink it. If you're doing your own personal projects or even if we're following this and you finally get small little issue here or there, that's fine. As long as you can generate an amazing looking render at the end, you're going to be just fine. Now, this piece right here, it does seem to me like it's like it's really similar to one of the ones that we had before. So let me see if I can. Again, I'm just going to say select my God, select all by type geometry. And let's turn this divisibility to on. This guy right here is very similar to this guy right here. I'm gonna see if I can transfer the attributes. Here we go. It seems like we were able to. And then this one right here is very similar to this one right here. So again, mesh transfer attributes. And there we go. This one, this first one is very similar, as you can see, is like connected with a lot of different pieces. I'll explain how to fix that in just a second. Let's let's hide stuff again. All of this case are ready. This case ready. Pretty much the whole leg is ready. Now this box right here, which is one of the important ones. So for this box, we need to be very careful because it's a really complex object. So I'm going to turn on object x. And we're going to cut all through the border like this, even that good readers, fine. We're just going to keep following the line. I'm going to press number is three so they can more easily select the DH librettos, the one that continues to erode. Let's do this. There we go. So as you can see now we have the bottom part right there. And then it might be a good idea to utilize this corner we have right here to split this side boxes from the, from the rest of the elements. So splitting them like that, it seems to work quite nice. Let's explicit that box right there. And then here we're just going to cut the corners a little bit like that corner right here. I'm even tempted to use this section line that we have right here to cut it. That's also going to help me with the relaxation of the whole thing. In this frontal thing, I really want to cover this war. So I'm going to cut it like this. Now this should unfold it a little bit nicer. We're gonna go to that corner right there. There we go. This should work. Let's give it a go and control you. And again, let's just analyze the shelves so yeah, that sure, it looks really nice, really nice. This side shells might need a little bit more relaxation. You can see how, I mean, we can always look at the texture and see how these things are looking. Let's do a quick layout. That's not bad actually. Yeah, this works. It's totally works. Yeah, that's pretty much it. So this box is ready. This box is also ready, but we need to split all of these guys. So this main thing, I'm going to say Mesh and separate. And now each one of this as a separate piece. Of course, we're going to delete history. And this guy right here, actually, it seems like we didn't inherit the, was it the geometry. So let's go back. There we go. Let's split it now. So separate, mesh, separate. And now we should be always they'll have the parent. Okay, that's fine. So we're gonna grab everything here, Shift P. As you can see now, H1 should be separated. So this guy and this guy are pretty much the same thing. Getting mesh and transfer attributes. And let's see if it works. It seems to be working, which is great because it's going to say what's quite a bit of time. But then this one right here, I believe it has a very similar Let's try. I'm just going to give it a shot and see if it works. The CID work. It does work. Nice. It does work. It seems. That's great. So yeah, that's gonna say it was quite a bit of time because now that we have this, we can just transfer it to the next one. So from here to here, mesh transfer attributes, and then from here to here, transfer attributes from here to here, transfer attributes from here to here, transfer attributes. And we just keep going along the whole tail. There we go, We'll get that. So now all of those sections are like properly, properly done. Now this piece right here does not have the transfer attribute thing, right? So we're gonna have to do a quick UV, but at the same time we already have, we already have that thing there. So let me see if I have it over here. Let's again select all by type of geometry. This is where having a better organization than what I have written, that might be maybe even better, but yeah, so this one right here already has UVs. So we're going to select this one, this one, and we're going to say Mesh Transfer Attributes, perfect. So from here to here, gene from here to here, G, from here to here, a gene from here to here, G from here to here, a G again, from here to here is G once more. One final time, one more time. And there we go. Perfect. So now, now my friends select all by type geometry. Let's turn everything back on. And we should have it. Let's turn the groups on as well so we can see it. There we go. Our whole skeleton is now properly UVs. We're gonna do something very similar. Let me increment and save real quick. There we go. I'm going to grab all of the pieces from the skeleton right now. What I'm gonna do is I'm going to lay them out on five view then towels as well. So I'm modifying actually let's, let's, let's lay them out on four-year Dewey towels. Very important pre-surgery, the ratio should be out and we say layout UVs. And if this works as expected, it didn't strike this again, Control L. Well, it's trying why? There's definitely try and was having a lower Phoenicia, let's help it by the linear history freezing transformations. Now let's select everything here and try again. There we go. A little bit better still a couple of errors here for the overall thing. But as you can see, we get a really good idea of the textile resolution that we're going to have. So if we've got something like this box right here, and we use our UV toolkit to check the number. Remember that we had the number over here. I'm gonna transform tab. Let's say get 2,121.28, I believe was for the armor. They're not really that far apart. So that tells me that we're definitely going to be having a really close amount of resolution, which is great. Now, the one thing that we are missing though, is we are missing the the mirror function on the other side. Now, this is where we need to decide if we want to go the extra mile or we want to optimize things. If you're gonna be optimizing things I recommend you do not mirror. We're going to texture one side of the character and then we'll mirror everything for the render. However, what that will produce is you're going to have slightly, well, you're gonna have that same texture on both feet and both legs on both hips and stuff like that. It might be in my visible. If you can afford it with your system. Like if you have a good enough system that you can work with, a lot of view them. So a lot of textures. I do recommend the mirroring this things and getting the other side as well. This of course, will reduce the amount of texture resolution that we have. We're gonna go from 21 to something probably like ten. We're gonna get there a way, way better result. Okay, so I'm going to show you in the next video because this, again, this thing that's happening right now, It's a very common issue that I face when things are not working exactly as I expect. In the next week, I'm going to show you how to properly mirror all of these things and get all of the texture resolution to work perfectly fine. So hang on tight, and I'll see you back on the next video. Bye bye. 68. Proper Texel Resolution: Hi guys, Welcome back to this final video on this chapter. Is this the final thing we're gonna do before jumping into Chapter nine, which is gotta be materials and texturing. And we'll wanna do here is one of the prepared this whole thing for a proper resolution. So as you can see right here, we have all of the armor pieces, like all this four groups right here. I'm going to Control G. I'm going to call this lion armor group. So I have the lion group and I have the skeleton group right here. Now, I'm going to disable the materials so that we can see everything in the way it's supposed to be. This one. I'm actually going to assign the basic law and we'll say, well, what's it? Was metal base or something. There we go. Yeah, whatever. Like we're just going to assign this thing and we're going to start first with the skeleton because that was the first thing that we need to define. Are the skeleton, as you can see right here, there's one thing that we're not going to be like adding on the same thing, like or there's one element which is this little, I think that's not going to be on the main group. So this little, I think it's going to have its own little UV. So we're just going to control you and Control L. Okay, Now of course, the layout is not gonna be on for you them. So that would be ridiculous for the eyes just gonna be on one of them. So that's it. This is one of the pieces are one of the elements that's going to have its own little group. And what I'm gonna do here is I'm going to reassign one of the old materials which was this. Well, what's a D the red glass material. There we go. So we know that that's going to have its own material, everything else, every single other bees that we have right here is going to be part of the same material. It's going to be the skeleton material and we're going to have rubber, we're going to have metal, we're going to have like, I don't know, like carbon fiber and stuff and we're going to have a lot of different things. So one thing that we can do if the layout this not working properly, I'm going to save this real quick. If we wanted to try this, like ideally, we should be able to go to modify layout and say, Hey, pack all of these things into Foursquare's and hit Apply if it works. Great. Okay, So it did work. As you can see, every single piece is packed into this for UB islands. And if we check now, I can already see that we have a couple of issues, like we probably forgot to unfold a couple of things, That's fine. Let's just select everything I'm going to say, modify and unfold them. I'm taking a gamble here. This is a lot of processing things that Maya has to do that. But I'm taking the gamble. Technically, everything should be unfolded now. Now let's Control L and see if it can packet. Perfect. So you're gonna have to do a quick check here and just like quickly visualize whether everything looks nice, like everything should look relatively nice as long as you don't see an island that's like all crooked or all like collapse or destroy, we should have a good distribution of the whole elements. And we can actually check what's the textile density that we have. We can grab all of these islands again, go to the toolkit and say, Hey, give me my textile density. As you can see, it's going to say, hey, you have a 23 points of density for a full skeleton, like we did mirror it on the other side and we have 23 points of density. What is taxable resolution? So textile density is the amount of pixels that we have for each unit of our elements. You can see this example right here. This is by the way, by a couple of guys named or a site name beyond extent they have are very cool guides that you can look for porphyry. And they explain how to select your scales and everything very, very nicely. I'm not going to go in depth about the methods that they use because this method is a little bit more for games. But I'm just going to explain real quickly what this means. If you have an object, you will expect, you expect that object to have certain amount of resolution so that when you see it on your screen, it has the most like pixels that you can expect. So this is a perfect example if you have this render right here and you're going to have a clay pot. And this is the distance at which you are gonna be seeing that, well, there's gonna be a certain amount of pixels that are going to be displayed on that specific pot. So you want to make sure that your texture is at least the same amount of pixels so that it doesn't look pixelated. Usually we go over that. But we can calculate this textile density by using the formula that they show you in Maya. And what we want is we want to have as much texture resolution as possible. You can see this one right here. This is the real-world scale of this like a trunk right here. And it has 20.48 pixels per centimeter, which is again, a really good scale. This a at a 1024 texture resolution, you can see that we lose half of the amount of pixels, which is going to make it look a little bit pixelated, especially if we do a close-up. However, if we make it bigger, if the object becomes really big, then even though it has the exact same UVs, the textile resolution is gonna be lower. Why? Well, because we're increasing the scale, as you can see right here. However, take into consideration that this one right here is not only increasing twice the scale, it's also going half the resolution that we had right here. So that's why we go all the way to 5.12 pixels per centimeter. Again, this is the formula on how you calculate. And there's again, no specific like hard rule of what the best number is gonna be. But we're going to try to go for 20 because it's going to make things look really, really nice. So now I know that this thing right here, this character has 20 resolution on the whole, like armor piece. Of course, the eyes are gonna be overlapping, so we're not going to have a different material. So what I'm gonna do is I'm just going to grab every single thing right here. I'm going to assign a new material. And this new material is going to be Arnold AI standard surface. And I'm going to call this EM Lyon. Let's just call it like inner scouts. And just so that we have a name that we know what's gonna be the final name. So we are going to be texturing the whole skeleton. A single material that is going to have unique titles for UDM towels right here and look at the packing the weekend right here. Trying to do this back in manually, by the way, would be almost impossible. It will take way, way, way too much time. Now, let's go back to this guy right here. And I'm gonna go here. Let's go out. And now we're going to grab the armor and we're gonna do the exact same thing as you can see. This is the armor bits. I've mirrored them both. And if we check the elements right now, some things are not like perfectly what the **** is this actually the hills that it's really weird. We don't unfold or something. Let's go to this guy's real quick and check what the **** happened here. Let's go UV shell, Let's try control. You control, you know. Okay, wow, that's really weird because this guys do have UVs. These guys don't seem to have it. So let's try transferring. So let's say Mesh Transfer Attributes. There we go. Successfully solve that issue. Let's say real quick again. So I'm gonna grab every single piece of the armor and we're gonna do the exact same thing first, I'm going to throw in a quick unfold just to make sure that we did unfold every single piece and we didn't forget because as you know, I was moving a little bit faster right there. There we go. And then we're going to press Control L. And again, we're going to pack this into four islands and look at this packing right there. Freaking amazing. It's super complicated to read. But usually this is what happens with such complex meshes as, as this guy's like, you are going to have a little bit of a hard time with reading stuff, but that's what we're gonna be using other software like substance to paint everything again, I'm just checking. This is the kind of stuff that I want out like like visualize and see why, why, why is this happening? Like if I see that there's a little island overlapping worries shouldn't we can manually do it or just try to do another, like unfold. Just to be very, very careful though you don't have any like collapse things. This is one of the little things right there. Again, just in general makes sure that things look as nice as possible. Once we have that, we can of course check the textual resolution. So we go to our UV toolkit and say, Hey, what's the textual for all of these pieces? 21.71. So it's not exact and it doesn't have to be exact. So another very common thing that my students who struggle with it, they tried to make sure everything has the exact same number as long as you're close to it, you're gonna be just fun. I could even bring this all the way to 18 and we would be perfectly, perfectly fine. So I'm going to select everything right here. And all of these pieces are gonna be textured again in a single material. So I need to assign a new material here, Arnold AI standard surface. And we're just going to call this M lion armor. And that way we know that all the materials that are inside that armor lion thing are gonna be textures just nicely. Let's collapse this thing for a second. Let's go to outliner and let's bring the skeleton back in. That's it. My friends, like with this, we've successfully capture every single thing. Now, I just want to show you one very cool thing right here. I'm going to grab everything again, every single piece right-click. Oh, you know what, we missed? The main. Where's the main? There we go. The panels. So the panels right here. They already have their UVs, right? So lets just grab this. I'm going to assign a new material to this guy's Arnold AI standard surface. And we're going to call this m lion panels. And if we grab this guy right here, I'm going to say Arnold or sorry. Let's go to the UV toolkit, the UV editor rather. Let's unfold. Well, they're already on false and let's just lay them out Control L. Now let's check what the resolution is. So as you can see, this guys have 48. That's way too much. So this means that they're going to be like way, way, way too intense. What can we do here? Easy, we just go to modify, we go to our layout and instead of four, we're just gonna have to, we hit Apply. Now when we check get, you're gonna get 38.89. It's still too much, still way, way too much. So let's bring this down to just a single one. Now let's check how this looks. There we go, 24. Now they're in line with the rest of the elements and our textual resolution is going to match everything with our character. You can imagine if we had all of the different panels for our main, then that will definitely create way more resolution that we actually need, right? So, yeah, that's pretty much it. One thing we can do here to make these things look a little bit premier, just move them to the back. So I'm thinking about the render I want to show you right now. There we go. You know what? Let's bring them for the front and have them like right here just for the render shot. And what we can do is, of course, bring our render setup. What I'm gonna do is I'm going to select all of the elements right there. I'm going to assign again dUB checker, right? Because at any point we're just decided everything back again. Let's say this real quick. If we go panels, look through selected, and we do a quick render here. Actually this guy right here, I feel like maybe a little bit too much. Let's push them back. Animals, Lucas elective. Yeah, that's a little bit better. Just like get them right there. If we render now, We're gonna be rendering and we should see a very even distribution of the whole picture. I'm going to pause real quick. Oh, actually, no, there we go. And look at that. So if we take a look at this, if anyone takes a look at this render setup, you're going to see that every single piece of our element is properly proportional to every other piece, like the size of the paneling is very close to the size that we have right here, is very close to every single piece of our element. This is what we want to see as a clean render setup. This means that our UV has been properly laid out. Some people might be a little bit like picky about like making sure every single letter is pointing up, for instance. So just like B3, and make sure everything's facing up. If you wanted to go the extra mile and rotate every single islands so that it matches, you can go for it. However, due to the texturing process that we're going to do, which is going to be a little more grungy. We don't really need to do that as much. So I'm just going to hit stop right here. And let's save this image. We're going to save this as lion 14. Of course we lost the beautiful mane, but don't worry, we'll texture this guy and we'll get it back. So that's it for this one guys. We've finished the UE process. I know what took quite a bit of time. It's part of the process, it's part of the projects. This is something that you encounter every time you're doing something like this, especially as complex as this. So take your time, make sure you follow every single step as close as possible and get ready because we're gonna go, we're gonna jump into one of the most amazing and fun parts of the process which is texturing. So hang on tight and I'll see you back on the next chapter. Bye bye. 69. Exporting the Models: Hi guys, welcome to the next part of this series. Today we're going to start with texturing. And I love texturing is one of my favorite things to do on the 3D world. So I'm sure you guys are going to enjoy this wall. Here we go. So first things first, we need to export everything. And I'm gonna be exporting this as three separate objects, the panels, which we're actually going to be a texturing at the very end of this chapter, the armor and the scalp. Now, technically, technically, we can texture this codon on a single file, the armor on another file, and then the panels on another file. You can also try if your computer can handle it to export everything into a single file. For this particular process, I think it might be, and we are going to benefit a little bit more from texturing things as separate elements. So I'm going to grab the skeleton right here. I'm going to say File Export Selection. Now before I do that though, as you can see, everything has a really bad name. As you want. Just make sure that everything has like clean names. Someone might rename or say, I'm just going to call this a lion skeleton underscore. We're going to have three paddings because we might have a lot of pieces and just renaming numbers. So everything should be renamed into a new piece, as you can see right there. So a harder than five pieces, that's fine. And then I'm going to add the underscore geo. Just to that. We're not gonna do, we're gonna do bakes. We're, we're not gonna be doing high poly, low poly bags. What we have right here is what we're going to be exporting to the to the Substance Painter files. So this is the first one. Then for the armor piece right here, we can do the exact same thing. Now I'm going to bring the panels out. The panels here Shift P to get the group out and the armor group, it's a little bit cleaner so we can actually just grab this thing. I'm going to press Shift and click to expand everything. I'm just going to select everything right here. I'm going to right-click and then reassign the lion armor. The same thing for the group. Right-click and reassign the lion skeleton. There we go. This guy right here, if you guys remember, I'm actually going to shift P. We don't want that. I don't think we're gonna be texturing dose was just gonna be a basic material. So now what we can do is we can grab the skeleton and the lion group, both of them and say File Export Selection, very important. We're going to export this on the Assets folder and we're going to export this as FBX if by any chance or by any recent, you're FBX plugin is not turned on. You're gonna go to Windows Settings and Preferences Plug-in manager and you're gonna look for it so you can turn it off. I'm going to call this lion underscore. Underscore textures. Why this name? Why am I choosing this name? Because I don't want to make a mess later on and send this file for rigging or something when things are not really cleaned up here under Geometry side of things. So a lion for textures lets me know that this file is only going to be useful well for textures. So I'm going to export selection. He will definitely take a little while. As you can see, some of the measures are gonna be tested later, that's fine. And if things worked out properly, we should see it here on the Assets folder. So you can see 20 mb guys, 20 mb for whatever many like almost 400,000 triangles. I'm going to open another software walkway, which is marmoset to look for. This is a software that we normally use for our rendering, like a presentation, things, not going to talk about it much. I just want to drag and drop and then show you guys like it's working. Like it has no issues processing all of these things right here. I can actually go to Render internal ray tracing, which is real-time ray tracing. It's working. It doesn't care that we have this many polygons. So I know a lot of people get scared when we have a lot of polygons. But look at this, this software is perfectly managing this and we can even go to the line skeleton here. I'm going to make this metallic. I'm going to bring the roughness down. I'm gonna go to the armor. Let's give it a like beige look that we had before. We go, let's increase the resonance a little bit. So we are rendering almost 400,000 polygons in real-time. We had ray tracing and the software is not carrying, it does not care. So don't worry about the amount of a polygon. So we're going to have the bottlenecks nowadays are not polygons. Bottlenecks nowadays are actually textures. Okay? So we're gonna jump into Adobe substance in 3D painter, and we're going to be bringing in this line for textures model and do a quick test to see first if my computer can handle it. Hopefully, we will be able to work on both texture sets at the same time. And second, if, if we can do the big problem, so we're going to create the new project. I'm going to set the texture resolution to four K. Don't worry, if your computer can handle it, you can work at a lower resolution. If I see that my computer is struggling, I'm actually going to be working at a low resolution, but at the end, we can export that for K hopefully. So let's go right here real quick. Let's go to our assets and we're going to select line for textures. Opengl is fine and very important. We want to use UV tiled workflow. If you do not select this, then all of the hard work that we did with the UTMs is now going to work. I'm going to hit, Okay. Again, if everything works as expected, we should be able to see the model right here. Now, we're getting a couple of arrows right here as it's loading. Let's just hope that it does. It seems like it's failed. It failed. Why did it fail? I don't know. I really don't know why it failed, but one thing that I'm guessing is that it could have been because we had some England and he doesn't like ngos, substance major and others of which don't like guns as much. So let's grab this guys again, I'm going to say file. First of all, let's, let's press number one. We're not going to be exporting a sub-divided mesh. We're going to export again. And over here, we can actually triangulate the mesh. Very important. So we're going to triangulate the mesh. And what that will do is it will triangulate the measure of the whole thing, right? So let's go back here, File New, and let's try importing again. The Scarlet changes string to recompute some elements. Loading failed again, that's really weird. Let's go here to the, to the element and see what thing is failing. So as you can see, it says lion skeleton 046 has faced spanning across multiple uterus. Okay. That's a problem. And I think that's the main issue that we're having. So it's a skeleton. Okay. So let's go to the skeleton. Let's go to the UVs, the UV editors. Then we check the UVs. It says that something is like spanning or spanning across multiple. Yeah, you can see that one right there. That's a problem. So let's fix that. How do we fix that? We select all of the shelves, are gonna go modify layout. What I'm gonna do is I'm going to give more padding. I'm going to change the shell pattern here. Let's say this is going to be four K maps. I want eight pixels away from each shell and eight pixels away from each like border. And I'm going to do for, for Serbia voracious and we lay out, Let's see what we get. Okay, there we go. So now thinks it should be working properly. Let's go to the armor as well. Since we're doing this, just want to make sure that we don't have any issues here either. You have to control L. There we go. So a little bit of space between islands and between everything. Let's try again. So skeleton, armor File, Export Selection. We export again. There we go. File New, select again. Hit Okay. There we go. So yes, we do get a couple of issues. Mesh normals are embattled, that's fine. As long as we can load this thing, then we're in a good position. So welcome to Substance Painter. Hopefully this is not the first time you are watching substance between any this is don't worry, I'm going to keep it really, really basic. And I'm going to show you every single step of the process. In this video. I just want to show you the bakes because the Big Sur going to be very, very important for us to work properly. But I just wanted to talk about a very interesting thing here on the element. Well, it seems that we imported something that was using the UV checker for whatever reason. I can't seem to find it. That's fine. And then we have the inner skeleton. There we go. You can turn it on and off by using this little icon right here. And we have the armor as well. Why is this important? Because it will allow us to focus on just one thing and not worry about other elements. The way Substance Painter works is we're gonna be using all of this pre-generated materials right here. And don't worry, I'm going to try to use all of the default ones. Will generate the textures generally like damage, metal things and all of the things that you saw on the intro video. And the way to do that, or one of the things that we're going to need is we're going to need to do something called a bake. So I'm going to go to this little croissant thing right here, which is the baking options. And usually when we're using Substance Painter, we're baking information from a high poly mesh to a low poly mesh. However, for this particular character, we actually don't need the hypotension because this is pretty much the high poly mesh. We have a really, really high density overall. So what we need to do is we need to capture where the plates are colliding with each other so that we have a little bit of ambient occlusion. We need to see how things are connected and stuff. And the way we're gonna do this, it's very simple. We're just going to change this. I am not going to go to for K. I don't think we need for k. I'm going to keep this at two K for this maps right here. And I'm literally just going to say Beck's bake selected textures. What this will do is, as you can see right here, it will bake all of the different units and all the different textures. It will bake normal map information, world space information, ID information which we're not using really ambient occlusion information. This is the important one. Look at that, look at those beautiful shadows that we get right there. Right? We're gonna get to curvature information. We're going to get position information and we're going to get this information, as you can see, it's doing the armor first, but as soon as it finishes, the armor is going to jump in. It's going to do the skeleton as you're about to see. There we go. It's good doing the skeleton right there. And it's gonna do all of the maps that we are seeing here. The ID, world space, ambient occlusion and curvature, position thickness, normal map, its details. Whitespace normal map is to know where each face is, pointing are facing. Id map is usually used for masks. We're not going to use it Ambient Occlusion. Well, its parts where light doesn't get as easily. So we get this very natural shadow. We've talked about this one before. Curvature is the super-important one, which is like the edges or the concave and convex parts of the element. Position is how high or low the object is in regards to the ground. Important if we want to add things like like more than stuff like that. And then thickness, as the name implies, is which parts are thicker and thinner. So once we do this, we can go back to paint mode and look at this. We already get something that looks quite, quite nice. We would need to get really close to start seeing some issues. Now, if you wanted to make this even cleaner, yes, we can increase this to four K and that's definitely going to work. One of the things that you can do, which is not gonna be as impactful, is changing the entire Leah anti-aliasing to four. By doing this and doing another bake, what we're gonna do is we're going to soften up a little bit of those lines that we just see it right there. Especially when pixels are not going in the direction of the screen or the texture map, you might get a little bit of like stair-stepping. And by increasing the anti-aliasing, you're going to be able to, to minimize a little bit of that. Again, I don't think we really need to push it to 16 if you want to go for it and you want to go the extra mile, then be my guest. But for now I'm just going to keep it at a four K. Now again, the viewer computer is really strong. You might be able to handle a large amount of textures and you might be able to change the output size from two K24 k, which is going to give you better bakes, which will translate in better generators and masks. However, I think we can away with this. I don't think we're going to go like super, super tiny with the details. Or it could just gonna be doing some general details in general decoration. And that should be more than enough. So let's just wait for this thing to finish because I want to show you a very quick tests that I like to do whenever I finished my bakes, just to analyze whether or not things are working the way I'm expecting them to work. So as you can see, every single part here is the UV trigger. I can I don't know what piece has a UV trigger turned on? I guess we'll find out the ventrally. But yeah. So now that we have this, well, I'm gonna do is as follows. First I'm going to go to the inner skeleton right here. I'm gonna go to my smart materials which are disguised right here. You're going to have, we have, as you can see, we have a lot of different smart materials. And I have this, for instance, this steel scratch or this steel rusted surface. The goal of this still damaged or really, really good. We even have this plastic armor. So I'm just going to grab this steel stain. I'm going to drag and drop it right here. What this will do, what the union workflow allows us to do is we can just work on this one layer and they will automatically, as you can see right here, please have on every single part and look at that. It even is grabbing some of the information about the envy of the cushion, like club, where all of the other elements are. And look how nice this looks like. We get darker areas where the ambient occlusion is a little bit stronger because we would expect that part's probably too rushed a little bit more than others, right? So yeah, that's it. That looks quite nice. I'm going to turn on the armor back again. I'm gonna go to the armor and I really liked this machinery piece right here, this smart material which is some machinery like generating texture, texture. And it will add like dirt and damage and rust and stuff to the whole like armor best only. And as you can see, as soon as it's finished loading here, I'm already seeing that this is definitely going to be a little bit difficult even for my computer to handle. So I might need to switch back to today and I'll show you how to do that very, very easily. So there we go, Look at that. So now we've got this very cool generator and it's adding the Metal Edge were and everything exactly on the parts that we needed. So you can imagine how this allows us to visualize or pretty much how things are going to be looking. So by using this to smart materials, I can very quickly check whether or not the banks are working properly. And to me, this tells me that yes, they are working perfectly, perfectly fine. As long as we don't see any stretching or anything, then that's that's a good sign. Another good sign the leg or another good option or test that I'd like to do. Let me go back to the inner skeleton and delete this one as well, is just go to the very basic materials and grab one materials such as the aluminum, this aluminum insulator, which has a pattern and you drop it on top. And if you increase the tiling down here, let's say like a ten tiling, you should be able to, I'm going to turn off the height. You should be able to see the tiling pattern very pretty similar to how we did it with the, with the UV maps. You should be able to see the tiling pattern everywhere. And as long as you don't see anything that's distorting and moving in a weird way, then that means that we're on a good, a good position. I'm going to go to the armor. I'm going to do the exact same thing. Just drop this guy right here, change the title to something like, What did I checked on this one. So let's do the same. Over here. Changed the title to ten. Get rid of the height information so we only get the texture. And there we go. Like this should allow us to see that every single piece that we brought here is behaving properly. If you see one piece that has stretched textures are like crumpled up textures or something, then that means that you messed up your UV process. But look at this, this is beautiful. Every single piece has been properly you beat and we're ready to jump into the texturing even like the events that we have right there, like everything seems to fall and as you can see as well, there you go. Those are the guilty ones. That little guy right there. That's the guilty guy. Because as you can see, that's the UV checker, right? Yeah. Found you. So I'm going to have to go back to Maya, mirror that little guy that I missed, assign the proper material and bring this thing back. I'm going to do the base again. But yeah, this is a guy with this. I'm pretty sure that everything's gonna be looking quite nice. You can see that some of the islands don't perfectly share the UV resolution and some of them are slightly higher death like that guy right there compared to the armor. But everything has a really like we would need to go really, really close to start seeing the pixelation. And that's not something that we're gonna be doing. This is probably as close as we're going to go to the character. And this gives us a really nice result. So that's it for this preparation video guys. Again, as I mentioned, I'm going to go back and remove this little dude, re-explore things, re-import, rebate, and I'm gonna get ready for the texturing process. So hang on tight and I'll see you back on the next one. 70. Blocking the Materials: Hey guys, welcome back to the next part of the series. So we're back here instead of Substance Painter and that we're now going to start attacking, I'd like to use that word attacking the texturing prices, right? So we're going to start blocking in the different colors and the general things that we want to do. Now, the good news is that even though we don't have an ID map, which could potentially be very handful or handy too. Um, is that the word helpful? Helpful. It can be very helpful to quickly select certain things. We actually do have something a little bit better, which is the fact that most of the geometries are separated into the types of geometries that we need, right? So what we can do is as follows, I'm going to start with the armor because I think that one's a little bit easier. I'm gonna go here, down here to my basic materials. I'm going to start with a basic or a plastic math material. This of course, is going to be the color of our arm. And since we want this character to be on like this abandoned stuff, 1 s here. I'm going to look for a lion, lion reference. So if we look for a lion and we're gonna get all of these cool images about lions and a weekend. Literally pick the color of the light, like the closest color that we can get. So in this case, as you can see, is this sort of like beige color. So I'm gonna go down here, use my color picker and grab this very nicely. Sand color of our life, therefore, Guardian Life. Now, other than the armor, which is going to be one of the main pieces, we're also going to have a couple of extra materials, right? So here what I'm gonna do is I'm going to press Control G. I'm going to call this layer armor. Control G will group things around. Let me bring Cardinal here because there are some shortcuts here that I want to make sure you guys see this is going to bring the armor pieces or we're gonna be able to select which aren't pieces are gonna be affected by this. Now I'm going to look for a rubber, okay, So I'm gonna look for rubber. As you can see, we have this rubber vulcanized, which is a very basic rubber material. I do believe this is included on all of the projects. I don't think I've ever download anything now, if we look closer or if we zoom into the rubber, you're going to see first of all, we get some weird lines. That's because of the high information. If we remove the height information we might be able or is that a normal map? I think that's a normal map. That's fine. So the rubber, as you can see, has a very cool detail on the texture itself. It gives variation to the, to the general things. So I'm going to press Control G, and I'm going to call this a robber. However we need to do now is I'm going to right-click and I'm going to add a black mask to hide every single piece of rubber that we have. Now that I've done that, I'm going to press number four on my keyboard, which is going to get me into the field or polygon feel too, which is super, super handy. And this is why we're gonna be using this with the polygon tool. We can select triangles and fill each individual triangle with white, as you can see right here, revealing what's inside of this group, which in this case is the rubber. Or we can select our polygons, Like whole polygons. In this case, it's not really going to work because everything has been triangulated or the important one, we can select objects. So if you just click on an object, every single face that's connected, then that object will automatically be selected, Alexa. So as you can imagine, this is going to be super, super helpful because we're gonna be able to very quickly select all of the different parts of our character. If you want to get rid of a color, you just press X on your keyboard to switch to black. And now here we erase from the masks x again and we're back to white. So what parts are we going to have with a black rubber? I think this like support pieces are definitely going to be black. This one, not that one, is fine like that. This guy right here. We can click this thing which is going to give us symmetry. Now the character is not perfectly symmetrical, but it should work. Let's give it a shot. For instance, with this pieces right here, there we go, and you can see both sides get selected. Let's grab that one right there. Perfect. Over here. We're gonna go to the front, so we're going to select that one right there. This one, for instance, we might only want to paint the top part of the bomb part here is where we unfortunately, my need to go into again polygon fill and use something lacquer triangle selection tool. And by doing this, we can select only the triangles and will generate this slightly different effect that you can see here. I'm painting other stuff, but right now, I'm not gonna do it on those guys. Let's go to Polygon Tool right here and right there. Over here. Now this is important. Remember that we made a cut on this specific part. You can also use this fourth option, which is the UV option. And that should only paint, as you can see right there, the UV element painted out one, of course, these two little guys, those guys right there, I think this oh, I would love to only paint this block, so I don't remember. I thought these were two different parts. Are they not? Let's do UV. There we go. We're gonna go UV on that one. And we get that very nice change right there. Of course, let's go back here to object mode and we paint those guys right there. We can go back here and paint this little guys right here. Definitely the bolts. Do we have this box right there? So as you can see, by following this process are following this procedure. Well, we're able to do, is we're able to get a really nice idea of how the general colors of the whole thing are gonna be, are gonna be affected. Now, this is interesting. We get weird projection right there and I'm not sure why we got that. I don t think it's a masking you should That's a normal issue. If I present a littler see and navigate to the normal map, it seems to be some something, something weird going on there. I'm going to keep it like that for now. But we definitely you're going to have to check what that is later on. So let's move down one. I think the nice would look good in black. For this inner pieces right there. In general, we'll wanna do is we want to add a little bit of variation on the, on the whole thing. So for instance, or all the way back here, I'm going to go UV and I know that that last part was cut in a different way. Let's go object mode, and I'll select that. As you can see by doing this, we've successfully created a really nice breakup on the materials that the character has, right? So we have something that looks really, really interesting. I don't want to do this guys though. They'll say ten. We're going to use like a harder metal. But I am going to do this two guys right there. Perfect. So yeah, that's that's pretty much it for this material, for the raw material again, just, just do a quick look around, make sure that you're not selecting things that they shouldn't have selected. And as long as we're doing things properly, we should find. Now we're gonna go for another material. I'm going to select wonder they really, really like which is the steel roof? Steel roof is one of my favorite materials students other substance painter again, because it has like variation on the texture as you can see right there, it gives us a really interesting pattern and spot the ears blotchy look. However, you can see that we're getting a really weird look here on the elements. And the reason why we're getting that thing is because of the normal maps. So if I remove the normal map, you can see that things are no longer going to be being in creating some weird elements. So what we can do here is we want to keep the normal map. We can go all the way to the top and change the UV projection to try planar projection that will clean things up and it should give us a smoother result, overall control, G again, I'm going to call this metal metal. There we go, right-click and add a black mask. And then again, in object mode, we're going to be selecting the pieces that we want to be made out of metal. Careful there. Okay, I'm going to turn off symmetry and do that will manually. Oh, what the ****, we don't have. I forgot to mirror this thing. That's fine. If you forgot to mirror one piece or something, don't worry too much. We'll, we'll solve that later. Back in, in Maya because it's sort of like simple pieces. Here. I definitely want this just to be like metal. And I think for instance, like this little guy right here. Which is the connection point. That could be, that could be metal as well. Let's turn off the inner skeleton so that we oh my God, sorry. Sure. That we're only working on the other things that we're seeing. Now one thing that I'm definitely going to do with this is steel roof is I'm going to bring the roughness a little bit up because I don't want this to be as shiny. So a little bit duller, not super dope, but just a little bit duller than what it was. Because I do like a little bit of that shine, but it's also a little bit like light. So I'm going to bring the colors down as well because I do want this to be metallic, but I don't want to override or over exposed to anything else. So I'm gonna go back to the robber. I kinda wanna like that little block right there to be a rubber as well. And that's it. That's pretty much it. Finally, the last bit that we need to feel with a very basic block of color for this character. Actually, we got the bends right there. I think depends, could benefit from this thing right here. There we go. And then there were some connectors, connectors with here. Another important one. Those connectors are gonna be very important. Like say, take your time to go through all of the details. Like for instance, this box right here is make them rubber. You see that we're missing something. You do it on your, on your stuff. Go over once again. The finally, the cables. Cables are important or unimportant bit of the whole thing, which is, this one is right here. For that one, I'm going to use a, another material which is gonna be carbon-fiber. We do have this very cool looking carbon fiber material. I'm going to Control G, all these cables, right-click and I'm going to add a black mask as well. Number four, we're going to fill those cables and the host is over here. Of course right now it looks horrible. Why? Because we need to increase the tiling. So I'm gonna go to the timeline right here of the carbon fiber and other Thailand we can see something like ten. It looks a little bit better, but maybe like 15 will look even better. There we go. That's a lot nicer. They're a little bit too shiny for my liking, so I'm going to increase the roughness on both patterns. So we get the very cool looking like carbon-fiber effect without actually changing a lot of stuff. Now, here if you want, you can change the colors. For instance, I know that this guy is gonna be sort of like blue. It might not be a bad idea to add like this, like dark blue color to the carbon fiber and look how nice that looks, right? It's just a little bit of a hint that's going to allow us to make this thing look even better. I'm gonna go back to the metal. And for instance here on this Robert beat, I'm actually going to make it the metal instead of, instead of rubber. Why? Because we already have rubber underneath. So we don't want to like make it extra extra rubbery. We just want to keep it a little bit cleaner. Now over here, I think we can go rubber. And if we go UVs, we should be able to select there we go. The lower portion of that guy right there. And maybe like the back portion of this guy right here. This is step by the way, guys is really important. This is one of those steps that you might have to do several times when you're in a, in a production pipeline. Because you will show this to your, to your leader, to the client and be like, Hey, this is my idea of the patterns and they might be like now, I actually want the colors to be inverted. I want all of the colors to be like, I want more robert than armor, I want more armored and rubber. I want this specific piece to be robber in this specific piece to be armor. And the great thing about this, what's the word this process that we're doing? The fact that we have access to the masks is, as you can see, we can very, very easily select pieces. It seems like I also forgot to duplicate that one. That's unfortunate. Cable. We have a couple of cables here. Again, I'm not going to worry too much about this piece is right here because this are very easily mirrored even though they will share UV space. I'm going to keep it like that. But if you see that you have you're missing a very important piece. Made sure to go back and fix it because otherwise it might look wrong from a specific angle. So that's it. That's the deblocking for the armor. So I'm going to turn the armour off. Let's go to the skeleton. And you can see this catheter has a lot of dark spots. Now, you might be wondering what this is, but why do we have this? Well, the reason why we have this is because we're actually baking ambient occlusion information that's coming from the armor. So the armor is occluding this piece is a little bit, and therefore is degenerating any of your depletion map. And you might wonder, why is that important? Do we actually need that? And the answer is yes. I'm going to show you here real quick why that's the case. If I were to add, let's say, a rust layer on top of the skeleton armor. And I want to add a black mass that only goes to the crevices. By adding a generator, which is called a generator, we are going to be able to hit those specific spots. And if I bring the armor up, you're going to see how the pieces that are closer to the armor, all of those guys are really rusted. Why? Because humidity would go there a little bit more than on other spots. So if we want to get this very nice detail there, we do need to have the ambient occlusion. However, if for whatever reason you don't want to have that ambient occlusion, you can actually go to the baker again. And over here where it says a match, we are going to bake only or you can actually, I think you can turn off like the lion armor. And the end pretty much changed this match thing to only buy mesh name. You can also change this into the basal active textures only baked the inner skeleton. That way, you might be able to avoid having this whole thing. Another option, and I've mentioned this before, this if you export things as two separate objects, like if you have two separate texture files, one for the skeleton and one for the armor, then of course they're not going to be transferring details from one to another. Personally. I do want this because I'm not going to be doing any sort of like explosion view or anything for my, for my lion. Which means that we don't need to have a clean pieces right here. So this skeleton, I do want to have a slightly different hue. So I'm going to go for titanium, which you have right here, titanium pure. I'm going to Control G coldest metal. And the titanium pure. I'm gonna go to the color. I'm going to change its hue to sort of like bluish hue. Although I know kinda looks interesting like this or like greenish, yellowish hue, it makes more sense with the sort of without, with a yellowish and the hue that we would normally expect for lions. You can of course make this even a gold plated, something like this, like a little bit golden, which doesn't look that bad to be honest. And I keep it really, really soft right there. I'm definitely going to increase the roughness quite a bit because I don't want this to be super, super shiny. And the only thing I don't like about this model is that we don't have anything on the texturing, right? Like there's there's no texturing on the whole thing. But you guys remember that we do have the steel steel roof. I'm going to go for my still rough. I'm going to place it on top. And what I'm gonna do is I'm actually going to remove everything except for the roughness. I'm only going to keep the roughness channel on. And what that will do, as you can see, it's going to introduce that irregularity on the roughness channel of the whole thing. So we're layering to base materials to create something that looks a little bit nicer. Let's see it right here. You can see even the shadows that we have from the, from the empty location, they are no longer as obvious as what we have thanks to the layer of this things. Now if you wanted, of course, this is still roughness. We can also increase it a little bit. It's going to use an uneven, dusty or more interesting effect for the whole, for the whole thing. Now we're also going to introduce a rubber. I'm Robert material to this particular layer. We're gonna go right here, Control G, right-click black mask. This folder is going to be called rubor. With number four, I'm going to start filling in certain elements. For instance, this guy is here. It might be a good idea to bring in The Lion. Why? Because by having the lion here, we might be able to see where the main shapes of colors are. And this is a little bit more advanced. It took me several years to understand this, but there's a balance that we need to find when we're blocking ink colors. You don't want to have a lot of one color on one specific area because it makes, or it waits it down a little bit. There's one example I can show you, dislike color weight thing. So if you guys remember the Nintendo Switch logo, right, like everyone has seen this Nintendo Switch logo. When we see it, it looks very balanced, right? It looks like it is very symmetrical, but it's actually not symmetrical. There are some people that have done analysis of the proportions of the logo. And you're going to see that this part right here, which is like the negative shape, a slightly bigger than the positive shape. Why? Because the positive weight that we have right here, like the, the amount of mass and contrast that we get here makes it so that if we don't make this thing bigger, it's going to look like there's more weight to this side of the image. It's against a little bit more of a conceptual thing regarding like color theory and stuff that's important that we have those things into or keep those takes into consideration because they are important for the blocking of things. So for the rubber, all of this like inner elements right here, Let's go Object Mode. This fear pretty much like all of the connections are gonna be like flexible connections. I want to make them want to make them rubber. So all of these guys right there. There we go. See how nice the tail looks now, thanks to dead break up that we have right there. That's the kind of stuff that we're going for over here. This thing right there, that guy right there. Of course, on the other side as well. You're on the inside. Let's do that one. Then. I like this like big block right there. Since we already have the knee on the outset, I'm gonna I'm gonna do the inside of the knee so that we still again have a little bit of that contrast between one piece and the other. I'm going to keep my favorite piece of metal. This guy's definitely going to be black rubber. The blocks right here is definitely going to be black rubber. There's little box right there, black rubber. That part's going to be metal. That guy, black rubber, rubber. Now let's do the center of that cylinder. Like rubber. See how nice things look. Kinda wanna go with black rubber and those ones as well. Makes a little bit more sense. Now, now that I see this and I checked this one and this one out, it looks weird. So I'm just going to add black rubber down there and maybe make it reverse like maybe we'll keep this clean. Metal bits. Yeah, that looks a little bit better. So we'll do this. Embarrass Erica. At the front, how low a lot of mechanisms here on the front of you guys remember, try to turn on symmetry so that we can do this all with faster. So there's all like Bolsa stuff. A little boxy, boxy thing is probably just the boxy things to be honest. Kinda want to keep the cylinders as metal boxy, boxy thing, boxy thing, boxy thing. Boxy thing. Up here. That guy right there. Note that one. That one right there, that one. Now, we'll keep it like that. And then here you get to balance things out. That could be a rubber thing. That's a sphere cap right there. That little bolt. This like huge. Here for instance, we have remember disorders like separated meshes. We can do one of them again to just break things up a little bit. Look how nice this is looking. Great. Kinda want to, oh, let's go. I'll be there, of course. The cap of that thing, right? The inside here, all of this mesh, all of those bands that we have right here. This big block right here, like an exhaust or something. Go to the hair on the head. We got that piece actually looks nice. So some rubber piece, of course, that cable right there. I'm not gonna do the cable like the like the well, the other cable that we're reducing, it feels a little bit too much. I actually want to keep those metal. Yeah, like all of the inner mechanism, I really want to keep this metal for the jaw. And I think that's pretty much it. Let's press number one. And there we go. Oh, wait a second. When you see those two guys right there. I'm actually tempted to because we need a little bit more like those little guys right there. I think a little bit more. Control here. Remember that we change. Let's do those ones. That should balance things out a little bit on the back there. And that's it. That's pretty much it. Once we have that splits, of course. That's a nice plate too. So as we of course have the spine, if you remember, we did the spine. So I'm going to grab the cylinder from the spine and make it rubber as well. It's very difficult to, we're gonna be seeing it, but there are a couple of angles where it might be it might be visible. And yeah, that's it. That's pretty much it. With this don my friends, we've pretty much blocked in the whole section of our character. This could potentially be the render like we could just export the textures and render this out. However, of course, we're gonna be building up some of the details that we have I'm going to Control S real quick. Just keep in mind, this is very important since we're working with a lot of museums and we're working with a lot of layers. The file will be heavy. I think when I save this, like before they started this video, it was like 20 more like half a gigabyte or something. So it is a heavy file due to the way we're working. I'm going to click this thing right here real quick, which is the IRA. Ira is a render engine inside of substance painter that allows us to see like proper ray tracing and proper light bounces and stuff. And it's gonna give us a really nice idea of how the whole thing is looking at which, at this point, I think it's looking quite, quite nice. So I'm going to stop the video right here, guys. And then the next one we're going to start working on the details. I'm going to try to keep this very simple. We could spend 15 h doing texturing in the same way we spent 15 h doing modeling. But I think the most important thing is to get something that looks good as cure for our four elements. So, yeah, hang on tight and see you back on the next one. 71. Armor General Details: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the armor general details. And I have here in Google a couple of reference images from machinery, right? This, this guy's supposed to be out there on the savanna protecting the animals. And as you can see, what happens with machinery is we will get damaged, especially on the edges. That's why the edges and the curvature map. What's so important, we'll get damaged on the edges and then that damage, if it's metal, it will get rusted, they will get disrupted and stuff, parts that are used more like this piston right here or another insurance that's the name of that thing. They will be maintain a little bit more and that's why we need to keep them a little bit cleaner. The skeleton itself, I'm going to try to keep it a little bit cleaner, but on the armor we can actually go a little bit crazy, right? So I'm gonna go to the armor, and let's go to the armor first. The first thing I need to do to get the very nice like metal edge, where is we actually need a metal underneath the whole thing. So I'm going to add a metal element right here. And I'm going to add this metal again like the iron rod, which I really, really like as well. We'll have the iron rot underneath the plastic mat pure and right now, nothing should be happening like you shouldn't see any change. If you see that the piece becomes like iron, then that means that you didn't mess things properly and you might want to check that out, that one out. Now because I have this, I can go to the plastic mat pure. I can right-click and I can add a white mask. Then I can right-click again, and I can add the generator. And the generators, I'm going to add our typical metal edge where what this will do is you can see it will create a damage where only the edges are highlighted. Actually let me go back here. I'm going to add a black mask instead. I'm going to add the generator. And the generator we're going to add again the metal edge where oh, that's weird. I thought it was going to do it differently. That's fine. We can just invert this. And by inverting this is, look at this. We get a very, very, very cool distribution of dirt, like pretty much hitting every single edge of our element. Every single line that we created, every single effect, every single thing is being affected right now by all of this. Which is cool. But at the same time, it's not ideal. Why? Because as we can see here on the examples, the metal edge work will not be uniform like you will have more metal edge where on the parcels are going to be a little bit more used or closer to the ground and less metal edge work on parts that are not gonna be as use. So in this case, what's happening is we're getting a lot of damage up here and down here as well. I'm gonna increase the damage actually, I'm going to increase the damaged a little bit more to something like a 0.88. Like as you can see, really, really grungy, really, really cool looking. And this is one of the most common mistake that students make. They will just throw in a mental edge, wear and call it a day. They're like, This looks super cool. This is great. I'm going to keep it. Even though I'm not against this. I again, will recommend to go the extra mile and do a couple of things that I'm going to show you. So first thing I want to show you, I'm going to use a very common trick that involves multiplying a couple of layers together to get a more random effect. So I'm gonna go here to the field layer or to the mask layer. I'm going to right-click. I'm going to add a new fill layer. This new fill layer overrides the other metal edge word layer. So if I had this other one, we have no metal edge where if I have this at zero, pretty much every part of the metal is being affected, then the cool thing about the field layers is that the fill layer is meant to receive an image right here on the grayscale channel and use that image to map it around the whole thing. So if I look here, I can look, for instance, for the clouds generators like this class three, and I can bring it in. And as you can see, what's happening here is now we have a cloud layer That's going above or around the whole thing. I think I can actually go there. We go to the mask layer. So this is what's happening. We have this mask layer covering the whole outline where we see white. We're going to see the paint and where we see black, we're going to see the metal. Now that we have this, we need to tweak it a little bit. What I'm gonna do is I'm going to increase the contrast of this Klaus to get really interesting and a strong clouds look at that. Okay? We can also change the balance. The more or less clouds who want, I want a lot of clouds to be honest, something like this. And what we can do is we can change the blending mode that we have right now I'm gonna go to the mask again. So this is the mask that we have right now. If we don't have this one, this is the middle edge wear mask. Okay? And the interesting thing about blending modes, if you've never heard about this, is that blending modes are just mathematical operations, right? So one, in this case, white means that we see the paint and zero black means we don't see the paint. And if we don't see the paint, of course we're gonna be seeing this thing over here. The class is the exact same thing where we see black, we're going to see the metal and where we see y, we're going to see the paint. Now, if we do a very simple multiplication, if we multiply white against white, we're going to get white. If we multiply white against black, we're going to get black because black is zero. So if we go normal and multiply this, you can see now we're combining these two layers. We're combining the clouds layer and we're combining the metal layer. Let's go to the material, and this is what we get. Now, what we can do here instead is say, Hey, you know what, I don't want more metal. I want less metal. I want the clouds to remove metal like elements from the whole thing. Well, instead of multiplying, Let's divide. And what that will do, as you can see, is now the clouds are going to work pretty much as a mask that they can use to remove a little bit of that middle edge. We're in a very random way. So as you can see, this gives us a very natural, very nice-looking distribution of the noise. Because now it's not exactly. You can see, for instance, this part right here and that part right there. There are different because they have their own UVs and the cloud information is affecting them in different ways. If we go up here to the tiling, for instance, I can increase the tiling that's going to break things down into smaller pieces. And this is what's going to start giving us a really, really, really nice effect. So that's like the bare minimum that I would ask from you guys when you are texturing, at least whenever you're using a metal edge or a dirt layer, at least use of clouds or a dirt or something to break up the monotony or the, the leg very even distribution of the noise. Once we have this, now we go the extra mile now is where we really say, Hey, I want to show everyone that immigrate artists and that I can do things that look really, really cool. I'm going to right-click again and I'm going to add the paint layer. Paint layer. As the name implies, we're gonna be able to paint. And if we go to our brushes right here, I can look for something like this. Dirt spots or splash away like the nurse Flush for this one. And what you're gonna do is with black, you're going to start like manually adding more detail. The parts that make a little bit more sense. So we talked about how the parts that are exposed a little bit more to the ground might have a little bit more damage to them. Well, I'm literally mainly going to go here. You can also press X to bring back some of the paint if you want. And if I see like, hey, you know what, like it doesn't make sense to have a lot of damage on this corner right there. Remove it, use x, we white color and paint out some of the details. Okay? This is what really divides a lot of people that know how to use a substance painter from artists that no, where to place all of these things. So for instance, see this breakup right there, looks very ugly, right? So let's use our element right here to add a little bit more effects right there. Now, this breakup that we're seeing there, that is because the I believe it's the clouds right here. Yes, the clouds, they follow the UVs of the elements. So we have a cut on the UV, we might get a slightly different result. What you can do here on the clouds filter is you can also change the projection strap plan and projection. And that's going to make it a lot more uniform as you can see right there. We're still keeping our paint layer and everything because this is on top of everything else. That's like a like an override that we're doing. But as you can see, we get a really, really nice if faculty can use dots, for instance, to remove painting in a more like a stipple effect. This is where I mentioned that you can spend so much time just like, like adding the details and elements, painting things in and out, and having a lot of fun just describing the general effects. We have a lot of different types of brushes like this. Dirt brush is also really good. For instance, if I go to the face, I would expect the face to be a little bit more damaged, especially like right here. So for instance, I can add some of this elements like that. Spend as much time as you need on this step guys, like add and remove as many points as you want. If you want to keep things procedural there, you can use play with filters around here. I'm gonna show you one more filter that I really love. I'm going to have you feel that you're here. And this field layer is now going to be something called a scratches. There's a scratch generator here instead of suspense been through this one right here is the one that I liked the most. Scratches, roughness. I'm going to invert this because I want to scratch to be removing that. We definitely want to tile this. I'm going to make a tile of like 101, like really small scratches, maybe not that small. Let's go five. There we go. Down here. We can increase that a little bit on the balance or at least the contrast to make the scratch a little bit finer. And I want to include them like an hour and I want to have this scratches along with everything else. So again here we can use something like a linear dodge. Or in this case, I think it was some Multiply. There we go. We're going to multiply this as well. And as you can see, it's an extra layer of scratches that we're adding to all of the armor to generate a very cool looking effect. And this is all procedurals at any point, if I showed this to my art lead or my client and they're like, Hey, you know what, the scratches, I liked them but they're too much. Just bring the balance down. Just bring the balance down and we'll create a very nice effect right there. So this is, this is one of the details that we can add, but that's not the only detail that we can add. I'm going to add one more detail to the armor piece right here. And then we're going to do the rubber on the next one, the next video. And that of course, is a dearest rubber will not brush. That's why I'm not going to add the the top of the rubber only armor and metal will get the rust that we are expecting. So what I'm gonna do here, so I'm gonna go back to my materials and I'm gonna look for Rust. I personally like this rust fine. I'm going to have it on top of the metal. So you can see right there on top of this whole metal thing. And when I right-click, add a black mask, right-click and we're going to add another generator. And in this case we're going to add, of course, the dirt generator. And as you can see, their generator is going to go to all of the places where we would expect it to be or the humidity and water to be. Contained and therefore we're, we're gonna get a little bit more rust, which looks really good. A lot of people again, they just see this and they're like, Oh, this is amazing. I'm just going to leave it like that. I love this. I don't want to add anything else. But here's where we need to again, go the extra mile and make things look even better. So, um, first of all, I'm going to reduce this. It's a little bit too much like level. I do want to have a little bit of rust, but not that much, something like that. We can decrease the contrast or increase it, I think when they increase it a little bit, so it's a little bit harsher high. The ones like a soft Ross, they want to like a more pancake key, rust if you wish. And here you have an option. You can change this to an overlay, which is going to make it a little bit like rather, I don't think it's going to really work in this case. I think I'm gonna go multiply. The reason why I want to go multiply because if because it will keep it at normal, it just looks like it's on top of it. If we go to multiply, it's going to look like it's actually like, I don't know, somehow combining with the paint, which looks really, really nice. I think. Now that we have this, as you can see, we get a lot of rust on the inside of the elements. That's something that you might not want to use. I'm going to change this to trip planner. Very important, again to make sure that we don't have any issues. I want to have a little bit more robust. Then I'm going to add another fill layer and we're going to use the breakup technique that I show you. So for instance, we have this grunge, a dirt scratched. This is great. This is also a procedural generated. And what we can do here is we can multiply against the rust and look at that. Now, what we're doing is we are generating a layer that looks really, really interesting because it's not a uniform sort of like a rust that we're getting everywhere. It's, it's a more stylized and the interesting effect. We can of course change the balance. We can change the contrast. We can play around with these things. And that's going to give us a really nice and interesting look over the whole thing. Now, I did like having the very nice and fine line of rust everywhere. And here's where you can combine stuff that you can have another like rust layer. Let's get rid of that crunch. Look at that. It looks really, really cool. But what I'm gonna do here with the dirt layer, so we're going to really decrease it. So it's only on the borders of things. And I am going to use that technique now with the clouds. So I'm going to add another field layer. This is going to be a clouds layer. We're going to increase the balance, increase the contrast, are going to multiply this, which is going to remove a little bit of the Ross and certain areas where there's gonna allow me to get a really, really interesting breakout point in other areas. That's, that's the way I would normally build this sort of things. And of course, if you see that this is a little bit too much, Let's just bring it lower. For this one, Is this a little bit too much? It's just bring it lower. It's going to, we're going to balance things out because we don't want things to be like on your face, like look at this. This is like super dirty and stuff. We want to make this a little bit more realistic, same stuff as what we did on the last one. I'm going to go to this one which is my main rust. I'm going to add a paint layer, but I'm going to move this paint layer down, right-click. And we can move this down, move effects down so that they can paint. By painting not only on my painting, like extra rust on certain areas. I'm also using this grunge layer as a multiplication on top. So for instance, if I want to add a little bit of like like Ross underneath this thing, I can do it. If I say, hey, you know what, I would expect the shoes to be really, really, really rusted. Well, let's let's have a little bit more rust and damaged in those areas. We can play around with the distribution of this sort of effect, right? This is what's giving us a really nice random procedurally generated texture that doesn't look like it's just a filter throw on top of the whole thing. So yeah, that's that's pretty much it, guys. For the for the basic armor details that I want to show you, this is looking quite, quite nice as you can see. Oh, one more thing. Let's go to the paint. You can actually push the height of the paint up. So if I turn height here on the paint, I can actually push this thing up a little bit. That's way, way too much. But just to show you an example, and it's going to look like the paint is actually like an extra layer on top of things. I wouldn't recommend doing it that much. Probably just like a 0.01 or something like super, super soft. But it definitely, it definitely shows that you can definitely tell a slide like changing the grand genus of things. And that could potentially look a little bit better. We can see it there on the paint, how it really pushes a little bit up. One thing I don't think I've mentioned before I did change my resolution to to to, to k so that we can work a little bit better. But at any point I can just go here to text reset settings and change this up to four k. And at the Export time, I can also export everything at for k. It's going to be a little bit more. It's gonna take a little bit longer when it's exporting. What's going to look really, really nice. Let's turn on the skeleton and look at that. Like we haven't really done a lot of stuff and we've already got our have a result that looks really, really cool. So that's it for this one guys. I'm going to stop the video right here and I'll see you back on the next one. We'll talk about the rubber and some more general details on the armor. Hang on tight and I'll see you back on the next video. 72. Rubber General Details: Hi guys. Welcome back to the next part of the series. Today we're going to take a look at rubber. And these are again some examples of tires and how rubber looks when it's damaged. You can see one of the main factors is that it dries up and starts cracking a little bit like this. We're not going to go super extreme with this particular rubber. I want to keep it relatively new, but then it will be important to have something right. Now. I am going to take out the height information. I think it's a little bit too much. Let's hide the skeleton for now. And now I'm going to collapse the armor piece and I'm going to go all the way to rubber here. So right now we just have this very basic rubber. And the first thing we need to add ASA damage to this rubber. Right now, we could add another layer of rubber, but it's not really necessary. You can actually just add like a, like a white layer. In this case, I'm going to turn everything off except for the roughness and I'm going to bring the roughness really, really high. It's gonna be a really like a really dry material. And I'm going to call this dry rubber. Right-click. We're going to add a black mask. Right-click. We're going to add the generator and we're going to add, of course, a metal edge where this is going to hit all of the borders of our element in that what we can do is I can go into Linear Dodge. I really like using linear dodge when the color is lighter and when to really bring this down. And as you can see, that's gonna give us the damaged, the fact that we're going for on the rubber. It's a very, very small detail, but I think it's going to, it's going to work nicely. Now. We definitely want to break this thing up, right? So I'm going to add another field layer. We're going to use the same trick. We're going to use a clouds. We can use clouds to, for instance, let's go to the masks to see what's going on here. I'm going to increase the contrast, lower the balance, something like that. Now what we're gonna do is we're going to multiply this by multiplying again, as you can see, we're gonna be hiding a couple of sections of the rubber and it's going to look a little bit more natural. Other than that, I think it might be a good idea to add a little bit of texture to the wheel. You can see how with how we'd like cracks and stuff. So we could look for a specific material. I do have a couple of versions like this crack rock surface right here, but this is a premium material that I got from from the substance 3D assets folder. I'm gonna I'm gonna try to keep it with some water. I'm going to try to use materials that you guys have access to as well. So for instance, I think I think there's rotten wood is one of the materials that you guys do have access to. If I have this on top of the whole rubber thing, then remove everything except for the roughness or sorry for the normal. We can use this to create some interesting is striations everywhere. In this case, I don't think this is great because it has a direction under UV and we don't want that. Another one we can try. Let me show you just real quick. I don't know if you guys have access to this once. I don't think so. But if we have, for instance, this crumbling rock right here, and again, we remove everything except for the normal map. We can get this really interesting effect where hole like a rubber is now more damage, right? Like it has a lot more texture or this is fake texture. It doesn't really exist, but it looks really, really interesting. We can change this to try planner projection, to try to alleviate a little bit of that fact. And then if we go to Normal information, we can bring this thing down so that we do have a little bit of information, but not that much. I'm wondering where can you guys see that line right there? We need to know where that line is coming from. So I'm gonna delete this thing for now. And let's see where that line is coming from because that's really weird. There we go. It's on the armor somewhere. The paint. It's the iron rod on the overall damage. I'm going to change the prediction to try planar projection. And that's going to remove all of those like ugly lines that we had on the UVs. And that's because the iron rod damage, even though it's hidden behind everything else, it's still adding some stuff. So instead of adding that, I'm gonna go fill and let's just add the scratches. I think scratches are going to be a little bit more interesting for this one. Or maybe just from like grunge information like this, this grunge concrete spots, there we go. That looks interesting. It definitely makes it look a lot more intense. So I'm going to lower the intensity of the rubric. So I really want to keep it a little bit cleaner. And that's probably as much as I'm going to do. I would even go here to the base color of this element, maybe leave it or bring it a little bit lower. Why? Because we don't want to make this thing like super, super intense. Later on we're going to add some section lines for the whole thing. Some extra details that we can. That's going to make everything look a little bit better. But for now I'm gonna, I'm gonna keep it like that. Now that we have this, we can go to the metals, which is the final part in this guy right here. And you can see the melt or are already being exposed or modified by some of the other elements that we have right here. I actually don't think I want to change them as much like right now they look quite nice. Yes, we have a couple of weird lines right there. So I'm gonna go to the metal and on the silver off again, I'm going to change the prediction to this already tray planar projection. Okay, so let's again do a little bit of exploration because there's C, there's a layer here is the iron rod diamond. I'm just going to take out the height information on the Arabic since it's modifying things in the way, I don't particularly like. Now, one thing I'm noticing here is that the metal beats on my character are now looking a little bit too dark compared to everything else. So I'm gonna go all the way to the metal and the steel roof that we have right here. I'm going to push it up again just so that we can see a contrast. Because thanks to all of the dirt and grime and things that we've added. Now, everything is becoming a little bit to to damage. And that's pretty much what I would that I do want to add a little bit of rust to this guys. So I'm going to grab my rust layer here, instead of the metals. I'm going to add a black mask. And this one, it's gonna be a very simple dirt layer. There we go. I do want to make this darker, so I'm going to make an overlay. Overlay that, that makes it look really interesting. Multiply, Let's go multiple. I'm going to reduce the intensity a little bit because I don't want to have Rus, but not as much as you can see, we get this very cool thing. The one thing that Mendel does get as well is it usually gets really clean in certain areas. I'm going to bring another steel roof up here. I'm going to add a black mask and I'm going to add a generator. And this is going to be a metal edge where to bring back some of the shininess and the intensity of the elements, especially here on the, on the on the teeth. I would expect those teeth to be a little bit more used like they're being used to crush stones or something or I don't just fight an enemy or whatever. So that layer right there, as you can see, it's really going to make the teeth Pop. And I really don't need to change as much with this layer. It's very, very simple. Yes, it's being very like it's happening everywhere on the elements, but it's not that bad. I think a thing that works and it plays well with the rest of the armor. So that's, that's pretty much it for this thing. However, I do want to talk about a stencils and, and other particular elements. So when we were doing this, you guys might remember that I mentioned, oh, where do the section lines? When it's texturing, we'll do this bolt when it's texturing and stuff. This is where we can start adding those little small details. So I'm gonna go all the way to the top. I'm going to add a new field layer. These are gonna be the bolt, so I'm gonna go metallic. I'm gonna go a little bit rough, not super rough, but a little bit rough like that. And I'm going to call this boats right-click and I'm going to add a black mask. We don't need a group for this one. I'm gonna go to my brushes. I'm going to grab the basic hard brush, and then we're gonna go to my Alphas. And on the alphas you can see we have a lot of different patterns, especially for bolts right here. I'm going to use this circle split. I think this one looks very like sci-fi and interesting. And then turn on symmetry because I don't want to do this twice. And what they can do now is I can go to specific parts of the element and click to generate a bolt right there. Now when I do that, when I generate that bold, one thing I'm going to go and do over here. So I'm gonna go to the height information. I'm going to bring this in a little bit. So when we see it from afar, it actually it looks like we're pushing in. I'm going to say real quick, I'm going to show you something because this is important. You might see that ball and be like, why are we even bothering if that looks super, super low poly and stuff were bothering because with this bolt, one of the things that we can do, or as I mentioned, one of the things that we're gonna do is when we change everything to four k, that bolt will be seen. Like you can see my substance painter is loading over here. And as soon as it finishes loading, we're going to see how the fork a texture actually looks. You're going to see there's gonna be a lot more detail. Substance works in a really interesting way because when you change from resolutions, it resamples all of the layers, all of the brushstrokes, all of the things that you did. It resamples dose and generates a preview of how that thing would look at a higher resolution. So look at this. There we go. Way, way more detail on the little boat right there. So it might not seem like much at two k for k, which is hopefully the texture that we're gonna be rendering at. That thing is going to look really, really nice. Now, technically, I could keep working on this guy right here. Like if you want to work at for k, that's fine. But you can see I just click and it takes like two or 3 s the position that the bolt that's not ideal to be honest or at least to me. So I'm gonna go to textures that settings, and I'm going to change this back to two k. You can change this all the way back to like wonky or, or 512. But it's gonna be very painful to see, to be honest. I'm just gonna start going to solve the points right here to add those little details, those just like extra little details that make the whole thing make more sense. For instance, one right there. We can add a cup ball right there to indicate that that thing is somehow like Attach. We can make this bigger. Of course, you can have some big bolts right there, for instance, can do one there. We can do one there. We can do a couple of these ones right here. In each such a small detail, but the same time. That's so much like personality to the whole thing. Because it means that we're taking the time to really explore all of the different things that you would need for a character or a creature like this. Okay? And again, it doesn't really take that much time to add this elements just like little points. And it might not be as visible as other things, right? That's one of the things that my students frequently tells, like what, why are we even bothering with this thing? So if, if it's such a small detail, because There's a famous quote that says that the devil's in the details like this, details that we're adding this level like bowls and things. People might note, notice them the first time they see it. But when they see, they're gonna be like, oh my god, this dues, this dude actually went in and added like a little bolts everywhere. That's the kind of stuff and that kind of reaction that you want people to have when they're watching your stuff, right? So yes, it might seem like they're not really helping, but they are helping. And this is why texturing and pretty much all of the 3D work that we do it take so long because there's so many things that we can modify and change and add. And it just takes time. It's one of those things that takes time of the main things that I struggled with with my clients when I'm pitching a project or something as like, Hey, can you do this in like two or three days? Just like No dude. I cannot like, I can give you something in two or three days, but it's not gonna be as good as the EC50 if you give me two or three weeks, right? So there's a very famous saying here in Mexico that people want things were not Benito and Barto, which is a good, cheap and good cheap and pretty good shape and pretty. And it's, it's very famous like everyone is like very cultural, everyone knows about that specific thing. So anytime someone says that to me, unlike immediately like, Hey, yeah, I could do it, but you need to pick two. So if you want something that's a pretty fast, It's not gonna be cheap. If you want something that's fast. Fast and or was it yeah. If you just if you want any of those, you're going to have to pick one of the elements because I can not do both of those things are the three things. At the same time. You're going to have to decide what you value most. Set some lines right there. This little lines are also really good because it means that There's probably some maintains going on on those specific parts. And that's why this guys are going to be a little bit fresher than others, right? So it's just a, just a very simple details that really, really helps with the whole thing. And talking about this like sexual license stuff, we can do something very similar to add some extra section lines. Let me show you. Well, first of all, we could use the same brush that we're using right now and just go, for instance, for this little hexagon shapes and stuff. And we can just start adding more patents and elements. That's one way to do it. There are some very nice section lines right here. I think they're all the way down here like this, bands and stuff like this. The square, for instance, the squares is really good. Well, we can do something like that on this guy right there, for instance. Right? Like we can add this are patterns everywhere. I don't really want to make it super obvious to be honest. But it's one of the things that you can do or, or you can just go back to your brush. Changes back to a basic card. And if there's a specific session length that you want, for instance, I wanted to go like let's see here, here, and then back here, I can just click shift, click, click, Shift-click. And that way we create these sexual and that's way, way too big. Of course I'm going to press Control. It's saving. Let's give this a second. There we go. So yeah, just make this like a lot smaller and you can create sexual lines as well like that. And it's this small little detail. I don't think I'm going to add as many as I thought it was going to add. I think with the bolts we're getting a really nice result. Shift, right-click this and other circuit I've been using quite a bit to rotate the light around. And yeah, that's pretty much it guys. That's the general details that we can add them. You can see how we're going from something that was very, very basic to something that's really advanced. One thing that I'd like to do is I'd like to just add a very basic like a layer on top and go forward like the same sort like beige color that we have. So this is what a normal material would look inside of Maya and look at how much complexity we can add to the elements by just playing a little bit with the elements and the different like a procedural things that we have here in South substance. So go the extra mile guys, make sure to add as much details as you need and as you want. And I'm just gonna show you one more thing on the next and the next video for this armor piece. And then we'll jump into the skeleton. So hang on tight and I'll see you back on the next one. 73. Decay Textures: Hey guys, welcome back to the next part of the series. Today we're going to continue with the decay textures. And this is just the general pass that I want to show you, that I'd like to add two objects, especially realistic objects, due to the way like paint and other elements work in the outside world. So there's this thing called a decay. And as you guys know, the UV light that comes from the sum is very damaging. That's why we are not supposed to be out in the sun for a long, long periods of time. And it destroys a lot of things. It washes out a lot of elements. So I'm going to show you here a path that we can do over the whole character. This is not going to be inside any of the groups. It's gonna be on the whole character to give us a really nice, like a damaged look. So I'm going to add a layer at the very top, and I'm going to go for a very warm color, very white like this. And then I'm going to call this like a sun damage. And what we can do is we can add the black masks. Of course, there's a very cool generator which is called the gradient generator or the position, this one right here. So the position generator, as the name implies, we will hit every single thing on a specific position, as you can see right now, is hitting from the top and it's going all the way to the bottom. And we can change how much we want this to affect our character. I just want the top parts to be affected so roughly around there, as you can see. Now, this thing right here needs to be damaged a little bit more. So what I'm gonna do is I'm going to add another field layer. And I'm going to go for some sort of like grunge effect. Like yeah, like this grunge concrete dusty. There we go. And of course we're going to multiply this y multiplied because we want this grunge concrete Dusty to be hitting the top part of the element only, as you can see right there. Then what we're gonna do is we're gonna change this to Linear Dodge. Linear Dodge like makes everything a lot lighter. And the one thing I'm gonna do here is I'm going to actually change the metal and the roughness. The metal is going to be really white and the rough ER is gonna be quite high. So that this looks a lot flatter. We're not gonna have as much reflections, things a little bit too yellow. So let's, let's bring it out a little bit closer to the whites. And there we go. So as you can see, we get this and the cool thing about this layer is at any point we can go to the position. And if we play with the balance, we're gonna be bringing this balance down. So we're gonna be adding a little bit more like damage to the whole thing. Leader, does she not doing as much as I thought it was going to do to be honest. Overlay will just like burn things. So maybe like a multiply. Leaner Dutch works really well. Probably going to keep it normal than normal, looks a little bit better in this case. So this is, you can see is gonna give us this very interesting Sandy looking effect, where it looks like we have a layer of fog of damage effects on top of the whole character. We can duplicate this. And if we duplicate this is gonna be a lot more intense, but I don't think we need a copy. We're just going to keep it like a single one right there. The other layer that I want to add that again is very, very common, would be some sort of like dirt layer that's coming from the ground up. And for this one, we can actually go to one of the smart materials that we have right here. Smart materials are really cool materials that we can use to generally quick damages. And we have this, for instance, dirt smart material. If I just add it on top of everything, It's a procedurally generated mass that's going to add, as you can see, dirt on top of the whole thing. But that's not all. We can add the black mask on top of everything. And then we also have smart masks. This one's right here. So as you can see, we have for instances or dirt ground that we can literally just drag and drop on the dirt. And what we're going to get is we're gonna get some damage. Now, if we go to the mask here, we can change the level, which is how much like dirt we're getting. And this is gonna give us a, an interesting effect overall. This case, I think this is not working as expected, so I'm gonna delete that mask and I'm going to use this ground dirt. There we go. We do ground dirt now. And again we go to this mask right here. Things to crunch that we need to change. We can change how much dirt or damaged we got on top. So I'm going to add a little bit more damaged there. Well, that's a little bit, That's actually a really nice level. You can see it adds a really interesting effect, but it's going everywhere. So I'm gonna go to the first mask. And if we bring the balance down, that should only allow me to have this effect. On the other side. Let's invert this. I think it's inverted. Now it's not inverted. What masker we're using here, let's just say position mask. I'm going to invert this position mask, not turn out in the garage for now. There we go. Let's increase the balance here so that we only get the image on the lower portions of the carriage. Now, if we get this, because I really like how this looks, but I think there's crunches way, way, way too much. I'm not sure if I let There we go by lowering the grunge. Now, we do get some nice effects. As you can see, we're gonna get more like a dirt and grime on the bottom parts of the character. That's gonna make the whole thing look a lot cleaner, a lot, well not cleaner. A lot nicer in this case. That's it guys. Like we, those two elements, we get a very nice result. I'm gonna show you one more and this is, this is a stylistic choice. It's not something that you might want to do every time, but you can actually add in ambient occlusion layer. I'm going to add a new fill layer here. I'm going to call this A0, which is my ambient occlusion. I'm going to use color. I'm going to use a dark color. Of course, I'm going to right-click. I'm going to add a black mask again. Right-click, I'm going to add a fill layer in this field layer is going to be not any of these generators. But if I look for ambient occlusion, as you can see, we're gonna get the ambient occlusion of the element. So just select that one and look at that. We get the ambient occlusion. The only problem is that the ambient occlusion is actually inverted and we don't have an invert option on this particular layer to change that fact. So what I'm going to have to do is I'm going to have to right-click again. They knew levels and under levels we're going to invert. So that thing right there, as you can see, it's heading in this very intense ambient occlusion. Pretty much on all of the shelves count like burnt metal or something that are like smog or something if you want. Of course, we can change this to an overlay. We can reduce the amount of intensity we get. But it says in a stylized, stylized as choice that you can add to just get a little bit more contrast, especially if you see the color here, I'm pressing the letter C. You can see how the base color changes and make things look a little bit more intense. So I would normally have this, I'd like 30% just to add a little bit of extra shadow on certain areas. But yeah, so that's it guys. That's pretty much it as you can see with successfully created the textures for the armor looks very, very, very cool. We're missing one more thing, but I want to do the skeleton. First. We're missing some decals, stickers or the warning signs. Remember that we have over here. So we're missing a little bit of that. But again, we're gonna do that after we finish the armor, because right now the armor needs a little bit of love. It's gonna be very simple. I think it's just gonna take 11 video for the armor because since it's covered and we don't have as many materials is just, I believe metal and rubber. We should be able to generate the changes very quickly. So yeah, that's it for now, guys, hang on tight and I'll see you back on the next one. 74. Skeleton Texture Details: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the skeleton, and that's pretty much the last part that we need. Now, here's a free cool thing that we can do, and it's a tool that's very useful. We can actually select a texture that we really like. For instance, this dirt that we have right here, and instances across other texture sets. So if you just right-click and you say instantiate across texture sets, I can instantiate this, cross the inner skeleton hit, Okay? And what's going to happen is if we turn off the armor, we're now going to have the same amount of dirt on this one right here, which makes sense, right? Because if, if these things are the inner components of the elements, we're going to have something that looks very similar. So that way, especially when we have both elements together and we see it from the back. The amount of data we have here on the legs is going to match with the amount of water that we have here on the metal bits. That's going to give us a nice result, as you can see right there. Now let's turn off again the armor right here. And you can see we could benefit from having a little bit of something, right? Because right now it's just dirt, right? Let's go. Here. We just have all of the basic layers and we just have this instance cert, which really helps. But let's go to the med listens. For instance, let's add some middle edge where I'm going to duplicate the titanium thing here. I'm going to make it a little bit less rough. And I'm going to add a black mask force. Right-click at the generator. And we're going to add a molecular generator. That's gonna give me some mental edge work here I'm prerogative increasing a little bit more than usual, just because it's gonna be carved by the dirt and I really want to show it. Now let's, let's compare the results. So this is without metal etch where and when this is metal afterwards. So as you can see, it does show through. That's a little bit difficult to see. And then on the rubber I'm gonna do something very similar. It's going to bring the rubber up, like duplicate the rubber. I'm going to turn off everything except for color and roughness. The color of the rubber is going to be a little bit lighter and the roughness is gonna be higher. Black mask as a generator. And we're going to add a mental edge wear as well. There we go. Now, of course, for this one, since it's a little bit more obvious, I am going to add the d familiar. We're going to add a fill layer. We're going to add the clouds are going to increase the balance and the contrast a little bit. And of course we're going to multiply this. We can play around here the contrast and valence again to, to show or hide a couple of those elements and generate a more interesting variation. And that's pretty much it. I don't think we need to add as much detail to the arm because it's one of those things that's going to be quite hidden. I do want to go to the dirt right here and maybe just lower the intensity a little bit because it's way, way too much. I don't want to remove it completely, although i'm I'm debating you know what? I'm going to add a white mask. And what I'm actually going to do is I'm just going to remove it on the upper pieces. So I don't want to have as much dirt on the upper pieces of the character. A little bit more in the lower pieces, but not as much under the upper ones. That's it. With that, we've pretty much successfully completed the texturing process for all of the base pieces. I don't think I'm going to add the decay that I added to the paint on this one. I don t think it's really necessary. One thing I do want to add, so I'm gonna go back to the armor. I'm going to go to the base color here. I'm just going to make it slightly darker. Just to slightly, a little bit, maybe a little bit more saturated but slightly darker. Why? Because that way the sun damage that we add it, it's gonna be a little bit more obvious, especially on the upper sections right there you can see how it really, it really changes the balance overall. So we're going to reduce this a little bit. There we go. So with that down my friends, we are ready to jump onto the last part of the texturing process, which is gonna be the the decals. I want to add a couple of details around a couple of places. One like some warning signs right here. I want to add the name of the guardian right here, like a serial number, something, something that makes it look a little bit more interesting. I'm going to show you how you can do your own decals and the important here into substance. So hang on tight and I'll see you back on the next video. 75. Decals: Hi guys, welcome back to the next part of the series. Today we're gonna do the decals for this guy, and it's gonna be very, very, very simple. Let's start first with the paint like decals, like the warranting sites and stuff. And I do believe we have something very similar here. There we go. Like this line structure in life starts right here. So here's how it works. I'm gonna go to the very top. We're not the very topic, probably like just above the paint layers. So the armour layers right here. And I'm going to add a new, actually are just gonna go on top, on top of this one, we're going to add a new fill layer. This new layer, of course, is going to occupy everything. I'm going to go for a, I think a yellowish orangey color like this might be good. There we go, something like this. I'm a little bit more saturated. There we go. This is going to be my paint layer. As you can see, it has a little bit of glossiness, which is great. I'm going to say other black mask. And now I'm going to jump into projection mode. So projection mode is number three on your keyboard. And with projection mode, what we can do is we can go all the way down here and on the grayscale, we can assign one thing such as this line strips right here, and it's going to create a stamp. You can move the stamp by pressing S on your keyboard and your mouse is actually viewed lightly, leap S pressed. You're going to see over here the shortcuts. And I can move it, I can rotate it, and I can position it in such a way that it matches the type of lines. So they wanna do those ones right there. And this works pretty much like a stencil. So if I just start painting, as you can see right here, I'm going to paint across the surface that we're gonna be adding this tensor to. The specific part of them are like painting. Now of course, for this thing to properly work, I'm going to turn on symmetry. Well, actually we already have it on. I'm just going to paint the thing Here we go. So it's not perfectly line up. So let me, I'm gonna make it a little bit bigger. Rotated a little bit. Lineup really close right there. There we go. I'm going to paint all of this section right there. And it's like, oops, I actually went over a couple of areas that I didn't want to go over. That's fine. We can just go to number two, which is erase mode. And just erase the parts that we don't want. Okay? So we'll just erase all of those areas right there. And all of those areas right there that we we're only left with this sort of yellowish like warning sign on the, on the flat part of this, of this thing right there. It's a really cool way to add things. As you can see, the rust and everything is still on top of the elements. I'm actually going to go here and I'm going to decrease the wrongness a little bit more to make it a little bit shinier. And what we can do is maybe make it a little bit more yellow, just so they'd really, really shows, there we go. That's way, way better. Now, let's say you like this. Well, let's, let's add some more before I show you the, how to blend them in a little bit better. So I'm gonna go over here, press number three again, the mask number three, S. And we can again like rotate this around and position it right there. And paint the pattern. There we go. We'll probably see something similar. I don't know. Like maybe not that maybe a different one like drinks if we have specific one that we want to add. You got this one right here. Again, we'll just drag and drop this onto this section here where it says here, the gray scale part. You can just drag and drop this one right there and this tensile will change. I think like up here maybe. So Let's go there. We painted. Then I'm gonna go up here and rotate it. So maybe this is like the handle that you're gonna have to like modify or move around to access the core components of the elements. I kinda wanna do something similar on the head to be honest, but I'm not sure about the specific logo. So maybe like this radioactive one. There we go. I'm gonna go to this one because we haven't Jed justify how this character is going to move and stuff? Let's imagine that he's going to have this sort of nuclear energy on the inside of the head. There we go. So we got to paint, we've got part of the paint and it's looking quite nice. How do we make it so that it looks a little bit better? Well, you can actually add the generator. We can add generator and we can add a dirt generator. And as you're about to see, it's going to generate this thing. But if we multiply, even though we don't have this layer in the paint layer is still going to multiply against the paint. So we can play around and change how we want the damage to be. I'm really going to increase the contrast here to make it really, really scratchy like this. And now we're going to have something that looks a lot more unified. We have the dirt on top and everything and that's definitely going to help with the whole thing. Now I'm going to go to Photoshop right here and I have a 2048 by 2048, like document. I'm going to press X to get or D, sorry to get white and black on my colors. And then I'm going to press X to invert those. I'm going to press Control and delete, which is going to fill the layer with this a black color. I'm going to press T Now, I'm going to create a new layer. And on this new layer, I'm going to start writing the name of this character. So I'm going to call this project all caps, Project Guardian. And then we're going to find a nice font, like a sci-fi font. We have this normal shock, which is not bad. You can of course go online and look for a different sample that you might like or might fit the character here. I think that one for me is gonna be the one that matches the most is no shock. And I'm gonna increase the size of this font to like 72. Let's go 300th. There we go. We got the project garden. Right there. I'm going to add a second line right here, your second texts. I'm going call this. There we go. I'm going to call this layer. I'm just gonna give you the numbers. So one of my favorite numbers is number four. So I'm going to say 00. Let's call this hello dot 0, like a P, a gene which is Project Guardian, zero-zero for That's it, something like that. And we're just going to have it like this. We're going to save this. We're going to save this, of course, in our assets folder. There we go. And this is going to be a PNG file, is great. I'm just going to call this a decals. So now if we go back to Substance Painter and we navigate to our assets folder, we can literally drag and drop this decals folder right here. The finer that's an Alpha and import this either to the current session, to our project or to the library. I'm going to import it to the project and hit Import. There we go. So we can now go to the top or above this guy. I'm just going to duplicate this one. I'm going to add a black mask. And then this column right here is going to be a dark color, black color. And paint layer here. We're gonna go back to number three. And I go back to my brushes and select a basic heart. For some recently, I added this alpha to the brush, which I don't want just going to double-click, this should work. And then on the alpha down here on the gray scale, if we go back to the alphas, we can look for RD CAL. Just look for decals. There we go, drag and drop this. And there we go. We got the decal right here. So I think that the number, it's gonna be like on this piece is right down here. I'm going to rotate this in the PG sue for we're going to have it right there. That's the that's the that's the main thing. And the name. Like I think we're going to have the name like the Guardian them. You can actually change the camera to orthographic view, which is gonna be perfectly flat, might be a good idea for this particular section right here. I'm going to scale this a little bit more. That's project right there. Then guard. It looks interesting, but it looks a little bit weird as well. So I'm just going to have Guardian on that piece. There we go. We can have another like code, like small code. You're on the head. There was going to have the P24 PGC before. There we go. Yeah, that's that's pretty much it. Again, you can go crazy with this decals. You can add as many details as you want now to this one. I'm also going to add a generator and it's gonna be a jerk generator. And we're going to multiply this dark generator against everything else. There we go. Play around with this one. That's it. Let's go back to our perspective view and look at this beauty right here. Not bad right now, Breaking Bad for what like 2 h of texturing. Again, imagine what we could achieve if we go like a really in-depth and do like how? It says like 15 h of texturing. That's the, that's the beauty of the 3D things. The more time you spend on a 3D project, the more or the better it can look. So yeah, that's pretty much it, guys. Now, I'm going to stop to be right here because I want to keep the exporting of the textures as a separate video. And I'm also going to show you how to make a smart material so that we can get the exact color that we have right here for the panels. Okay. So I'm going to say real quick, I'm going to stop the video and I'll see you in the next one for the exporting process. 76. Exporting Textures: Hi guys. Welcome back to the next part of the series. Today we're going to continue with exporting Texas. And I'm also going to show you how to export and the smart material so that when we do the panels, which is going to be next, we get the exact tones that we have here with the metal, the exact type of damage and stuff. So first let's export this texture is very easy. File, that's protections, that's it. That's all we need to do. We're going to have to go and tell this thing where we want to extract textures. And by default, you want to export the dexterous into source images and hit Select Folder. Now on the output Template, this is very important on the output template, you're going to change this to Arnold. Ai Standard. Do not use this using legacy for some reason. They still add this to the new versions, but you don't need this, you need the AI standard. It will know by default that these are uterus. As you can see right here, we get 1001 PNG and all of the different elements. So I asked for the settings are as for the options other than that one, you can change the file type to like PNG, target, JP, whatever. We're not going to be using any sort of what's the word. We're not going to be using any sort of a height information, even though we are gonna be exploiting a height map, we're not gonna use it in our renders. So you can export this as PNGs is fine. Jpegs are also find targets, are usually what I do, but they're a little bit heavy, so I'm going to keep them as PNGs for now. And this is the most important part on the size. We need to make sure to export this if your computer can handle it at four K. So on the list of experts, you're going to see that we're gonna be exploiting four or two materials is gonna be the lion armor and that line armor inner skeleton. And as you can see, something interesting is happening here. It's actually exploring this with a very peculiar name. It says the name of the model, lion for textures and then EM Lyon, armor base color. We actually don't need this line for textures. Thanks. So one thing I like to do is you can actually duplicate the preset, which I actually already did this right here, is called this NTU E4 or sorry, Now, let me do one more. Here on the Arnold AI standard. I'm just going to copy this and it's going to create a new standard says Arnold started copy. And under copy I'm going to rename this AIR notes are I'm just going to call this It's called just empty guardian. Okay? So this thing right here, It's the same setup as the ai Arnold standard with UTMs and everything. However, what I'm gonna do is I'm going to go to this part right here. And this is called a flag, which is a name that's being imported from the name of the element. That's why it has this dollar sign mesh. We don't need that, so let's just delete that one right there. We're going to delete that one on all of the maps. So we're just going to delete this and we're just going to be, we're just going to have the texture set, which is the name of the material, which is great. And then the name of the map that we're exploiting. Now, we actually don't need hide information. As I said, we're not going to be using displacement. We're already using a really high amount of polygons, so we don't need displacement. So I'm actually going to delete that channel. And we are actually don't have any emissive either. The only emissive line we're gonna have is gonna be coming from the ice. What we're gonna be doing that inside of a Arnold. So we actually don't need that one either. We just need this thing right here. We go to settings. We change this now to the anti garden and right here, and if we check the experts, this is what we're going to have now, M lion, which is the name of the material M line armor and that base color, mental illness, normal and roughness. Those are the four we're going to have one for each of them. Each one of those is going to be at four cases. As you can imagine, this is going to be quite, quite heavy on the whole thing, but that's it. I'm going to save the settings real quick. I'm going to say file. Let me just say one more time for good measure. Because what's going to happen now is that this thing is going to be re-sample at four k. And then when it resemble, it's going to export the texture so it could potentially crash, which is very unfortunate, but it can happen. One thing you can do to alleviate a little bit of the process here is pressed the letter C. Did you go into channel mode introduced like basic color mode. That way you're not actually, we're not actually getting any information from the, what's the word from the materials and it just makes a computer work a little bit less. We export textures again, we connect and tea garden fork a source images. Everything is ready, we hit Export. And this is where the exporting process is going to happen. As you can see, it's preprocessing everything here, exporting things. So far, so good things seem to be working properly. And as soon as we see this bar finished, we can open the output directory out here and we can see if we were able to generate this thing or not. So let's see. So far so good. It's finalizing. Bear we go and yet we don't get any error. Things work perfectly fine. If we open the output directory, you're going to see it right here. Look at this color, mental illness, normal and roughness, the fourth textures that we need to generate and imagine having to do this complexity of textures inside the Photoshop. You would be like you would go insane from all of the details that we need to do here. This is why this you didn't workflow. This workflow that we have right now is so, so cool because we can generate all of this complexity in a really, really simple manner. Now that we have this, we also need to export the smart materials. So if you remember, we have this smart material with Ross and everything. And it has a really good proportion on the armor, right? So this whole armour celebrate here. It gives us an idea. Now, one thing that I forgot to mention when we expert at four K textures, It's pretty much the same thing as if we've had gone over here and change this to forget, you're going to see this thing is going to update or something. Well, it didn't. But yeah, just to make sure that you're backing that UK because sometimes it switches to forget and it's a little bit more complicated. So I'm going to select this armor piece. I'm going to change the name. I'm going to call this guardian underscore armor. And it can right-click and save this as a smart material. So right-click and we just go over here. Where is it? Let's turn it on. I think we need to see it. Right-click and say, Hey, are you there we go. Create some more materials. So by doing this, we automatically create this more material right here. Just keep something in mind. Anything that we manually painted is going to be on this material and the UVs do not match, then we're not gonna be able to realize that stuff. But don't worry, we're gonna be modifying a little bit of this once we go into the panels and we should get something that looks really, really nice. So that's it guys. We got smart materials. We can just save this as more material is saved on your cash, so on your, on your computer. So once we open a new project, and actually I'm going to show you real quick here, which is wait for this to save. It's definitely it's definitely heavy file. I'm not going to lie. So let's just wait a couple more seconds. Here we go. I'm going to say File not still, not, still not ready. Let me pause real quick. There we go. So now we open the sample file. For instance, let's open sample. We already saved. So no problem. We can open for instance, mat, which is the little dude here that we have here, the Guardian elements. So if we just drag and drop this, you're gonna see we get the middle edge where we get the scratches, we get everything. However, the paint is not gonna be here. Why? Because the paint that we have right here, the layer that we painted might not match the UVs. You can see we have this thing over here. So if we want, we can just delete this. We don't really need it. The only thing that I actually need is that the rust, as you can see, the two layers of rust in the main color white because I want to make sure they both match everything else. This is like a little bit of a complex, a little dude right here. But as you can see, we can do this and this. And as long as we delete those layers, once we import this, we can keep them if we want to add paint. Of course, look at that. Like mad right now has the exact same level of damage and level of detail that the lion Guardian has. So if we want to add math on a render, we can just export them and use the same exact texture. And we're going to be saving ourselves quite a bit of time. So I'm going to stop the video right here, guys. And then the next one I'm going to show you inside of Maya how to prepare the panels for the texturing process. And yeah, just just get them ready for the final final texturing. So hang on tight and I'll see you back on the next one. 77. Panel Texturing: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the panel texturing. And it's, this panel's right here. Now, if you remember, the problem with the widths balances that they are looking horrible right now due to the way they're organized. So I'm going to bring them back to their original position. And I do believe they have like rotations and stuff. So all the rotations I'm going to see wear them out. It's going to make it a little bit easier. And I don't want each panel to contaminate each other. We'll figure out the proper placement later. The only thing I wanna do here is I'm going to separate them a little bit more from each other because if we keep them really close to each other, what's going to happen these the ambient occlusion is going to like affect each other in a specific way and that's not what we want. I'm just going to move them like this for now. Just grab this whole group. They should already have their own material. I believe we study history here. I do believe we change this to got their history. They have the UV checker right now from what I can tell. So I'm just going to grab everything here, right-click, assign existing material. And we have this M line panels. There we go. Then we select this guys again. And we're just going to say File Export Selection assets. And we're just going to call this panels for texture. There we go. Oh wait a second. We got an error there. The things, some elements we're spanning across. Yeah, okay, so lets just grab everything here, tools. We're going to modify it, we're going to lay them out. We're going to use one-on-one with this distribution. Hit apply. And there we go. So now they should be a lot cleaner. Select them again. File Export Selection, handles for texture. There we go. That's fine. Let's go now to a substance painter file new. Just gonna be four k, since it's a single map. I do think we can work with for k with not an issue. So we're just going to directly go into fork a scarf. And there we go. First thing we need to do, remember bake. We need to bake some elements here. So let's bake at four K and just a big selective textures. It's going to do a very basic normal map, is going to do a very basic AMP to cushion map and the thickness map, which again, not a big deal. This is gonna be super, super simple thing, but we still want to add like do it properly. We wanted to make this true, this thing. It looks as nice as possible. There we go, we can go back to painting. And the first thing I'm going to add, of course, is our guardian material. If we go to Layers and we just add the garden material, look at that. We immediately get the exact same color. Very nice random scratches along the whole surface. Yes, we do get the paint. That's horrible right now. So let's just delete it. Or actually I'm not gonna delete it. What I'm gonna do is I'm going to add the black mask. What that will do is it will erase. So in case we want to add some like decals and stuff, we can use the exact same color as well. So look that like again, especially when we see it from the bag, we're going to have some very, very cool and nice variations that are going to allow us to duplicate this guy's a couple of times without making it so obvious that they're repeated, right? So now we need to add the cells, the like like the solar panels. And I do believe we have one like we have this aluminum insulator that we could use. Let me see if we have another one because I do remember there wasn't another like this jet engine. I mean, we could use it's not that bad. But I think the aluminum insulator is probably going to be the one that we're gonna be using. Now, I am going to make a small little commercial here. If you have access to substance 3D assets, when you use subscribe to the Adobe suit, which is one of the few softwares that I do recommend subscribing to. You're going to have access to this or a stuff like this solar panel, hexagonal tiles, solar panels, solar array. So I actually, I just loved this guy right here, so I'm going to download it and use it as my own. Now, there are others like elements. Unfortunately, I can't share this specific one with you guys. So you're going to have to probably use this aluminum if you don't have access. I'm going to show you real quick how I will do it. Just add the aluminum panel right here. I'm going to add a black mask, going to UB mode. Remember that we cut the UVs and look at how easy it is to select this UP is right here. I'm going to change this. The option to try planar mapping, very important to do this. They're all very straight like that. And then on the tiling, we can increase the tiling quite a bit until we find a size that we like, probably four. And I will probably remove the height information for this one. So this perfectly, perfectly flat and smooth. So this is exactly what I'm going to do with the one that I just downloaded. That again, I'm sorry, that they cannot share this one with you. So let me go real quick here to my downloads. If you download the material again, there's, there's also 3D substance share. Let me see if you can find one there. 3d. Substance share. Substance share is the like the free version, like the community version of things. And there are some materials here. If I look for solar, There we go. Yeah, So you have this one, It's not the exact one, but you have this solar panels substance by Leonardo dummies. So if you want to download this one, feel free to use it as well. It's gonna give you a slightly different result. But if you have access to the substance, you can't grab this hexagonal tile. I'm going to import this on my library because it's probably something that we're gonna be using quite a bit. I'm just going to drop it right there. Same same thing. I'm going to drop it right there. I'm going to change the appropriation to try planar projection. I'm going to change the tiling so they can actually see this guy is right there. Probably like there. That looks really nice. Probably a little bit more. There we go. One more. Let's do ten. And the cool thing is this elements tend to have like some stuff right here. So for instance, the color, we're definitely going to go for this sort of like electric blue color. A little bit bluer. Let's of course add the black mask and select only the elements right here. One thing I feel it's like it looks, it doesn't look metallic. It does say that it is a metallic, but it doesn't look metallic to me. Flakes. Hey guys, Sorry for the Southern jump. Unfortunately, we got a crash on the non substance on the video recording thing. And I'm just like starting over here. So I was doing some tweaks on the other panels, like the one that I downloaded the solar panel. But there wasn't looking great to be honest. I'm actually going to go back to the triangular thing right here. And as you can see, the only thing I did was I changed the tiling. So I added this material right here, changed the tiling. I have the tiling set to four, change the color to this blue color and the height information. I didn't remove it completely. If I remove this completely looks very flat. Actually kept a little bit of the sort of like foam looking thing, which I think is interesting. Well you can go or do is go to base color, height. And then here on the information you can lower the intensity of that high maps. So we at least get a little bit of roughness there on the element. It looks really, really nice. Once you're happy with this, of course, you can add more like dirt and scratches and stuff for them. I want to keep this guy's really, really clean. You can just export File, Export textures. And we're going to export with our preset on source images for k. And we'll just hit Export. Once we do that, we're going to have all of the necessary textures that we need inside of our, of our element. So as you can see, we have the panels right here, the armor, armor right here at the skeleton right here. It's a lot of textures. If we take a look at how many textures we're using, look at this almost 1 gb of textures, which is quite a lot. This is not something that you could use on video game. For instance, he will be using most of the memory just for this, but for a cinematic render, we're gonna get a really, really cool result. So we've successfully now textured every single piece of her character. The next step is to set up the materials. And then we're going to of course, set up our character for our final renders. So this is the final video of this chapter. Again, we're successfully completed the texturing process. Now we're going to jump onto the final chapter which is going to be rendering and presentation. So hang on tight. 78. Texture Setup: Hey guys, welcome back to the next part or the next chapter. This is going to be probably the final chapter of the whole series. And we're gonna be focusing on texturing or setting up the textures and creating a very cool render for our final presentation. So this is what we have right now. And the first thing is that I'm going to have to do, and we're gonna do this a little bit later. We need to clean everything up. So we're gonna have to go through each individual piece, just give them a name that's a little bit easier to understand because right now, Paul II, front surface shape, whatever, it's not going to cut it. However, first for the texturing process, here's what we're gonna do. I'm gonna go to my Hypershade rail here. And I'm going to delete all of the materials that we're not currently using. So if I say Edit, delete unused nodes, which should only be left with the lion armor. Lion inner skeleton lie on panels, the three spheres that we have. In this case, it seems like we're using a little bit black rubber. That's fine. But we should be like deleting everything that we don't need. This is going to optimize the scene and make it a little bit faster. Moles, we're going to go File and I'm going to say Save or sorry, optimizing size, which is going to delete anything that we're not using. That of course, we can grab every single piece right here and try delete history and freeze transformation for now, just to keep every or have every single thing be as clean as possible. Once we have that, the pieces already have their stuff set up as you can see right here, which is great. I'm going to keep it like this, but I'm gonna, I'm gonna add a prefix here. I'm going to say old lion arm are old. And that's going to be lions skeleton, old. And then panels. Okay? Now, usually for connecting the textures, we will need to go through a very time-consuming process of going into the hyper shade, adding texture notes, and setting everything up properly so the colors and everything reads exactly like what we had in Substance Painter. However, I'm going to show you one trick that I've been using for the past couple of years, It's not a secret or anything. But there's a lot of people forget about this. So if you go to windows settings and preferences and we go and look for the substance plug-in. Maya now comes in with this substance plug-in that allows us to create materials are very, very easily without having to worry too much about the whole like setting up process. Right now of course nothing has texture. I'm going to remove this thing right there. I'm gonna go to the substance tab right here, or you can go to substance menu over here. And I'm going to use this little icon, which is the applied workflow to maps. I'm going to click it and I'm going to select multiple maps. We're gonna go, of course, to source images and let's start with the panels. Panels are easy ones, so we just select the four textures over pounds. When I hit select, what this should do is it should automatically link what each texture is supposed to be, the base color, the normal, the relevance, and the metallic to its appropriate element right here. And once we do that, I can very easily just hit apply. And what will happen now is if we go to the, the Hypershade in just a second, remember that whenever you import a texture instead of arnold, it will automatically translate it into a text file dot txt file. And that's important because Arnold uses those textures to generate the renders. This might take a while, especially because there are four K textures. But once we have that, there we go. So if we take a look at this, you're going to see that now we have this AI standard surface 14, which we're of course going to rename to EM Lyon panels. Now, the great thing about this is as you can see, the roughness, the normal, Everything's connected exactly as it should with all of the necessary like color spaces, for instance, this is the normal map. It should be set to row with Alpha's luminance turned on. This is the base color. It should be to sRGB. This is a metal and it should be wrought with Alpha's luminance. It's connecting. Every single thing that you might need is connecting to get exactly where it needs to be. So that when we apply this material, we're going to get exactly what we're looking for. So I'm going to grab all of this guy's right-click and assign existing material. And we're going to assign the lion panels like the normal one. There we go. There we should have the colors. Now the chorus might be a little bit dark. We talked about this before. The easiest thing we can go to on tone map and it's going to be a little bit easier to see. But yeah, so that's the panels, panels or die. Now for the body and the armor is going to be a little bit different because we're going to have to go all the way down here, let's say the armor. And we're gonna select the 1001 of each of the maps, the normal, the madness, the base color, and the roughest, and I'm going to hit Select. They should be linked here. If you don't, if they don't work, if the link for whatever reason doesn't work, you can manually select each one of them was with this little folder right here. Once we do that, you're going to hit apply. And again, we're gonna have a new material over here on the Hypershade. It's converting the textures. But keep in mind that now I think it's going to be trying to convert every single texture. So all of the EU them textures. So this might take a little bit longer. You can see that the Maya right now, like hanging, just give it a couple of minutes to give a couple of seconds and it should be just fine. I'm going to pause real quick. There we go. So as you can see now we have this again AI standard surface routine. I'm going to change this name to EM Lyon armor. And the reason why we changed the other two are more old is because you can have two objects that have the same name, right? So there we go. Now, how do we apply this to all of the armor pieces quickly, right? Well, easy. If we go over here to armor old, we can right-click and select objects with material. And once we have all of the objects selected, we can just right-click and assign existing material and we assigned a new line armor. There we go. However, we're gonna have a very, very, very, very big issue. And that's the fact that some of the pieces are gonna look great, like this guys right here. But some of the other pieces are going to be looking horrible. Why? Well, because this doesn't know that this texture is that we are adding of the line armor are supposed to be used and textures. So I need to go to the base color. Changed the UV tiling mode to use them. Mari. By doing that, you can see that it automatically finds that this has four tiles and they can't generate the preview, but I'll explain why that might not be the best idea just yet. Let's go to the normal same thing yielding Marie, it automatically detects the flag, the 1001 code that it has right here in the name, and it transforms into a UTM thing. You don't need to change the color spirits or anything. It should be exactly the same. We're just changing the hue them option right here. Let's go using option right here. Option right here, and there we go. So by doing that, as you can see, we are not seeing the previous slide, we're not seeing the textures. If it is important to you to see the textures and the viewport, you might want to change. Or January this Load button that says generate preview. However, I don't recommend doing high-quality. I'm actually going to go low quality and I'm going to hit a generate preview. I'm now gonna go, That's the metal. Now let's go to the base color. Let's go low quality, generate preview, normal map. Low-quality, generate preview, and roughness. Low quality generate pure white. Because otherwise it's gonna be really, really heavy for the things to be showcasing right here. Should be seeing in the preview right here for some reason it's not showing. There we go. It's showing right there. I'm not sure what channel is being affected right now, but you can see the general colors in there. I think when or if we turn on the light, we might be able to see. There we go. So now we can see that the colors a little bit where the metal, this is the one that's acting a little bit weird. So let's go to the mellowness and generate the preview again. There we go. It shouldn't change, or actually we shouldn't be needing to change anything of the things down here. So it's just a general preview. Again, it doesn't matter as much, but if you want to see the preview, you can do it. We're also going to be seeing this in render time. So don't worry too much about this. Now, we're going to do the same thing for the armor. So we're gonna go back to substance here, select multiple maps, and we're going to select the inner skeleton base color. Melanin is normal and refers the 1001 and hit Select, hit, Apply. We're going to get a new material. Of course, we need to give it a little bit of time here for you to transfer or transform all of the textures into four K textures or into a text extras dx dexterous. There we go. And now that we have this here, we're going to have a new AA standard substance 14. We always get the standard surface for Tim because that's the last number that we are. We used. Every time we replace this. We free up that number again. So that's why We get that specific. This is lightened skeleton. Go over here, we select lie on inner skeleton, right-click, Select Objects, and then this one you can always right-click and just assign materials selection. And that's going to do the exact same thing as you can see right there. Okay? So now, of course we need to go to the line skeleton and go to the elements right here and change them to use them titles. So do them. I'm not going to generate a preview to be honest, I don't need it. We're going to see it on render time. So that's the normal. Let's go roughness here. Finally, let's go with mental illness are right here. We go. I'm going to save this as a different scene. I'm going to Save Scene As this is no longer gonna be armor is now gonna be rendered. By the way, you guys are not going to have all of the versions. I'm just going to submit the latest versions of each stage so you can check it out. Otherwise, it will be just like way too much information. So that's it. We got this guy right here. We've got a fierce Of course I'm going to have to select the panels here and bringing in three different position. Let me center the point. Center the pivot point for the group right there. I'm going to bring them back here just so that we can see how things are reacting. Panel selector selecting There we go. Have them right there. And if you want, again, we can just like most of these guys to the side like this. And there's just two to appreciate how things are looking. Remember we're not moving this camera at all. Let's say real quick. And now it's gonna be the important bit. Now, I just want to mention something very important at this. It's one of these hidden things that you really need to go into the documentation to, to like, like, fine, anytime we tried to render, right now we are using GPU as you guys know, system we're using GPU. The problem is that if you update your graphics driver like NVDA every now and then updates or driver, you need to go to Arnold utilities. And there's an option here that says pre-populate a GPU cache. You need to do this. It's important that you do this. This is going to improve your render times and it's going to avoid like, like, uh, bugs and crashes and things. So every time you update your graphics driver or you're having issues with your GPU, you can try to pre-populate the GPU cache. It will take a little bit of time. You can see here it says it's 26 min. It's not really going to take me 26 min, don't worry. But it might take a little bit longer. There you go. Now work at 37 s. So just giving them enough time, let this thing pre-populate the GPU cache. It loads like shaders and stuff into your cash into a cache folder so that when we render It's not taking as long. Okay, I'm going to pause real quick. Wait for this GPU to, to finish, and then I'll show you the Render. Very well. So the cash has been prepopulated. That should make the rendering time. It's a little bit easier, but there's one more thing that we need to check before we try a render with this like for k textures and that is the texture maker. So I'm gonna go to Arnold again utilities and there's this texture manager, TX manager. What this will tell us is which of the images that we are using have been properly like transferred or converted into a TX folder. So as you can see right here, we're only using the first one of the you them's and not all of them have the TXT file. And you can look at that like if you go to your source images here real quick. Let me show you. You should have each image that you should have a txt file, which is gonna be slightly bigger as you can see right here. But this TX thing is optimized for rendering so that we have something called MIP map. So it's just a way for, for textures to be better prepared for the rendering so that the rendering doesn't take us long. It does a preprocess of the texture so that when he needs it, instead of going to this one and then doing the preprocessing, it just goes directly to the file that it needs, which is this one right here. Okay? So what we can do here is we can refresh and, uh, try to get, as are all of these ones. Like to be ready. Again when we shoot the first render, I'm gonna go here, Arnold, let's open the render view. I'm going to select. I'll wait till we don't have a shotgun. We do have the shock. My sudden I'm looking here for some reason on the render. We're not seeing the shock them, that's fine. I'm just going to hit render here. And the first thing I do this, you're gonna see down here that's going to take a little bit longer to start. The reason why it's taking a little bit longer even though it is starting. You can see the time here at fencing is because it's doing that conversion. You can check it here in real time. Like there's gonna be like more and more like files being generated. There you go, like all of the texture far so being generated, this is only the first time we do it. Only the first time that you do this process with all of the textures be processing to texture files. And it will take a little bit longer once we do this one time, the next time, you're not going to have to do it now, again on the files that I'm gonna be so bidding if you try to render, you're going to have to convert this the first time around. It should do it automatically, but if it takes a little bit longer, just wait for it and wait for the render. I'm going to pause real quick again and I'll show you the final result. There we go. So as you can see, the rendered 2k, 1 min 41 s. To finish and look at this beautiful texture that we have right here. Like this is what I meant when I was telling about the time travel thing. Like you've seen this one. This is the first time I'm seeing the character with this textures. You've seen it on the intro video. So for me, knowing that we got all the way here from absolutely nothing else, just, it's just so, so cool. So I'm going to render, of course, from the shotgun, look at this like second time around. Now that we have all of the texture files and even we're going closer here. We're not going to need all of the different elements. We only a very quick render 5 s. He took 5 s thanks to the texture conversion and text to the GPU precaution. And look at this. I mean, come on guys. I know you're gonna be able to do this. I know you're gonna be able to get here. And once we have this, your portfolio is going to be just so, so, so amazing. So, yeah, this is it guys. I'm going to stop the video right here in the next one are off-camera. I'm just going to assemble all of the plates again so that we have the proper organization and we're gonna start talking about the environment. I wanna do a small little scene, a small little environment for us to really showcase our work in the best possible way. So hang on tight and I'll see you back on the next one. Bye. 79. Adjusting Panels: Hey guys, welcome back to the next part of the series. Today we're going to take a quick look at adjusting the panels. So as you can see here, I've duplicated and position the balance where they're supposed to be. And the important thing here is that I move the pivot point to the center of the element. Remember, you can move the pivot point with the letter D and then you can use V, just snap it to any point. So I snapped it to the base right here and then I pushed it and snap it to the center right there. And by doing that, the cool thing about this is now every single panel that we select when we scan it, if we want to scale it, it's going to scale from that specific point. So it's going to give us a very nice and uniform alloc transformation. And technically I could grab like every single panel here. You can see they're in a couple of groups that I have over here. But I can grab all the different panels as individual geometries, not the groups, the geometries. And if I scale, I can make the whole thing bigger or smaller. I do need to be careful about that. Like some light go. Let's do word overlaps and stuff. I want to have as little overlaps as possible. So for instance, this one right here, I'm going to push it back a little bit more and something like there. It looks fine. And also the cool thing about this is that eventually on the animation side of things, by having all of these guys in as individual elements and all of them with their respective Or were there selected elements, we could do this sort of animation. That, as you can see, we don't get a lot of right now and some of them are going in the wrong direction. They're going like back. But you can imagine how we can do like this animation where the panels adjust themselves a little bit. Maybe like to fire like a super beam or something. That's the kind of fun stuff that you can do later on. But the thing is, we got this. So I'm going to say real quick, I'm going to jump into Arnold. And very important, anytime we duplicate something, you need to go here to render. And there's this update full scene. What this will do is it will tell Arnold, hey, there's new geometry. We change a couple of things and now this is how it looks. And oh my God, look at this view, the full thing right here. There's looks really good guys. I'm not gonna lie. I really, really, really liked this thing right here. It's a great, great texture. It's a great model of thing. And it just looks really, really impressive. I know that I'm the one who made it, so it will be stupid for me to say that it's wrong or something. But once you do something and you really like something that you did, that feeling which I'm sure you guys are gonna get when you finish this project. It's just it's just so good. So yeah, that's it, guys. As you can see, we got most of the things ready. There's one more or a couple more things I want to do before we jump onto the final scene, which's going to be a nice little scene under unlike the Savannah. So what I'm gonna do here is I need to go the ice. So these guys right here, as you guys remember, are just a glass or they should be a glass material. They have the line and skeletal material right now. So I'm going to sign an existing material. And I do believe we have the other one. If we don't, I'm just gonna assign a new material Arnold AI standard surface. And it's gonna be a transmission completely here. And I'm going to change the color to a red color. By doing that when we render now, we're gonna get this very cool red looking effect inside of the eyes. But that's not all. That's absolutely not all. I'm going to create two spheres. One sphere right here. I'm going to move this fear to the center of this character right there. So let me use wire from unshaded because otherwise it's going to be impossible. There we go. And I'm going to position the sphere inside. Yeah, this is gonna be the the actual Leica emission lighter. We're going to have this sphere, I'm going to call high underscore light. Of course, we're going to freeze the transformations Lu history. And I'm going to mirror this to the other side, again, the history. And now that we've done this, I'm going to convert those into something called a light. And it's gonna be a, what's the word a mesh light. What the mesh-like does is it will emit light from that specific point. We'll get that information being refracted or pretty much like properly calculated through the eye right here. Let me stop that right there. I should have had updated the scene first because there was a change in geometry. So I'm just gonna start right here. I'm going to close this real quick. I'm gonna go to the highlight here. One thing I'm going to do some really going to increase the exposure. Let's start with something like 15. So now if we render, we should see, is we should see the light coming from the inside of the eye, like the light is going to be. I'm just going to be coming from there. So let's just give this a couple of seconds for it to properly the calculations. And once we have that, this thing should be emitting light as if there was a nice little light bulb inside. There you go. So look at that and we get this sort of like red hue on the armor as well. Why? Because the, of course, the what's the word? The glass is diffusing that sort of light into the environment. If we want to, we can change the color. I think it might look interesting if we change the color to a blue color. So let's go to like this, a blue color right there. Now if we render slide is gonna be blue. We can change this at any point. So not that big of a deal, but one thing we do need to do is we need to go here and we need to make the light visible. I do want to see like the white light, they are on the inside. So now it's going to look like a nice little glowing sphere on the inside of the robot. So if we take a look at the shot Cam, There we go. We're going to have the light information actually going through the elements and creating this very cool looking effect. I think the exposure might be a little bit too much. So we're gonna go back to you to the light option and let's bring this down to like a 12th. Because again, I do want light contribution, but not that much. Something like that looks interesting. I think in might not be a bad idea actually to make the light or the, the glass rather. Let's make this red. Let's change the name to m glass. There we go. With this done. We're now pretty much ready to go into a scene and position this character in such a way that he looks like it's part of the scene now, we're not gonna be able to reach him. Like the rayon process will definitely take another 20 or 30 h to explain. But we can definitely move a couple of things if needed. So this is where I meant by the cleanup process. For the cleanup, the main thing that you want to make sure is that things are organized or a group in a way that makes sense. So we already have the whole armor right here, which is great. The ideal thing would be to go here and divided pretty much like what I have right here. And instead of the next or over the names, as you can see right here, just having a very simple idea here is it's more than enough. Your rigger will probably ask you, and this is again production dependent. They will tell you how they want things to be set up. Sometimes there'll be like, Hey, you know what? I want all of the pieces that are going to move as a single piece to be together. But talking from my perspective as a rigor or as the times I've ever done rigging myself, I prefer to just have clean geometry like this and then I will make the decisions because I know how I'm gonna be rigging it. And if I get a lot of combined things, I'm going to have to combine and separately and rename and stuff like that. So by having this meshes like this just clean like that, that should be more than enough. I'm going to, for instance, grab all of the panels right here, Shift P to get everything out. And we're going to delete the groups right here. And then all of these panels right here. Just to make sure that we're selecting all of them control G. And I'm going to call this lion panels. And what we could do if you want to do is we can maybe like parent this lion pounds into the head armor. So if we buy any point, move their head armor like this, which we could try to do, like give it that little bit of a rotation or something, everything is going to move. Okay. So yeah, that's that's pretty much it. We get this thing. Oh, that's the eyes. Okay. So this is not lying skeleton. This is lie on this one. I'm probably going to have it on the skeleton thing right here. So there we go. So here the skeleton is the one that I would probably recommend renaming or regrouping to just hiding everything else, like hiding the armor over here and then selecting everything. And you'd be like lie on a skeleton legs, ligand skeleton. Hips are lying, skeleton arms just like to organize things in a way that's a little bit easier to understand and you're gonna get a really, really cool result there. The highlights very important. The eyelids should also be attached to whatever or wherever the eyes are. So I'm going to select these highlights and then P to just parent them to the skirt and group like that. We've got our renders setup and everything. So I'm going to save this in real quick. Here's what I'm gonna do. I'm going to actually delete the render setup, but by render setup, but by skeletons right here, but by all of these things. Now as you can see, this only has or where the second worst my panels are. There we go. We delete that one. So at this point we only have in the scene, the skeleton and all of the armor of the lion in a single file. I can save this. I'm going to save this scene as a render start because this has all of the necessary materials and everything to work properly. We can no longer do a render. This was the final render that we did right here with no longer do it right there. Actually let me save this image, have on our little timeline here. I mean, we could do at random, right? But there's no light, so we're not gonna see the same exact thing. We can bring the render setup again, but that's not what we want. We're gonna do a new render now. The one last thing that we're going to do is I'm gonna go to the hyper shade. And I'm going to say edit, delete unused nodes. We should only have the black. I don't even know why we have this. Let's select objects with material. It says there's something with that material. Can't really see it. Everything is being displayed so it's closed at, again, select objects with material. I might assign that to a group or something. I don't know. I'm just going to delete it. We should have the glass, the lion panels, the land armor, the lions skeleton, and the basic standard stuff that we have inside of Maya. That's all you should have on your scene. By doing that, that you can see we're gonna get a really nice clean, lightweight scene are relatively lightweight. And we're gonna be ready to jump on to the Rendering section. So, yeah, that's it for this one guys. I'm going to stop the video right here. And then the next couple of videos we're going to start looking at how we're going to prepare the scene for our cool render. So hang on tight and I'll see you back on the next one. Bye bye. 80. Quixel Megascans: Hi guys, welcome to the next part of the series. Do that. We're going to continue with the little environment that we're gonna be doing. And it's going to be rather simple environment. I don't want to go overboard with the whole thing. I just wanted to do like a very heroic sort of, sort of a render for the character. And I want to have realistic grounds in order to get a realistic effect. So the two that we're gonna be using is Quicksilver mega scans. Quicksort mega scans is a library of things, objects though, like alphas, trees, everything that you can use for projects inside of or unreal and stuff. So here with Mexicans, you're going to have to have a epic accounts or Epic Games account. Just create one for your own. Once you have that, we can go here to collections and we have a lot of the different connections. As you can see here, we can download a hole or a full environment, or we can just download specific pieces that we might want. So what I'm gonna do here is first of all, I want to see if I can find something that looks interesting. I've always liked this like Nordic coastal cliffs. But that's a little bit too weird for us. Like this sense I think will be really, really interesting. You can see we have a lot of materials. The materials we can download them and use them as material for our grounds. But I'm actually looking forward the big stones that we could use for our project. So I'm going to look for let's see where those likes to Savannah thing or something here. It has to be something like that. There's this sci-fi landscape which just really, really cool. I like that one. There we go. Like this sandstone looks really, really good. As you can see, we have like stones and bricks and then we have this guys right here, rock, sandstone. We get some of these guys as well. There's guy like a cliff which is really, really cool. This one looks really nice. This one actually, I think it's actually quite perfect. Let's see how big this, this doesn't say the size. What I'm gonna do here, so I'm going to change this to Forky resolution. I'm already logged in, so that's why I have this. I'm just going to download this. So when you download this, it's gonna be a relatively big file, but it shouldn't be that difficult to utilize. I'm gonna be opening over here my assets folder. Anytime I download assets, I like to keep them in here. And let's bring this in. Again. As I mentioned, I'm going to keep it simple. So as you can see right here, we have a lot of different maps. We have a leader, I'll veto LOD for LD50 displacement, displacement normal LOD zero L d1, d2, d3, d4, d5. What the **** is this? Lod means level of details. And as you can see, we have several FBX is with different levels of details. That the smaller the level of detail, the more high-quality the acid is going to be. So in my case, I want to use the LOD see rho, which is the most advanced one. I'm going to create a new folder here on my assets. I'm going to call this a rock. Oh, here instead of the rock folder, I'm going to bring in my I'm just going to drag and drop the LOD zero FBX. Now, other than death, here's the preview. By the way, this is what we want to have on our scene. Other than that, we need something like the albedo. So that's the colormap. We could use displacements. So I am going to bring the e x star displacement just to show you how we could use that one, we're going to bring the LOD normal and we're going to bring the roughness. Those are the four maps that we need. As you can see, we don't have a metal this map. Why not? Because there's nothing metallic on that specific acid. Now, here into the render setup, I'm going to save this as a new scene. Or actually I'm just going to say file increment and save. The render started is completely clean. Here we need to start bringing in all of these elements. So I'm gonna go to my LOD zero and I'm going to bring it in really small stone, but that's fine. I think we can work with this. We can make it a little bit bigger just by scaling it. And we can start positioning our character in such a way that it looks like he is on top of this rock creating a little small scene right here for our character. Something like this. And then I tried to make it so that the floor is like S level this possible. I don't want to have this. We might need to do a little bit of a pause for the character. That's fine. Like we can definitely do it. But we're going to have something like this. I'm going to turn off a word from my shaded. There we go. The first thing I'm going to turn off the ground. We don't need that anymore. The first thing we need to do is we need to find our shot, right? Like we need to probably find where the camera is going to be. And the reason why this is important is because based on where the camera is gonna be, it's how we're going to be positioning like all of the elements that we might want to add. So I'm going to create a new camera, rendering. Cameras, panels look through selected. And I'm going to call this camera this shot camp. As you can see, we get a shotgun, one, which means that there's probably a shotgun, or let's call this shotgun. Just call this shotgun environment. There we go. If we go to the shotgun and we say panels, look through selected, we need to find the proper rendering position that we want and we want to showcase our character in the best possible light. So we're gonna go for something like this. Now here's where the focal length is important to. Focal length is the distance that we have from the sensor, the length from the lens to the sensor. And depending on the focal length, the way the image looks, it's going to be slightly different if we go really low. For instance, if we go for an 18 focal length, you're going to see that we're gonna get a lot of really heroic and distorted effect for the whole thing. If we go really high to a 55, we're gonna get a really flat effect, which is what? Sorry, which one we need will depend a lot on the type of shot that we're going for in this case is we're going for like a heroic shot. I think we're going to go for a 24. So we get a little bit like distortion and this sort of like Epic field. We're going to have a couple of extra renders, of course, but for the lag, one of the main thumbnail renders I want to go for, for something like this. Now here we can start adjusting the stone, for instance, just like rotating around, moving around so it overlaps a little bit with the foods and stuff and we're gonna get something like this. Now, as you can see, this shot looks interesting, it looks good. We see the phase, we see the main, which is probably the most important part, but the tail, unfortunately it's not where we would like it to be. We're, we're not really seeing the tail, it's kinda like hidden. So what can we do here? Well, if the pivot points off our elements, where on the proper position here, we could twist the tail a little bit, but since it's not one of the easiest things to do here is just grab the whole thing right here, the whole tail. And we could just like a group, it control G, move the pivot point, I'm going to send you a bill point. This is why we're doing this on a different one and not like the final model. And we can rotate it like this. So it looks like the tail is slightly twisted, right? So then when we see it from the shot camps, we're gonna be able to appreciate the tail. We can move it and wrote it. And as long as it doesn't look like, it's like disconnecting from the body. We should be fine. See that? So just a little bit here. I know it's disconnecting from the body, but this is where we're going for a single shot just for presentation purposes, you can do a lot of like, really, really tricky things like this one like you can, you can definitely like a poles your character a little bit better, degenerate the slightly more interesting results. So for instance, I can do the same for the face. I can grab all of the, all of the different parts here on the face like all of these guys right there. I'm going to Control G them again. And I'm going to move the pivot point to the base of the neck right there. Why? Because now what they can do is again, they go to the shop cam, which by the way, let's make the shotgun bigger. Mentioned this before we go to the shot, come all the way here to object display, Let's make the loci Roskilde really big. There we go. So panels selected and we can grab this group right here. And we can make the lion look our way like this, or maybe not our way. We can make like just give it a slight rotation. So we get a nice side view or render. Same for the panels right here. I'm going to grab this camera. Panels, look through selected panels. T rough copy. So we have a copy over here. And they can grab some of this site panels especially. And just like move them forward a little bit. Maybe not that one. Like this upper one right here. Because I really want to see a little bit more of the domain here on the back. You can see there's like an empty spot right there. It looks a little bit weird. Just move this one up a little bit. Even if there's a little bit of overlap, It's like it's not super obvious and we're covering it right there. It should be fine. There we go. Like this right here. It looks like a really, really, really cool shot for a, for one of the things that we're gonna be doing now, materials, we need the material for this guy. I'm going to save this real quick and we're going to use the substance thing again to create a new material like multiple maps. We're gonna go to assets, of course, rock. And we select all of these guys right here. As you can see, it doesn't know the names of some of these things. It found normal, it found rough this but not base color because this one is called albedo. Just go here and on height, we're going to use this displacement right here. I'm going to hit Select. There we go. If I hit Apply now, as you guys know, we're gonna get a new shader. It's no longer gonna be a standard like 14 or whatever. It's gonna be a different number. It's converting the textures right now. Again, when you open this thing or when you load textures into Maya or no, automatically will connect things or wouldn't try to transfer them into t-axis. You can actually disable that on the Arnold settings, I believe. But it's really not that big of a deal. It's just wait a couple seconds and then you're you're good to go. So let's go here. There we go. Let's find the whole thing. The displacement is going to be connected directly to the distinct right here to the surface shader or surface groups, right? The shading group rather, this one we're going to call this M rock that we call. Again, all of the materials should be properly connected. We just right-click assign existing material and we assign the M rock material. It will work to see the textures. This is what we should see. Okay, So we go panels will to select it and this is what we have. Now, the last thing we need to do is we need to go to Arnold and we're going to assign a new sky dome light. Now, the sky dome light that we had before might not be the best one because as you might remember, that was like a very traditional ones. I'm gonna go to H DRIs and I want to go for a sunset. I don't want to go a little bit warmer on my temperatures now. This bell first son's first looks really good. I usually will not want I'm picking these sort of things. I tried to go for something that doesn't have a lot of like light information. So for instance, this one right here looks good. Arden forest, this one right here, Copenhagen. Because as you can see, the shadow is very soft. And what that allows me is if I want to change things, I'm gonna be able to modify the shadow a little bit better. This one is perfect on longer and longer sunrise. It's it has sand and stuff, so this is just great. We're going to bring this, of course, to our source images folder. There we go. And if we go into Arnold, we're going to go to the attributes here of the sky dome light, and then the color. We're going to plug in the color information on Longa sunrise stairway. Now, very important, we need to decide where we want the sum to be, right? Again, it's converting the texture. That's why can't a little bit there. And I think I'm gonna go for likey sort of like backlight for the sunlight coming from this side. And then we're going to eliminate a character on this hype for ourselves. So we go look through selected and this is where we have probably going to go a little bit farther out and just modify the camera a little bit. I'm trying to go for this sort of like not in the center, slightly to the side view, something like that. I think. There we go. Now, the cool thing is we can grab this guy right here, Control D and create a slightly different rock, like, just like use the same rock or download more assets. We're going to keep it simple here, but we can get another rock and have it like right around here, degenerate a little bit of depth on our element. And I can duplicate this again and have another one. Like on this side right here. Since we're not seeing the exact same side of the rock, people won't know that this is same acid. And we create this very cool looking overlap of things in the environment overall. Now, I am going to keep the sun for now, but later on, we'll probably do a little bit of post-production instead of Photoshop to have a slightly different result. This is where the aces thing works. Really nice. If you go to the, a sustained right here, you can actually play with the things and see a better representation of what we're going for. But again, it's not, it's not really necessary. So I'm just going to save this real quick. And let's throw in a quick render. Let's see how this goes. So we're gonna go from this, which was a very traditional clean scene of our robot to this. Look at that. Not bad, right? Not for Breaking Bad. And look at the stone. The stone looks really nice as well. Like it's not the most perfect stone or everything, but it looks quite, quite nice. We get some nice colors overall. And in general, this is, this is looking, this is looking really, really interesting. Now, I'm going to stop the video right here, guys, this is just the very basic setup of the quicksort things and the elements. We can see that our character is looking quite nice. Again, the Sun or this guy is not the best one, but we get something we can work with this. And in the next one, I'm going to show you how we can make this image look a little bit better. We're gonna do a little bit that affects your lightning. We're gonna do some camera tricks here and there. And we're gonna get a very nice composition. So hang on tight, and I'll see you back on the next one. 81. Lights and Camera: Hi guys. Welcome back to the next part of the series. We're going to start playing around with some of the render settings and the cameras and stuff here instead of arnold to get a more interesting effect. So first of all, I know that this is not going to be the final image that I want for my characters. So one thing I could do is I could bring in the actual image that I want to be using. So if we look for savannah, sunset, for instance, we can find some interesting images. Now, I don't want to go like super, super intense on the sunset. Like I think some of this will be like way, way, way too much. I'm gonna go to Tools size and we're gonna look for the largest or largest, the sunset we can find. Again, I don't want this sort of like a sun on the back thing. It looks very, very obvious, but something like this. This looks really, really good. So that one looks really nice. This one looks nice as well, and it matches a little bit with the kind of, kind of like colors that we have with a really, really, really liked this one right here. Trying to find one that matches our perspective as well. We're probably going to be going with that one. It also is quite big, as you can see, it's not full HD, but it's quite, quite big. So I'm going to save this image and we're going to say, but of course in our assets folder or in source images, South Carolinian marsh sounds. So let's just save that right quick. And you can see that this one is actually on the other direction, is on the other side of the, of the character. So I'm going to go to Photoshop. And let's open real quick that image. There we go. I'm going to hit Control Team. Control team. Come on. T, m. There we go. Right-click, Flip horizontal. There we go. Now the sun is going to be coming from this side, which is closer to what we have on our elimination. I'm going to go to Image, Image Size, and I'm gonna change this to 1920 by 1080. By, Let's click this and save 108. It's going to stretch it a little bit, but shouldn't be that bad. And now we can save this as our same thing that we had before. It's just save it as a PNG. That's fine. There we go. So we have our backdrops. So if we go back here, I'm gonna go and select the image or the light right here and down here on the disability, I'm going to turn the visibility down to zero. What this will do now is if I render, we're not going to see the, the image. But what we can do is we can open this thing up and on display. We can bring in a background. And I'm going to say background image. And we can look exactly for the image that we have right here, which is this one open. Oh my God, really admire, really. That was an easy one. Let me open that real quick. This thing guys, don't worry. There we go. So it recovered from the crash. Let's just make sure that this is set to zero. That's fine. First thing we do, remember anytime we have a crash, first thing we do is we just save to make sure that the temporal file is saved as a normal file as well. And let's try to render now the true food. Remember it's the image. Let's give it a shot. Come on my arm. I believe in you, you can do it. It's not a difficult one. If there isn't some work, don't worry, I'll show you another technique. I'm going to pause real quick and width to see if this response. So the zinc keeps crashing. I've tried a couple of things already and it's still crashing. I think it could be either the fact that we added more of this guys or the fact that we added the image. So the problem is I can't even access the render view to see if that's the issue. One thing we can try here, and it's not ideal, but we could change the system to CPU for now. And if we tried to render now, instead of using GPU is going to try to use the CPU. Now still crashing. So let me show you a real quick. I'm going to open my Again. Let me show you real quick how we are going to be solving this. What we can do is again, since we can't really access the rendering, it's pretty much, that pretty much means that we have successfully destroyed our scene, like our scene is now corrupted. We change something where we tried to add something that didn't work and now are seeing is corrupted. Can we fix this? Yes, we can fix this relatively easily. So what do we have on this thing that we want to preserve or pretty much everything? We want the skeleton, we want the armor, we want the assets, we want the shotgun. This two groups, the lights like all of these guys, all of the things that are in this thing we want to preserve. So I'm going to grab every single thing here. I'm just going to say File. And we're going to export selection. And we're going to export the selection as a Maya file, Maya ascii, and I'm just going to call it the next number. So points your CO2 dot MA, and we're going to export the selection. Now, if we open that, if we open that MA, right here, we're not going to save that one. We're now in a new scene. And how do I know where in the museum? If we go here to system, you can see now it's set to CPU. So hopefully now I should be able to open the render view. And as you can see, things are working. Okay. So let's try again to go here to display. I'm going to bring in an image, this background image right here. And I'm going to import. From our source images. This one right here hit Open. Oh my god, is that it? Is that really what's going on? Wow. Okay. Don't worry. Don't worry. So I'm just going to reopen again. And what I'm going to just, I'm not going to import the image. Okay, I'm gonna show you a different trick. This is not something that I love doing. It's not ideal. We are of course, going to be adding this image as a background in the after-effects later on. But yeah, so what we can do if this thing is not working is we can actually, let's open the scene again. There we go. Again, I know that if I open the render view, it should be working fine because we have not added the image. It seems like that's what's freaking everything out. And what I'm gonna do is I'm going to create the plane. I'm just going to create the plane. The plane is going to have on the polyprotein here and the width is going to have a 16. And then the height is going to have a night. That's a 69. So that's a full HD thing. And now we can just make this thing really, really big like this. And what we can do now is we can assign a new material, is going to be an Arnold, a flat, which is not going to receive any light information and it's not, it shouldn't contribute to any information either on this image. Now here's where we're going to be inserting the image plane. We've grabbed the South Carolina thing, hit Open. Then I'm going to select the camera, which is gonna be the driver. I'm going to select this thing right here, which is gonna be driven. And I'm gonna do something called rigging constraint. I'm going to do a point constraint making sure that maintain offset is turned off. What this will do is it will make the image jump to the exact position of the camera. Then I'm going to grab the constraints again. I'm gonna do an orient constraint, which as you can see, it's going to make this thing orient itself in such a way that it's pointing towards the camera. But I don't want that. I actually want to constrain orient constraint and I want to constrain, actually, it's not, it's not that let me go back. I shouldn't know. It was fine. Controllers and orient constraint first, there we go. We're going to delete this constraints. And now I want to make sure that this image, if we go to object mode, you can see the y-axis. I want the y-axis of this image to be pointing towards the camera at all times. So to do that, what I'm gonna do, I'm gonna grab this guy again, driver driven. We're going to do an aim constraint. So aim constraint, but it's going to be with the aim vector y, so x, y, z. So we hit Apply. Know, didn't do it properly. Let's reset settings. There we go. So it's here, the y is going to be one and the upper vector is going to be c. Hit Apply. Nope. Pretty much just wanted to. We can do this manually, something like that, which is just position this on the back. Let's, let's avoid the aim constraint for now. At this thing, we actually don't need to see it. You can set the scale to zero. It's the same thing. So we do panels, look to select a new repressed number six. We're going to see the textures that we can scale this up and generate a plane that we, we like, such as, like this one right here. Again, we're not going to use this image. It's just there for reference so that we know where the light is coming from and we can try to get everything to work. I'm going to Control S to save this real quick. And then now that we have this, Let's find a nice little like orientation right here, which will be something like this. And let's give it a shot. So I am going to change this to GPU. We're gonna change this to full HD. Okay, it's already full HD. And yeah, let's just give it a shot. So Arnold render. Let's see. If it likes it. There we go. It does like a cool, nice. So that's the image, right? And right now the image doesn't look like it belongs to the whole thing. And one of the reasons why that might be a s, because of the depth of field. Depth of field is this thing we normally get with cameras where if an object is further away, it's going to be blurred out. And this is where having the plane that's an actual object might actually turn out to be a good idea. So what I'm gonna do here is I'm going to go to the camera panels, look through selected and on the options of the camera. I'm going to look for Arnold. And here we have this option called enabled depth of field. So I want the line, of course to be the main focus. And you can see the lion is 281 units away, like to meters. So I'm going to change the focus distance two to 81. I'm going to change the aperture size to something like a one. It's very aggressive, but let's see how this looks. I'm going to save a snapshot of this one right here. Let's do a render. So as you can see by doing that, now, things, especially like the stones right here are gonna be slightly blurrier than other things on the scene. And we're going to be able to get something that looks a little bit more integrated. Now, the one thing I'm noticing is that we need a little bit more light. Like we have a nice like illumination coming from the south, but it's not enough and it looks a little bit like ala place, right? So to make this thing look even better, I'm going to start introducing more light into the scene. I'm gonna go to Arnold. I'm going to say enlightened. Let's start with an area light. Let's start with a big area light. And this is gonna be like one of my key key lights is going to be coming in the pretty much the same direction as the sun. So right around there. Now this light right here, I'm going to use color temperature. I'm going to make it a little bit warmer and I'm going to increase the exposure at something like a 16th. And let's give it a shot. Let's see how this looks. Because you can see 16 is not enough. 16 is not enough power on the light to really get something to look interesting here on the image. So we're gonna go here and let's go to 18. Still not enough. Let's go a little bit higher. 20 over each number is exponential so you don't want to overdo it. There we go, 20 starting to look a little bit better. I'm definitely going to make it a little bit warmer. Don't go super warm because then it's gonna be like really read and I kinda wanna see more neutral tones. We might have been changed the image at the back, by the way, we're just using it right now to, to get an idea of how things are supposed to be looking. If you want to hide it, of course you can hide it. And that we were gonna have a cleaner render right here. Look at this. This looks really, really nice. We get some nice light warm tones. We get some nice illumination here coming from this light. I think. I'm going to increase it a little bit more. Let's go 2022. There we go. That looks a little bit better. It's looking a little bit the burnt now. So I'm gonna go to 21. So we get some nice definition here. Light and shadows are super, super important to describe the shapes of objects. And then we get this to look nice. Then that's going to make our render look even better. I'm going to move this a little bit because I want the head to give me a little bit of shadow on top of the panels. And that's, that looks really, really cool. Now, one of the very classic lights that we have is a like a rim light, right? Because right now there are some other shadow over here and it doesn't look as nice. So I'm going to duplicate this slide and I'm going to bring it the other side. I'm going to use it to kind of like flood the back part of the character with light as well. So you can see it right there. Can flood that a little bit more. There we go. Look at that. That's going to help us separate the character from everything else. Now that's a little bit too close. I'm going to go a little bit more towards this side right there. And just take a look at the difference between having that extra light and not having it. I'm going to take a snapshot right here. I'm going to hide this light. Now let's rather again and see how we lose a lot of the information. So that extra light really makes the whole character like pop a little bit more. And that's one of the things that they don't tell you about, like movies and stuff. There's so many tricks and so many like like what camera elements that they do to make things look a little bit better. So for instance, here, you're going to push this out a little bit so we get a tangent. I'm going to push this down as well to make sure that the lion reads like hairs on the top of this mountain range or something. There we go. I still see that this part right here is looking a little bit like empty, to be honest. So what we could do is we could grab another light. Well, of course it's looking empty because we hit that one. There we go. I shouldn't make it look a little bit better, but I kinda wanna give it a, another rim light over here. So I'm going to duplicate this. I'm going to bring this to this side. And if we throw more light, as you can see, we're going to eliminate this thing quite a bit. It might not be as realistic now, but it's going to definitely, definitely make it pop right. Now what I wanna do with this one this summer, I actually want to move it a little bit. So that's unlike the rim light right there. I'm going to change the color to a blue color. Actually, let's keep it the warm. Well, want to do is I want to focus this thing a little bit more because right now it's a very big light. In big lights make for like nuts. So interesting shadows as you can see, we don't have as much shadows right there. So I'm going to start modifying the spread. The spread is a lot smaller. Going to make this slightly smaller as well. And this is pretty much like a spotlight that I'm shining on top of the character. Okay? So as you can see, if I move it out of the way, it's not going to affect me as much. So I can just paint a little bit of the information right there for the character. This is way too much intensity, so I'm going to lower the intensity a little bit. I'm going to play with this, position it in such a way that it starts illuminating the back part right there. Again, it's not as realistic because I know that the light's coming from this side, but it can definitely help generate a slightly different effect. I'm going for more of a product render like cinematic render, rather than a super realistic. I ran the right here. The intensity, they're still a little bit too much. So I'm going to lower the exposure a little bit more there. Little bit more because I don't wanna, I don't want to overblow the colors that we have right there on the paint. I just want this to be to work a little bit there. Now. I definitely can have a little more light on the chest. There we go. So see how this light is helping me paint those specific sections there. That's the kind of like a rendering the work going for. Cool. So we can bring the image back again. Not a huge fan of this like image right now. Especially after it made the whole software crash for so many times. It's not great. It's not great to be honest. Let's just, let's just hide it. We do have a nice idea here and again, we can integrate this with an image later on. And it's going to look really, really nice. So now a couple of other things that I wanna do is I want to add some camera effects to the. The render itself, we know that we're gonna be using a denoise or optics. By the way, if you don't have a GPU, like an engine, you're going to have to use probably the noise term, which is this one right here. Optics is four credit course. So that's why it works that way. I'm also going to add a lens effect. The lens effect is really, really good. Because with the lens effect, well we can do is we can add vignette, which is really good to darken a couple of the other areas. Look at that. Just a little bit of vignette and this whole array, it looks like a really, really intense, really epic. But we can also add bloom, which is really important, especially for the eye. We're going to add very little blue, very, very little point for us. You can see right there, it's gonna make things shiny, correlate. But let's do point to, we can of course increase the radius, which is how big the balloon is. It's gonna give us a very nice like photorealistic shine on the metals as you can see there. And we can lower the threshold as well. By lowering the threshold, more things are going to bloom. And by increasing the threshold, like less things are going to do is I'm going to increase the threshold. But not, not that much, but I just want where I want the I to be the one that gets the most threshold, like bloom, it a little bit of bloom right there on the elements. Push this, really increase the radius, is gonna give us this very cool effect. Actually seems like the, what's the word, let's do. It seems like the metal is having way, way more bloomed and other things. We're going to have to really lower the strength. Otherwise we're not going to get there. We can have like some nice little metal bits shiny here and there. There we go. There's other things you can add like a white balanced tone mapping exposure, but we're actually going to be doing, I want to show you how to do like small, like you just a very, very small animation inside of After Effects to showcase this thing right here, this character. And we can do all that things inside of After Effects if you don't want to mess with After Effects or even if you don't know how to use After Effects, then yeah, like working here with exposure and things like that would also give you a nice result. One thing I definitely want to add this, I want to add a little bit more focal depth. So I'm gonna go to the camera again. We were set or we were setting this at one on the field down here. And I'm going to set this to 1.5. Don't go super high because then everything is gonna be out of focus and we don't want that. Now, if we render especially like this, like stone right here, should be really, really blurry. We are going to be getting a little bit of blurriness on the tail as well because it's farther away from us. Maybe even a little bit here on the legs. So depending on if you want to do this or not, this is a good option. Another thing you could do if you don't want to have as much things like focus, let's go for a 0.75. I'm gonna go back to the camera panels, look through selected, and I'm gonna go panels tear off copy again. I'm gonna go to perspective view and then this guys, you can physically push them out of the way, right? So if we physically pushed them out, even if you rotate them a little bit so we can see more of them. That's fine. Then same for this one. So that what we're going to have a middle ground, a foreground, and then a close ground. That can also work. You can scale things a little bit. That's fine. Now we're going to have again, like, like foreground, middle ground and background. And what's going to happen on the scales here is this stone that's really far away. It's gonna be really blurry. This stone is gonna be semi, semi, semi blurry. And then this guy is gonna be like really believe focus. There's gonna be a little bit of blur there on the tail. It's still gonna be like quite in-focus. So something like this. And look how nice this presentation looks like. We can see every single beat of the elements of the character working as nice as possible. Now, there are, are there where some pieces, if you guys remember, let's go here too. We need to smooth not all of them, but with, for instance, that one we definitely want to smooth. So this is the part where if the computer allows us and allows it, we can start going to every single piece and smoothing things so that we get a softer result. This is where, where things are gonna get a little bit heavy. So I'm going to save again real quick who avoid any potential problems. I'm going to go to the line armor. Let's just hit number three for all of them. Let's go to the skeleton here. Number three for all of them as well. And if we compare, if you go to the render here, Let's save a snapshot right here. I think we did. And we render. The render is going to think a little bit longer because now we're dealing with like double the amount of polygons are not doubled like four times the amount of polygons. But as you can see, it can handle it perfectly, perfectly fine. And we're gonna get a really nice clean effect. No texture stretching like textures are working perfectly, perfectly fine. And we get a result that looks really, really freaking good. So yeah, that's, that's pretty much it for this, like lights and cameras setup. As you can see, this is gonna give us a really great element. We have transparency so we can get this alpha channel and use it to place an image that we want on the backside of this things look like the panels that they're like, everything looks really, really good. And now I'm going to show you a very fast thing. I'm gonna do a camera animation. Then I'm going to let this thing render and I'm gonna show you the post-production side of things. But this is it guys like this is pretty much it like normally when people do models like really cool moles like this one, I always recommend to try to get it into a scene like this, like integrated so that people know how it would look on the commercial, on the film, on the game or whatever, and then show, showcase, as you saw in the intro video, more renders using the like the standard render setup that we had before. So sorry about that. Sorry guys. I'm gonna stop the video right here and I'll show you a camera animation on the next video. Bye bye. 82. Camera Animation: Hey guys, welcome back to the next part of the series. Today we're going to take a look at camera animation. This is a very, very cool topic that a lot of people just like glass over. They don't even think about doing a camera animation to showcase the 3D aspects of the whole thing. So one of the great things about 3D is that we have a 3D world like we actually have a 3D space that we can move our camera around. One of the great things or the best things we could do is do a very simple render, 5 s, 5 s. So seconds of render where we just push the camera in 3D space. This is not the same by the way, when I was soon as I used to think this, this is not the same thing as as grabbing an image and doing a Zoom. I remember one of the first projects I delivered as a student was what I thought was a 3D render. And what I did was the image started like this. And then I just did. My teacher was like, what did you do there? It's like, Oh, I assume then I didn't have time to read through the whole thing, so I just render a really high like I was, I think it was like a Forky image and then just zoom it in and he was like, that's not a zoom in or it is assumed in, but it's not actually punching in into the scene. So we don't see any 3D. It just like a flat just looks like a flat image that you're assuming in. All right, so what we're gonna do here is we're going to change the amount of frames right here from from 32, we need 100. Or was it 121, 2,120 frames at 24 frames per seconds, which is the time that we have right now, would be 5 s of animation. I'm going to select my camera and I'm going to move it back because this, this shot right there, that's the shot that I want to end at. So I'm going to move it back. I'm probably going to have to modify certain things on the camera, like for instance, right there. So we don't see the border on the elements. So we're going to start right here. And I'm going to hit S on the camera. And then on frame 120, I'm going to push in. And we're going to have this very nice close-up of the line. I'm going to hit S again. So with that done, what we just did is we just created an animation for the camera. We're gonna go from here and we're going to get this ticket. Attack, attack, attack, attack, attack. And they can imagine it like an epic songs, song sounding or something. And we're gonna get this very cool like movement for the camera where we punch in and we see the lion in all its glory, right? So this is very, very simple thing. Now we could also do it the opposite way. We could start here and then go out. I actually think I want to start a little bit closer. Something like that. There we go. So we're gonna, it's gonna be on an even softer movement where we're gonna get this very cool effect. Now, if we go to frame zero, right now, the lion is 350 units away from me. So if I render this, let me see real quick. If I render this, the line is going to be slightly out of focus. That's something that you might want. If you want to have the lion be slightly out of focus. And then we punch in and this E and then we see the lion like fully in focus. Then just leave it like this. If you want to animate the depth of field, that's also something that we can do. We can go here to the shop camp and we can see like, hey, you know what? The depth of field or sorry, not here on the Arnold option. Let's start with a really high aperture size. Let's go for a two. And if we do an aperture sizes of two, what's going to happen is everything's gonna be really, really, really blurry. But the lie on everything we can go even higher, let's say like a 55 is just so, so, so extreme. But you're going to see the result in just a second. So now everything's gonna be out of focus like this. Like really, really blurry. And again, we can go even higher. Let's do it like 25, which is just ridiculous. If we do this, every single thing is gonna be out of focus like this. Only a very, very small part of the rock is going to be in-focus, which we might also want to change. Like we can say, hey, you know what, the focus distance is not gonna be 281 when we start, is going to be something like 50. Okay, so if we do that, what's going to happen? This, everything's gonna be out of focus. You can see 25 this event like way, way too much. Let's go to five. So by keeping the focal distance close to us and really far away, we're gonna get this, which is just a mess. This is just like a very, very, very blurry mess. What we can do though, let's lower this a little bit more. Let's do two things to start out-of-focus or two. Something like that looks a lot better. Again, very noisy still, but out-of-focus, noisy. There we go. And what's going to happen is in there, in a matter of ten frames where maybe like 1 s 20 frames, we're going to change or partially into go here. I purchase, I said key, focus distance. Set Key. In 20 frames, we're going to lower the aperture size 2.75, and we're going to increase the focus distance to 150. Okay? Set Key, Set Key. Then by frame 70, we're going to change the focus resistance to 281, which is a lot closer set key. And the purchases remains the same. But by the time we get to 120, we are going to have to 281.75. The purchases which is the same one we had. Like if we render, this is our final shot right here at our final render. Our final position for the camera, with some of the things like slightly out of focus and the character really nicely. They're positioned on top of this stone. If we go all the way to, let's say frame, frame five, we're going to have this like super blurry effect. So what's going to happen is in the span of ten frames, which is half a second, we're going to start with a really blurry image. And then what we're going to just focus onto the character and get a really nice animation. This is the kind of stuff that we can do. Again, this is the kind of stuff that really makes it pop. So you saw that in the intro video, we started with this video. We presented the character. Then we show the 360 renders on the clean character, which is like spheres and stuff like the professional renders of the character. But this shot right here is, it's like our selling shall we want people to look at the shot and be like, Oh, that looks really cool. I wanna know how he did that. And then I show you all of the rest of the technical stuff. So now that we have this, now that we have are shotgun, we need to render this out. We need to render this images so that we can work with them in different software. So I'm gonna go to the render options right here, and we need to set up a couple of things. First of all, what kind of image are we going to be rendering? I'm gonna go with tiff. Tiffs is really good because they do have an alpha channel. So we can use the Alpha channel to place the what's the word? To? Yeah, to place the image at the back like a like a transparent image on the backside of the thing that we're gonna change this to frame number and extension. Now, if you're a little bit more prepared or you know how to use EX Rs in like a compositing software, select nuke or like debenture resolved and stuff like that. Feel free to export this in the XR. It's also really good, but I'm gonna do tiff. As you can see, the name of the render is going to be rendered underscore starts 00 to underscore 001t if that's a horrible name, how do we change that by saving this scene? So I'm going to call this file Save Scene As. And this is going to be called guardian. Let's call this main shot. He'd save S. So by doing that, as you can see, this guardian main shot 001 dot TIF, That's what we're looking for. We changed the frame animation from name, number and extension, so we get a sequence of images. And here at the start frame we're going to set this to frame zero or frame one is fine. And we're gonna go all the way to frame, let's say one-to-one. So we get 120 frames. Once we do that, that's pretty much it. We said this HDI to 1080. That's great. On render. The samples and everything are fine. I think we get a nice result, but I am going to enable the sample, so I'm going to reduce this to ten. Let's do a quick render test right here, especially at the finest, like the final render, to see how long this is going to take, because this is going to allow us to calculate how long will this whole thing will take. So as you can see, it's taking a little bit longer. That's 5 s, that 7 s, 8 s. As long as it takes like a minute, I'm perfectly fine. Because by increasing the samples, what we're doing is we're giving more time to, to get a cleaner image and get a really nice result. So there we go, 20 s, 20 s for a full HD image, it's perfectly, perfectly fine. And we're gonna get a lot less errors, especially like on the lights right here like this, like little dots. They're gonna be resolved way, way better. So I'm going to stop this one right here. And that's fine. We're going to leave that instance there. Gpu is fine. We don't want any a UVs. We are pretty much ready to go. So I'm gonna hit Control S, very important. And while we're gonna do here is I'm going to press number for began to leave a little bit of more performance room to the system to solve everything. And I'm going to go to the rendering tab. I'm going to hit Render. And here where it says Render Sequence, I'm going to use the shotgun very important. Select the proper camera. I've had a couple of occasions where I render something and it's not the main camera and it's so painful to have to re-render everything again because you selected the wrong camera. Shotgun, make sure your frame range is right here. And then we're going to hit Render and close. I'm not gonna do it right now because it's going to block my computer pretty much. So. But this is what I'm going to do. I'm just going to hit Render and close. And this is going to start a rendering. Now, before I finish this video, there's one important note is that I want to mention a couple of months ago or actually like a year ago when I updated my graphics card, there was a memory leak inside of Arnold. So you need to go if you have this memory leak where you started driving with GPU and F for like two or three frames, sometimes more, sometimes less, it crashes. That's probably because the GPU is not like flushing out all of the memory when it starts a new frame. So it comes to a point. It just like blocks itself. So make sure to go here and download the most recent ones, like you just go to Arnold renderer.com, underscore, download, you login to your account. And depending on what system you're using, download the latest version that should solve that GPU. I've had it several times in different computers when I forget to update this thing. And it's really, really annoying. But yeah, like once you do that, you should be, you should be good to go. So I'm just gonna hit here rendering and close. And as you can see that we get the Maya render view. Very important. This is the Maya render view. It's going to start rendering. And once it finishes the render, you're going to see the whole thing. So that's it for this one guys. I'll see you back on our next video. 83. Post Production: Hi guys. Welcome back to the next part of the series. Today we're going to continue with post-production. And this is just a very basic how do we get this frames, all of this range. So we turned her into a video and add the image on the back so you feel want to go the extra mile and do all of these things that we've been doing on this last chapter, then you're gonna get the grade results. So as you can see here, we have the 121 frames took about 2 h to 3 h on my computer. I'm going to start a new project here in After Effects. If you've never used After Effects, do not worry. I'm going to show you the most simple way to do it. This is the basic interface we're actually not going to mess up with like Fairfax and stuff like that. I'm just going to right-click right here. I'm going to hit Import File. And we're going to go to the file, which is this one right here. I'm going to select the first one. As you can see, it automatically will know that this is a T2 sequence because he finds that it has a.001 and all of the other ones. We just hit Import. And that should be it. As you can see, we have it right here. Now one important thing when we render this will have 5 s, right? And as you can see right now, we go into the description. It says we only have 4 s. And the reason why we have this is because it's actually loading it as a 30 frames per second animation. We don't want that. So I'm going to right-click. I'm going to say Interpret Footage Main, and we're going to change this to 24. Now we should have our force F 5 s right there. And the only thing we need to do is drag this thing into this little guy right here, which is a composition. It's going to create a composition down here that we're gonna be able to work with. By default, this thing is set to false, so we're gonna be seeing the full composition and if your computer can handle it, then go for it. As you can see, we're going to get very nice like a distribution right here, the nice like camera, camera effect. But if you're having issues where you can just load this or bring this down to a third. I'm going to keep this at four, just so we can see everything that we need to bring in an image, the desert image. So I'm going to go for I'm gonna go to Google Drive or Google Drive. Google. Here. There we go. And we're going to look for, it's a BATNA, but now we're not going to look for sunset. We're going to look for savannah afternoon because it's not supposed to be sensitive. It's more like afternoons, Savannah afternoon, Africa. There we go. So we want to look for a picture that is, again like far away. We don't want to sound like something like this. Actually, it looks quite nice. I would say maybe like the sun is a little bit like too on the far side. So something similar. We just want something that we can use as a backdrop for our elements. This one is actually not bath, even though it's really, really low. One thing we can definitely do is of course go here tools, size, and look for large size images. And that one's not that bad. Of course I don't want elephants or anything. I just want to make the sky. So let's do, I'm going to pause real quick, look for one and then I'll show you. So I looked for a sunset and I found this one. And this one actually looks quite, quite, quite nice. It's not the size that I would like that with the greatest, but I really like even the goddesses stuff. I'm going to save this image and we're going to save this image on our source images. And then if we go back to After Effects, I'm going to right-click import again File. And we're going to import from our source images, that image. The interesting thing about after effects is that it doesn't actually, what's the word? It doesn't actually like load things into the software. It's referencing them so you don't want to move things. Once you are doing this sort of stuff. We're going to bring this in the composition right there. And as you can see, thanks to the Alpha channel that we got from the tiff, tiff element, we can very easily just like modify this. I'm going to click or I'm actually just going to grab this little square right here and use a blip, flip it to the other side so we get the salt on this side right here. I'm gonna hit Enter or actually no, I'm just going to click outside and there we go. That's gonna be our bactrim. Now, we definitely need to match the backdrop a little bit better. The first thing I'm gonna do is I'm just gonna give it a blur. So I'm gonna go to the Windows options. I'm going to look for the effects and presets. And over here, I'm gonna look for a blur. I'm going to use this Gaussian blur all the way here, or you can just write it in Gaussian blur. That's the most basic one. We're just going to drop it right there. And if we increase the blurriness, lets say ten pixels. As you can see, everything's gonna be blurred. Tab pixels. I'm definitely gonna increase this quite a bit for probably like 20 pixels. I think that's a little bit better. And now we need to adjust the colors of the image because as you can see, the image looks really, really yellow and the environment looks really orange. So we want to match those things. I'm gonna go here and we're going to look for hue saturation. And we're going to drag and drop that effect on that image right here. And what we can do here, for instance, on master hue, we can rotate this a little bit. So we find a tone that's a little bit closer to color. So for image like that, as you can see, that already makes it look way, way, way nice, right? I'm going to say real quick. I don't want again, I want to make sure that we don't get any issues. So I'm going to save this on our project garden assets. We'll call this render. After. There we go. That's it. Now, we can also play a little bit with the brightness, right? Like right now, the lightness of the backdrop is a little bit too dark. Like we have a lot of contrast compared to everything else. We can try playing with them with the master lightness here. But as you can see, it's not really going to give us the best effect. And that's because at this master lighten, this is affecting every single pixel on the image. And I actually don't want that. So I'm going to look for another effect, which is called a Levels. Levels in here. And add a levels will allow me to modify only the output white or only the output black. So I'm going to make the black a little bit lighter. I'm going to make the light a little bit more intense as well like that. And we can very quickly compare. I'm going to close the effects right now. If we bring this back down here and just make this as big as what we have. We can very quickly compare how it looks with a very like lazy and just like over, overthinking right there. And once we add a couple of effects, it looks way, way, way, way more, way more integrated with the scene. So that's, that's pretty much it. I mean, if you want to add more stuff, Here's where you can use something called an effects layer. So I'm going to right-click right here. I'm going to create a new, and we can call this an adjustment layer. And here on this adjustment layer, anything that we change to this adjustment layer, it's going to affect the whole thing, the whole image. So for instance, if we look again four levels, actually going to look for curves. 84. Final Render: Hi guys. I apologize, but the video again cut a recording software that crashed again. I was mentioning the adjustment layers. Let me show you that I just did two things right here. So on the adjustment layers, I added this curves function right here. And what the curves function is doing is it's modifying or actually went to the red channel and they modify their career for the red channel so that we can push the values of the red colors a little bit higher or lower depending on the kind of effect we want to do. This is pretty much like using color correction on the picture itself, on the blue channel or does something similar. I added a little bit more blue and the shadows and less blue on the highlights. So we have this very nice like warm, cool effect going from one point to another. Then I went to the adjustment layer right here and I modified the opacity to 25%. And by doing that, we've successfully created this very cool looking at picture. This is without the color correction right there. And this is with color correction, which as you can see, like lightly changes the way the picture works. The next thing to do is just say Composition, add to Adobe Media Encoder, which is what I just did. And export this thing out, just like run the Media Encoder, run this video. It's going to convert it into an MP4 by default. And with that done, you are going to have your very cool looking picture, which is what I have right here. Let me show you that one right there. Okay. Let me navigate real quick to the assets. And let me play the video for you. Look at dad. Cool, right? So this is the final result of our little five-second animation. And as you can imagine, if I'm showing this in my portfolio, it will be very cool to show this five-second like animation to let people know that I know how to render and how to create some really nice shots. And then show like the turntables, the front view and side views, the wireframes, like all of that information, can also be exposed in the other animations here inside of the software and pays them together into an intro video or something. So this is it guys. We've successfully gotten to the final part of this process. There's gonna be one more video. We're just going to take a quick overview of all of the things that we did and that's gonna be it for this course. So make sure to get to this point, make sure to render your amazing looking robot. And I'll see you back on the next video. 85. Wrapping Up: Hey guys, welcome to this final video. Today we're just going to take a quick look at all of the things that we thought we did along the course. And the first of all, I would like to thank you guys for being patient and for following along throughout all of the different things that we did. It's been an amazing journey. I think I am really, really happy with the final results. As I mentioned on the first video, it's always really fun to me to see the concept, the original concept, and know that you guys are already seeing the final video, but I'm, I'm just discovering it or I'm just building it up as we go or move forward. So we started with this concept piece by our amazing friend as Fox. And now we're jumping into the, the process. One of the main things that I like to make sure that I teach during my courses is to make sure you guys understand the process because knowing how to follow the process will allow you to get any constant P is any project and take it from zero, this very basic blocking to the amazing final result that we got right here. So very important. Remember that one of the most important things whenever you're tackling a project is to take it bit by bit, like byte by byte. You don't want to, want to try to do everything at once because it becomes very overwhelming and you can get really, really frustrated hopefully with the whole construction of the skeleton. You also understood that all the things that we are looking for when thinking about the future animation of this element. This element is prepared to be animated. A lot of the pieces make a engineering sense. Maybe not like a, like a realistic engineering sense, but they have the pivot points and the rotations where they should have it. So that if you wanted to read this character, it could be array. After we finished the construction of this counter. And right here we jumped directly into the armor bits and the ARMA process was really, really, really cool. A lot of different techniques, stitching, we did like the Booleans, like fixing, we did extraction duplication. A lot of like making sure that things just fit it together and we're like properly laid out after we've finished with this way, of course, a jump onto the UV process. We made sure to have a super clean GPS for the whole character. And after that, one of my favorite parts of the whole process, texturing who look at this render. So, so, so cool. This is gonna be one of my portfolio renders as well because I'm really proud of how this one looks. It looks really, really cool. We use you them's we use for K texture. So we did, we went quite high on the resolution and on the, on the details. But as you can see, it pays off like we get a really, really nice and realistic effect. And of course to top things off, we went over and so a little bit of integration with the scene with full CGI seen and how it can look. We render the video. And well, with this, my friends, I will. If you manage to get all the way to this point, you've managed to finish the project, then I would like to congratulate you because that means that you are now a proud master of the hard surface modeling techniques. With this, you should be able to tackle any sort of mechanical things that they throw your way. You can do armor pieces, you can do weapons, you can do like robots like this. And not only do them from a modeling standpoint, but also follow through in this production pipeline so that you can texture and render them and have them ready for any production. So that's it for me and my friends again. Thank you very much. Thank you very much for being part of this. It has been an honor to be your teacher throughout this, I think almost 20 h of classes. And I hope you like it. I hope you use all of these tools for your advantage and you can get that dream job you're looking for. Thank you very much and I'll see you back on the next course. Bye bye.